Indecision, Hesitation and Delay in Shakespeares Hamlet - Needless Delay? :: The Tragedy of Hamlet Essays

Hamlet's Delay The topic of why Hamlet delays in taking vengeance on Claudius for such a long time has perplexed perusers and crowd individuals the same. Promptly following Hamlet's discussion with the Ghost, he appears to be resolved to satisfy the Ghost's desires and swears his allies to mystery about what has happened. The following appearance of Hamlet in the play uncovers that he has not yet vindicated his dad's homicide. In Scene two, act two, Hamlet gives a potential explanation behind his delay. The soul that I have seen/May be a fallen angel, and the villain hath power/T' accept a satisfying shape (2.2.627-629). With this uncertainty obfuscating his brain, Hamlet appears to be totally unfit to act. This uncertainty is to some degree settled as the play. Hamlet concocts the possibility of the play that is like the occasions described by the phantom about his homicide to demonstrate Claudius blameworthy or honest. Because of the ruler's response to the play, Hamlet achieves the conviction th at the Ghost was coming clean the evening of the spirit. In Hamlets mind, it is currently his obligation to retaliate for his dad's homicide. This is the place the genuine issue of inaction enters the play. Soon thereafter, Hamlet has an ideal chance to execute Claudius, when he sees the King bowing in supplication. He thinks about whether this is an ideal opportunity to slaughter him and get it over with, yet chooses not to. He guarantees that he doesn't need Claudius to go to paradise, so he would prefer to execute him when he is submitting a wrongdoing. If so, at that point for what reason doesn't he just hold up till Claudius has finished his supplication, blame him for the homicide and murder him in his transgression of forswearing. Rather, Hamlet goes to the office of his mom and leaves behind his best open door at retribution. The contention can be made, nonetheless, that it's anything but a dread of murdering that causes this inaction. He doesn't show a failure to take somebody's life when executing Polonius. He neither falters nor gives in sending Rosencrantz and Guildenstern to their executions. Why at that point would the sovereign of Denmark dither to slaughter the limited he most evenhandedly could? Numerous scholarly accept that his inaction is the consequence of a vicarious Oedipus complex. The individuals who agree with this hypothesis state that Hamlet, in his inner mind, wants to do precisely what his uncle has done; that is, dispose of the ruler so he can have Gertrude for himself.

Which Has Exerted a Bigger Effect on War the End of the Cold War, or Globalization Free Essays

Back in mankind's history, there could be discovered more than 14, 400 records of wars that have happened previously, by ending the lives of billions and influencing the social and political request around the world. Wars in the contemporary world have bit by bit been changing in structure, principally because of globalization, by covering in various circles of fierce clashes and little yet very risky associations like fear based oppression and rebellions. By and by, their actual nature and goals have figured out how to protect through ages, as a general standard of social conduct, including outrageous viciousness, want for force and control, just as clashes set up based on strict or ethnic issues. We will compose a custom article test on Which Has Exerted a Bigger Effect on War: the End of the Cold War, or Globalization? or on the other hand any comparable point just for you Request Now Furthermore, the finish of the virus war greatly affected the worldwide socio-political picture by building up a totally new picture of global relations, types of outer affiliations and a solid push for a military issue progress. Could Cold War Have Been Avoided? iframe class=wp-installed content sandbox=allow-contents security=restricted style=position: supreme; cut: rect(1px, 1px, 1px, 1px); src=https://phdessay.com/could-cold-war-have-been-evaded/insert/#?secret=VoE5zQLbhO information secret=VoE5zQLbhO width=500 height=282 title=#8220;Could Cold War Have Been Avoided?#8221; #8212; Free Essays - PhDessay.com frameborder=0 marginwidth=0 marginheight=0 scrolling=no/iframe To comprehend the idea of war, its effect on current undertakings, just as the effect of globalization on war matters, I would initially give a general meaning of â€Å"war†, by introducing some hypothetical methodologies. In the long run I would focus on the effect of the post-cold period lastly, finish up with the effect of globalization. War and hypothetical methodologies: Scholars have consistently given very opposing definitions to a â€Å"war†. For sure characterizing â€Å"war† could be a convoluted errand. This is because of the way that regardless of whether the idea of a war stays steady, it generally mirrors the specific time and spot wherein it happens. At the end of the day, the present time, circumstance, the underlying center of the issue, just as, the degree of viciousness and specific entertainers would enormously impact and characterize the kind of contention. In this manner, setting up a general thought of a ‘war’ may end to be very mistaken. By and by, I would attempt to introduce the primary general definitions, in view of various hypothetical methodologies. Quincy Wright, for xample, depicts war as a â€Å"conflict among political gatherings, particularly sovereign states, carried on by military of significant size, for an impressive time of time†. (Baylis, 2008, p. 213) According to his announcement, we could reason that it’s a pragmatist approach, accentuating on the intensity of the state and the most elevated level of sway that has. Another methodology of characterizing war is the meaning of Hedly Bulls asserting that war is a â€Å"organized viciousness, conveyed by political units against each other†. (Baylis, 2008, p. 14) This definition could be acknowledged as unseemly in light of the fact that only one out of every odd single activity of brutality is characterized as a war. Likewise, war could include and other inside entertainers aside from political ones like residents for instance (strict, racial clashes). A third methodology by Clausewitz clarifies war as â€Å"an demonstration of power proposed to force our rivals to satisfy our will†. (Baylis, 2008, p. 214) This definition is progressively liberal put together as it focuses on additional with respect to the force and influence of globalization than on the state po wer. Despite the fact that these definitions appear to contrast as far as hypothesis, we could sum up some normal qualities between them, which are sorted out brutality, state or non-state on-screen characters, just as military power and control. To improve understanding on the definitions, the difference in fighting, just as the effect of globalization and post-cold war period, I might want to sum up and weight on two notable hypotheses: Realism and Liberalism. Authenticity, above all else, weights on the intensity of the state and its sway, speaking to it as the principle on-screen character on the world stage. It likewise communicates world governmental issues as a ‘self-help system’ and a ‘struggle for power’ between states (Baylis, 2008, p. 5), attempting to rule and boost their national advantages. Likewise, globalization isn't significant and doesn't influence political world. Progressivism, despite what might be expected, underscores on the adequacy of vote based system, fundamental that states are not by any means the only primary on-screen characters. Transnational on-screen characters, worldwide companies and associations (like fear based oppression) are likewise assuming a key job in characterizing fighting and its advancing. Likewise, leftists concede the significance of globalization, financial and ecological issues. Thinking about the present universal issues, just as the decrease intensity of state entertainers, we could accept that the Liberal hypothesis effectively coordinates with the ongoing socio-political occasions. Therefore, I would additionally dissect the difference in fighting from the viewpoints of the Liberal methodology. Post-cold war period: The fall of the Soviet Union in 1989, bringing about the finish of the Cold War, put another advancement in the structure of the global relations and the universal framework. That in reality brought some powerful household properties like popular government framework in some post-socialist states. Moreover, the quantity of wars forcefully declined yet not and their urgent fierceness. A ton of ex-Soviet Union individuals, just as some eastern European nations like previous Yugoslavia experienced colossal emergency. Numerous states broke down, which prompted ridiculous common wars and insurrections. Another extraordinary factor was the new arrangement of majority rule government that previous socialist states needed to acknowledge. A few states without a doubt profited by that yet for other people, that ended up being a huge and abrupt change bringing about progressively financial emergency and turmoil in the populace. Likewise, this prompted the dynamic support of world associations like the United Nations, just as NATO and EU in safeguarding the harmony and maintaining a strategic distance from any ruthless clashes that could follow. Such mediation and hostile to struggle activities impacted the fighting as well as human ethics, too. People’s comprehension of legislative issues, financial aspects turned out to be all the more all around based, not simply state-disengaged. A state issue in the long run ended up being a worldwide issue, similar to the war in previous Yugoslavia, 9/11 and the present issues in Egypt. The post-cold war period gave the primary solid push of a monstrous globalization. In reality, globalization has consistently existed in mankind's history and has consistently been an inescapable procedure; by the by nobody has especially referenced it before the finish of the Cold War. Another extraordinary change that influenced the fighting was the supreme authority power that the USA picked up. With the fall of the Soviet Union, the worldwide framework transformed from a period of ‘bipolarity’ into a period of ‘unipolarity’. In this way, USA’s worldwide impact speeded up much more the going on procedure of globalization, handing it over to â€Å"Americanization†. (Baylis, 2008, p. 13)USA was most likely exceptional regarding military force and specialized advancements; by and by it did nothing to forestall the up-coming occasions of sorted out viciousness and especially fear mongering. A genuine model is the 9/11 occasion and the Iraq War in 2003. Despite the fact that USA had a great predominance as far as weaponry, spec ialized and correspondence innovation, the reacting unbalanced assaults that followed, just as the terroristic activities in London and Madrid demonstrated the emotional changes that have happened as far as fighting. Globalization: The upset in military issues that followed in the 1991, directly after Gulf War, fabricated another picture and type of the contemporary fighting. With the tremendous advancement of innovation, correspondence, Internet and media, war was in the long run changed over into another type of a war struggle, new for the old Westphalian Order thoughts. The essential Westphalian attributes of a territoriality, fixed guests, self-assurance and states as just key-on-screen characters totally negate with the contemporary current worldwide undertakings. Also, to be sure, Globalization is something beyond interconnectedness. It includes substantially more than collaboration and global relations between states. It in the end breaks down the state guests, transforming the world into a â€Å"shared social space†, (Baylis, 2008, p. 18) just as, putting the affordable and political exercises into a totally new transnational worldwide scale. Another significant factor of globalization is the â€Å"time-space compression†. (Baylis, 2008, p. 18) Nowadays, any force or military activities could be practiced from a separation and satisfied for a moderately brief timeframe. Globalization has broken any potential obstructions including separation, space or time with the assistance of Internet, correspondence and media. These variables have brought about a whole new age of fighting. In such another time of advancement and high innovation, new non-state entertainers have figured out how to change both digital spot and media into a genuine front line. From one hand, this has prompted the production of exceptionally compelling and complex weaponry apparatus, guaranteeing better assurance and energy reacts to military activities. In actuality however, that likewise prompts psychological oppression, sorted out violations, brutality just as, weapons of mass pulverization. With the capacity of delivering and sending out such incredible innovation, the security of people and the severity of contemporary fighting are doubtlessly not in transit of declining. Another negative outcome of globalization r

Boston International Antiquarian Book Fair

Boston International Antiquarian Book Fair (See #2 Boston Adventure at the Institute of Contemporary Art here) As part of my weekly Boston Enrichment Trip, I ventured today to the Boston International Antiquarian Book Fair. Located in the vast Hynes Convention Center, the BIABF  was a bit like the  MIT Career Fair but with coat check, classy security, and fancy wine. Plus a much older and wealthier population. Really, a whole new world.     If youre wondering what an antiquarian book is, the Fair’s website has got you covered. Such a book is one “that is valued as a physical object above and beyond its value as a vessel of content (text and/or illustrations).” This definition encompasses books from as early as the 1400s to as recent as the 1980s, but distinguishes the collectibles from “previously owned books that [are] valued solely for [their] content.” Those are merely used books and not fit for the Fair. The way that traders measure the antiquarian books value remains a mystery to me (though I did try to find a pattern in the prices). According to the Fair’s website, “the value might derive from the edition, the quality of the printing, binding, or illustrations, the provenance, etc.” So a $1 thrift shop copy of Isaac Azimov’s I, Robot  has little value compared to the $500 signed first edition. The 500-fold increase is worth it for the antiquarian book connoisseurs. Same goes for the $2,500+ Hemingway copy (one of 300 of a limited edition). Why, on the other hand, does Nabokov’s Lolita first edition only cost around $200? Only experts can tell, and I know none. For the fun of it, here’s some technical antiquarian book vocab. Incunable is “anything printed during the 15th century, the first century of printing with ‘moveable type’.” Quite a few gorgeous incunabula at the BIABF  (see below). Foxing refers to “rust colored spots which occur on paper resulting from oxidation of both organic and iron impurities left behind during the papermaking process.” All information is taken from the Boston International Antiquarian Book Fair website here. And heres what (I think) foxing looks like: (Aristotle, Organon. The Logical Works, with Porphyrys Isagogue; Venice, 1495, Editio Princeps and the greatest publishing venture of the 15th century; $75,000)   (Some book samples, including a 1506 edition of Dante Alighieris Commedia di Dante) Walking through the aisles of bookseller booths from all over the world was a special experience. The books, maps, and prints looked like they ought to be in museums, but were instead bartered and sold by private collectors. Leaflets advertised antiquarian book fairs in other U.S. locations. Do book collectors travel regularly to those? How big is their community?       (Right: Burmese Accordian  Mythology (1910, $175); French Caricatures (1934-35, $1,100); Victorian Era Zoological Sketchbook; Manuscript Fairy Tale; Important Album of Mideast European Watercolors) I saw leather bound incunabula from the 15th century and first editions of Twain and Nabokov and signed copies of Charlottes Web and I, Robot. Giant maps and miniature volumes, only about 2 inches tall (and quite adorable). Collectibles $100 and under for those “discovering” the antiquarian book world. Volumes for children and adults. Scientific tracts and journals. And many more exciting books to admire from a distance. (Science Incunabula! Left: Renaissance Science and its Medieval Antecedents (1482, $38,000); Right: First Printed Illustrations of the Constellations (1483, $45,000)) The prices were astounding as well, perhaps the most shocking aspect of the Fair. For valuable  volumes, they started at $500, increased to $2,500, $7,500 (for one out of 300 copies of a limited edition of Hemingway), $8,000 (for a handwritten note from President Obama), $12,500 Then, suddenly, a $54,000 volume by Mark Twain appeared! Only ten inches tall.     (Left: John Milton, Paradife Loft (first illustrated edition, 1688, $17,500); Right: Michael Bernhard Valentini, Museum  Museorum (1754, $28,000)) And thats not the limit. Could an antiquarian book exceed the value of a full-priced year at MIT? Certainly. The most expensive sell I could find was an original Abraham Lincoln letter at $95,000. Not even “the most historic 1792 letter” by Alexander Hamilton or the “Birth Certificate of Italy” by King George I of England could match that. Way to go, Abe!   (Left to Right: Allen Ginsbergs favorite musical compositions; King George I of England, Birth Certificate of Italy; Ronald Reagans Christmas letter) Outside, Typewriter Rodeo offered “custom poems on vintage typewriters.” Visitors only needed to say a word, and an experienced writer/typist would compose a personal poem for them on the spot, anything from “kid-friendly to adult-feisty.” My chosen word: Education (read the poem below). (Left: a booksellers catalog; Right: Education, the Typewriter Rodeo custom poem by Sean) And that was that. An adventure, cultural event, and fun learning experience all in one  Fair. A glimpse into a different world. Share any personal book collecting experiences in the comments below!

Ageism in America - 1709 Words

Ageism in America The term ageism was coined in 1969 by Robert Butler, the first director of the National Institute on Aging. He used the word to describe the process of systematic stereotyping of people because they are old. Ageism is a term that is similar to other ‘isms in society, such as racism and sexism. Ageism allows other generations to see older people as different from themselves; thus they subtly cease to identify with their elders as human beings (Butler, 1975). All people, including the young as well as the old, can be discriminated against based on age. Today ageism is more broadly defined as any prejudice or discrimination against or in favor of an age group (Palmore, 1990). The Census Bureau estimates†¦show more content†¦In a study published by the American Psychological Association, Yale School of Public Health, Professor Becca Levy and her colleagues concluded that old people with positive perceptions of aging lived an average of 7.5 years longer than those with ne gative images of growing older. Levy said many Americans start developing stereotypes about the elderly during childhood, reinforced them throughout adulthood, and enter old age with attitudes toward their own age group as unfavorable as younger people s attitudes (Levy, Slade, MD, Kasl, SV, 2002). While, in general, the elderly are considered a negative part of American society, some cultures around the world place great honor and bestow high status onto the elderly members of their society. Concerning the aging process, elders are respected for their knowledge and experience. In fact, in some cultures, it becomes their responsibility to pass down their wisdom and learning to the younger members of society. In Native American cultures, all members of a tribe care for the elderly. Death is an accepted fact of natural life, not to be approached with fear. The soul is believed to be immortal, in the sense of experiencing a changing of worlds (Deloria, 1973). In countries in the East, growing older is an outward sign of one s increase in knowledge and experiences. Since this positive attitude of aging is passed from one generation to the next,Show MoreRelatedAgeism in America during the Great Depression504 Words   |  2 Pages2-10 % it is still pretty high (â€Å"Ageism in America†). Though the Great Depression affected most of the people of the United States of America the ones who were affected by the most in everything but physical abuse were the elderly. What exactly is ageism in the 1930’s and who invented the term is a question that should be answered and is. Thankfully it is answered for us. According to Open Society institute who wrote the article Ageism in America said that ageism is a term that was invented by DrRead MoreAgeism : Stereotypes And Stereotyping Of Older People Today Essay1178 Words   |  5 PagesAgeism is a popular and important topic to discuss as it represents a great issue in today’s society. The article â€Å"Ageism in America† focuses on the biases and stereotyping of older people here in America. The elderly is highly discriminated against and we tend to not realize this enough. Ageism is an ever growing concern in the United States and is an issue that needs to be resolved. There is a concern of what will become of ageism in the future. The term ageism is based on an individuals or societiesRead Moreageism1028 Words   |  5 Pagesï » ¿Ageism Kristen Dorman Ageism is the discrimination against an individual or group due to age. While ageism is a real problem, many people tend to ignore it because it is so often practiced, people don’t even realize it is happening. The forms of ageism range from the very obvious to the more discrete, almost unrecognizable discrimination. While ageism is evident in all age groups, it tends to be more dominant among the elderly and teenagers or young adults. When most people envision an elderlyRead MoreAgeism Essay881 Words   |  4 Pagesrest of the world. Most of them live in nursing homes where they are far away from their families. Others live by themselves where they have no family members visiting them and leaving them to take care of everything. Some researchers believe that ageism, in the form of negative stereotypes, directly affects longevity. In a study published by the American Psychological Association, Yale School of Public Health professor Becca Levy and her colleagues concluded that old people with positive perceptionsRead MoreEssay on Ageism or Agism621 Words   |  3 Pagesâ€Å"Ageism, or agism, is a prejudice or discrimination against an individual or group in society on the basis of ones conception of age. A  prejudice is a  preconceived  mentality, judgement, or opinion that may have no  reason nor basis. Discrimination is the expression of prejudice resulting in differential treatment of different groups or individuals in society. This may include unjust behaviors, actions, language(s) and degrading terms, or limitations  restricting anothers rights. A person who participatesRead MoreDiscrimmination against the Elderly Essay955 Words   |  4 PagesRobert Butler (1975) was one of the first writers on ageism and he defined it as â€Å"a process of systematic stereotyping of and discrimination against people because they are old. . . . Old people are categorized as senile, rigid in thought and manner, old fashioned in morality and skills† (p. 35). Ageism is a form of oppression of elders by youth and adults. Ageism intersects with classism and sexism to produce differences in distribution of retirement resources for the elderly. Women of all ethnicRead MoreReducing the Divide between Young and Old1299 Words   |  6 PagesThe area of diversity that we will look at here is Ageism. First we will discuss some of the more important barriers that are present because of age. We will discuss how this group is affected by discrimination, prejudices, and stereotypes and some of the sources that perpetuate it. Finally we’ll attempt to show some strategies that both young and old can use to promote communication and understanding to hopefully reduce the divide between the young and old. In ancient times the old we’re valuedRead MoreAgeism : Ageism And Prejudice Against The Old Age1506 Words   |  7 Pages Like sexism and racism, ageism is discrimination, a deep and profound prejudice against the elderly. Elderly individuals constantly face negligence because of Ageism. In this society of isms, racism, sexism, and ageism; these things create labels, stereotypes, and categorizes people, by shape, size, color, and age. The elderly in their later years should be able to have a peaceable life and be treated with dignity and respect. However, pretty much anyone over the age of 50 is a target for an attackRead MoreAgeism Still Alive And Lurking Still This Day Essay1139 Words   |  5 Pageswill forget what you did, but people will never forget how you made them feel,† (Maya Angelou). Ageism still alive and lurking still this day. I believe that people are prejudice to anything and everything. Today ageism is big in the world today. This really play a huge role in the elderly life span. The history of ageism is the process of stereotyping against people because their old. To me ageism is like sexism and racism, they treat older woman like they’re not human. Like they have these seniorRead MoreAgeism : An Underestimated Type Of Discrimination1609 Words   |  7 PagesAgeism: An Underestimated Type of Discrimination When the suffix â€Å"-ism† comes to mind, one typically thinks of the more common forms of discrimination throughout society today: racism, sexism, elitism, ableism, ethnocentrism, classism... the list could continue. Ageism, coined by Robert Butler in 1969, however, is one of the many forms of â€Å"isms† that may not be immediately conjured up, or even considered a threat to society at all. It is a fact of life that all living organisms age. I will, you will

The Myth Of The Epic Of Gilgamesh - 1412 Words

The Epic of Gilgamesh has been important to Christians since the time of its revelation in the mid-nineteenth century in the remains of the considerable library at Nineveh, with its record of an all inclusive surge with critical parallels to the Flood of Noah s day. Whatever remains of the Epic, which goes back to conceivably third thousand years B.C., contains little of worth for Christians, since it concerns run of the mill polytheistic myths connected with the agnostic people groups of the time. Be that as it may, a few Christians have considered the thoughts of creation and existence in the wake of death introduced in the Epic. Indeed, even common researchers have perceived the parallels between the Babylonian, Phoenician, and Hebrew†¦show more content†¦In todays society, there are many religions that are carried out worldly, and live by different teachings that may differ from others. So to some, what may be considered religious may not be religious to those apart of t hat particular religion. But, indefinitely this does no concur that the Epic of Gilgamesh is not a religious text due to the contrary of popular belief. One may be of Catholic belief, and another may be of a: Anglican, Baptist, Pentecostal, Muslim or Hindu religious backgrounds, just to name a few, but don’t all share similar views on particular matters. This does not suggest that they aren’t all religious in anyway but, this goes to show the diversification of religion. According to (religioustolerance.org) religion is defined as â€Å"a particular arrangement of conviction about god, regularly including customs, a code of morals, a theory of life, and a perspective. A perspective is an arrangement of essential, foundational convictions concerning divinity, mankind and whatever remains of the universe. Thus we would consider Christianity, Islam, Judaism, Native American Spirituality, and Neopaganism to be religions. We likewise incorporate Agnosticism, Atheism, Humanism, Ethical Culture and so forth as religions, since they additionally contain a conviction about god - their conviction is that they don t know whether a god exists, or they have no learning of God, or they truly trust that God does not exist†. There are many

Theatre-Director’s Role Free Essays

The director is the most important person in the play because without his visions the actors would have no purpose and nothing would go on. Without the director all would be at loss in the theatre. The director is the one who tell everyone what to do and installs the fear into the cast and other to perform at their best at all times. We will write a custom essay sample on Theatre-Director’s Role or any similar topic only for you Order Now The director is the person who all the actors and stage crew and everyone tries to impress and they will always be on their best behavior while the director. I would want to be the director because everything is dependent on you and you are the one who calls the shots and I will maintain order on the set. The director is the one who knows the whole play and has to get the performers to perform and to make the show run as smoothly as possible. If the actors or stage coach were to get out of line or not do their job then the director would heard about it and not be do happy about it. The preparation for the director is a major issue. Many hours of perfecting the acting according to the script takes a strain when you have to account for everything that is going on. A director must having coping skills and still be enough and authoritarian to have respect from all the members of the cast. For me personally, I would have to learn how to work with people instead of getting mad and not wanting to work through problems that might occur during rehearsal and the whole production in general. The work and preparation that needs take place is tremendous, but the director has to put so much pre meditated work in that is not seen by many people, but its truly eveudent in the final production. How to cite Theatre-Director’s Role, Essay examples

Issue of IKEA in Saudi Arabia

Question: Analyse the issue of IKEA happened in Saudi Arabia when they erased all women from their catalogue. Answer: Comparison between the culture of Sweden and Saudi Arabia: The Swedish people are known to be dedicated, hardworking and are known to use the limited resources to the fullest (Almaghlooth, 2013). They are open-minded and promote women empowerment. On the other hand, Saudi Arabia is an absolute monarchy that is governed along Islamic lines. Restrictions regarding women empowerment in this country are one of the pitfalls of this country. The country is also known for its harsh punishments. Hofstede Model - Dimension of Masculinity versus Femininity A Dutch anthropologist and psychologist Geert Hofstede studied cultural interactions between various groups (Hofstede, 2011). Among his other works the cultural dimension theory is a notable one, it is applauded for providing a systematic framework that analyse the difference between cultures and nations. This theory places the measuring value under six heads, among them, one is the Masculinity aspect. Various surveys were conducted through IBM to gather data for the purpose of scoring the system from 1 to 60 in the scale. The concept of masculinity versus femininity helps in understanding the distributed emotional roles in between both the genders. This dimension of the culture and nation theory analyses materialism, power, ambition and assertiveness and the typical femininity aspects which are based o human relationships (Treven, 2011). Societies with greater masculinity rates tend to discriminate more whereas societies with lower masculinity rates place much importance on the buil ding relationship than discriminating between genders (Hofstede, 2010). Comparing Saudi Arabia and Sweden (Hofstede Dimension - Masculinity versus Femininity): Saudi Arabia is holding a higher position in the Masculinity Index (MAS), indicating the limited women rights due to a cultural paradigm. It also provides an extensive possibility of gender segregation. A society with high masculinity rate indicates a male-dominant power structure and society where males control the women's. The score acquired by Saudi Arabia in the dimension of masculinity is 60. The primary aim of the people living in the masculine country is to live to work; here the managers should be assertive and decisive. They emphasise on the concept of performance, competition and equity. Any dispute or conflict is sorted out by the way of fighting (Obeidat et al. 2012). On the other hand, Sweden is holding the lowest position in the Masculinity Index (MAS) with a masculinity rate of five, indicating that it is a feminine society. The maintenance of work-life balance is a very important aspect of a feminist country. The management system and decision-making are also other aspects of concern for many, but all these aspects are handled perfectly in Sweden. Whenever conflicts arise in Sweden then the process of negotiation and compromise solves them. In this country, the issue is discussed until the disputing parties reach a definite solution. Here, flexible working hours, free time are favoured. Swiss culture is based on the principle of lagom' that consist of something that is not too less not too much and not even too noticeable. They believe that everything should be balanced and in moderation. The principle ensures that everybody has enough, and none of them is left neglected. The Jante Law enforces the concept of lagom that is a Scandinavian conce pt of a fictional law, propagating the ideology that individuals must not boast themselves above other individuals. Analysis of the issue that occurred due to the airbrushing of all the women from the catalog of IKEA based on the Hofstedes Dimension score regarding Masculinity and Femininity: IKEA is a Swedish multinational company; it primarily deals with the Scandinavian style furnishings along with other household goods (Eskander Abdul Aal, 2010). The cultural gap between that of Sweden and Saudi Arabia was observed by IKEA, and it could be observed from the act of IKEA of removing women images from the catalog that was published in Saudi Arabia especially. This removal of the women image was severely criticised as it is against the values of IKEA. The equality minister of Sweden commented that as IKEA is a private company, so it could independently take its decisions but the act of removing women image from the catalog is against the right to equality and is discriminatory hence, it might hamper Sweden's image in the global sphere (White, 2012). The image-airbrushing task of IKEA was severely criticised as women rights are heftily promoted by Sweden. The act of IKEA has been observed by many as a conflict between financial concerns and moral values (Eskander Abdul Aal, 2010). In this context the score of Masculinity in Sweden and Saudi Arabia could be referred, Sweden scores 5 in Masculinity and Saudi Arabia Scores 60, hence, it could be easily observed that as Saudi Arabia is a male dominant country hence women empowerment is observed as a risk. The male dominance is the primary reason for the removal of women from the catalog as they think it to be wrong. Moreover, this is not the very first time that the women's rights have been subordinated to a Western institution to gain business interest. The main reason behind the removal of the woman image from the catalog is the male dominated culture that is predominant in Saudi Arabia (Quinn, 2012). The activist of the women rights in Saudi Arabia also objects the removal of the women images from the catalogs that were specially published for Saudi Arabia as if this kind of images would be published then the women of Saudi Arabia would acquire knowledge of the outside world which could promote self-determinati on among their women's (Marcus, 2013). On the other hand, it would contradict women's role and portraying women in any medium in a printed form could import ideas about the real world that exists outside Saudi Arabia and would oppose the Wahabi culture. Due to such influences, the male dominated grip could be loosened over the society. The catalog hence was observed as an agent, which could inculcate the modern ideologies among the women of Saudi Arabia. The religion misappropriation is often observed as a bar from accessing women's equality (Hofstede et al 2015). Conclusion: Hence, it could easily be concluded that Saudi Arabia is a male dominated country with discriminatory practices in respect of women whereas Sweden is a feminist country. The main issue of concern is that the corporations place their financial interest in a more predominant position than their moral values, in other way supporting the discrimination process that is practiced by the male dominated countries. The culture of IKEA is Swedish culture, and it must ensure gender equality in their work ethics without giving prime importance to financial status. Reference Almaghlooth, A. (2013). The relevance of gatekeeping in the process of contemporary news creation and circulation in Saudi Arabia (Doctoral dissertation, University of Salford). Eskander, D., Abdul Aal, M. K. (2010). Does IKEA Culture Apply Abroad? A study of IKEA in Saudi Arabia. Case Study. Karlstad: Karlstad University. Hofstede, G. (2010). Geert hofstede. National cultural dimensions. Hofstede, G. (2011). Dimensionalizing cultures: The Hofstede model in context. Online readings in psychology and culture, 2(1), 8. Hofstede, G. J., Dignum, F., Prada, R., Student, J., Vanhe, L. (2015). Gender differences: the role of nature, nurture, social identity and self-organization. In Multi-Agent-Based Simulation XV (pp. 72-87). Springer International Publishing. Marcus, A. (2013, November). Cross-cultural user-experience design. InSIGGRAPH Asia 2013 Courses (p. 8). ACM. Obeidat, B. Y., Shannak, R. O., Masadeh, R. E. M. D. T., Al-Jarrah, I. (2012). Toward better understanding for Arabian culture: Implications based on Hofstedes cultural model. European Journal of Social Sciences, 28(4), 512-522. Quinn, B. (2012). Ikea Apologises over Removal of Women from Saudi Arabia Catalogue. The Guardian, available at: www. theguardian. com/world/2012/oct/02/ikea-apologises-removing-women-saudi-arabia-catalogue (accessed 2 October 2012). Treven, S. (2011). The connection between culture and organizational behavior. International Business Economics Research Journal (IBER),4(7). White, C. L. (2012). Brands and national image: An exploration of inverse country-of-origin effect. Place Branding and Public Diplomacy, 8(2), 110-118.

To Determination the Partition Coefficient of Ethanoic Acid Between Water and Butan-2-Ol Essay Example

To Determination the Partition Coefficient of Ethanoic Acid Between Water and Butan-2-Ol Paper To determination the partition coefficient of ethanoic acid between water and butan-2-ol. Procedure 1. The room temperature was recorded. 2. 15cm3 of the given aqueous ethanoic acid and 15cm3 of butan-2-ol were poured into a 100cm3 separating funnel, using suitable apparatus. The funnel was stoppered and was shook vigorously for 1 to 2 minutes. (The pressure in the funnel was released by occasionally opening the tap. ) 3. 10cm3 of each layer was separated approximately. (The fraction near the junction of the two layers was discarded. ) 4. 10. cm3 of the aqueous layer was pipetted into a conical flask and was titrated with 0. 1 M sodium hydroxide solution using phenolphthalein. 5. Using another pipette, 10. 0 cm3 of the alcohol layer was delivered into a conical flask and was titrated with 0. 1 M sodium hydroxide solution. 6. Steps (2) to (5) was repeated with another separating funnel using the following volume: 25cm3 of aqueous ethanoic acid and 15cm3 of butan-2-ol 7. For each exper iment, the ratio of the concentration of ethanoic acid in the aqueous layer to that in the butan-2-ol layer was calculated. Result Room temperature: 29? Volume of butan-2-ol: 15 cm3 |Volume of 0. 2M ethanoic acid / |Volume of 0. 1M NaOH titre for |Volume of 0. 1M NaOH titre for|Partition coefficient | |cm3 |aqueous layer / cm3 |alcohol layer / cm3 |K= | |15 |10. 00 |12. 55 |0. 796 | |25 |12. 10 |15. 60 |0. 76 | Conclusion The partition coefficient of ethanoic acid between water and butan-2-ol is : = =0. 786 Discussion 1. Shaking is necessary in step (2) because it made it faster to attain equilibrium state. 2. When temperature increases, the solubility of the two solvents increase. But the rate of the increase in solubility are not the same, it is expected that the partition coefficient varies with temperature. 3. The aim of titration is to find the concentration of the solvent, but not the total number of mole in the solvent. We will write a custom essay sample on To Determination the Partition Coefficient of Ethanoic Acid Between Water and Butan-2-Ol specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on To Determination the Partition Coefficient of Ethanoic Acid Between Water and Butan-2-Ol specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on To Determination the Partition Coefficient of Ethanoic Acid Between Water and Butan-2-Ol specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Therefore, the volumes of the aqueous and alcohol solution used in the titration must be known as accurately as possible in order to find accurately concentration. The aim of adding aqueous ethanoic acid and 2-methypropan-1-ol is only to leave the mixture to equilibrium and provide enough solvent for the titration. Therefore the amounts of aqueous ethanoic acid and 2-methypropan-1-ol need not be measured out accurately. 4. The following assumptions are made: a) The temperature of the mixture remained constant throughout the experiment. This assumption was valid as it was felt (by hand) that the temperature of the separating funnel did not changed throughout the experiment. b) Ethanoic acid, water and butan-2-ol are non-volatile and do not evaporate slowly. This assumption is not valid because there is a smell of alcohol over the separating funnel. That means that there are particles coming out from the mixture in the separating funnel. 5. Solvent extraction is more efficient if the extraction solvent is added in small portions several times instead of all at once. Therefore it is more fficient to extract a solute with two 25cm3 portions of solvent rather than with a single 50cm3 extraction. 6. The applications of the partition law: a) By partition law, the KD can be found experimentally. The amount of the solute that can be extracted using solvent extraction can be predicted, instead of using other complex method. b) By partition law, we know that the amount of solute extracted is more when the extracting solvent is added in several small portions instead of all at once. 7. Butan-2-ol is much lighter than water. Therefore butan-2-ol is at the top of the mixture while water is at the bottom.

A Beginners Guide to Statistics

A Beginners Guide to Statistics How many calories did each of us eat for breakfast? How far from home did everyone travel today? How big is the place that we call home? How many other people call it home? To make sense of all of this information, certain tools and ways of thinking are necessary. The mathematical science called statistics is what helps us to deal with this information overload. Statistics is the study of numerical information, called data. Statisticians acquire, organize, and analyze data. Each part of this process is also scrutinized. The techniques of statistics are applied to a multitude of other areas of knowledge. Below is an introduction to some of the main topics throughout statistics. Populations and Samples One of the recurring themes of statistics is that we are able to say something about a large group based on the study of a relatively small portion of that group. The group as a whole is known as the population. The portion of the group that we study is the sample. As an example of this, suppose we wanted to know the average height of people living in the United States. We could try to measure over 300 million people, but this would be infeasible. It would be a logistical nightmare conduct the measurements in such a way that no one was missed and no one was counted twice. Due to the impossible nature of measuring everyone in the United States, we could instead use statistics. Rather than finding the heights of everyone in the population, we take a statistical sample of a few thousand. If we have sampled the population correctly, then the average height of the sample will be very close to the average height of the population. Acquiring Data To draw good conclusions, we need good data to work with. The way that we sample a population to obtain this data should always be scrutinized. Which kind of sample we use depends on what question we’re asking about the population. The most commonly used samples are: Simple RandomStratifiedClustered It’s equally important to know how the measurement of the sample is conducted. To go back to the above example, how do we acquire the heights of those in our sample? Do we let people report their own height on a questionnaire?Do several researchers throughout the country measure different people and report their results?Does a single researcher measure everyone in the sample with the same tape measure? Each of these ways of obtaining the data has its advantages and drawbacks. Anyone using the data from this study would want to know how it was obtained. Organizing the Data Sometimes there is a multitude of data, and we can literally get lost in all of the details. It’s hard to see the forest for the trees. That’s why it’s important to keep our data well organized. Careful organization and graphical displays of the data help us to spot patterns and trends before we actually do any calculations. Since the way that we graphically present our data depends upon a variety of factors. Common graphs are: Pie charts or circle graphsBar or pareto graphsScatterplotsTime plotsStem and leaf plotsBox and whisker graphs In addition to these well-known graphs, there are others that are used in specialized situations. Descriptive Statistics One way to analyze data is called descriptive statistics. Here the goal is to calculate quantities that describe our data. Numbers called the mean, median and mode are all used to indicate the average or center of the data. The range and standard deviation are used to say how spread out the data is. More complicated techniques, such as correlation and regression describe data that is paired. Inferential Statistics When we begin with a sample and then try to infer something about the population, we are using inferential statistics. In working with this area of statistics, the topic of hypothesis testing arises. Here we see the scientific nature of the subject of statistics, as we state a hypothesis, then use statistical tools with our sample to determine the likelihood that we need to reject the hypothesis or not. This explanation is really just scratching the surface of this very useful part of statistics. Applications of Statistics It is no exaggeration to say that the tools of statistics are used by nearly every field of scientific research. Here are a few areas that rely heavily on statistics: PsychologyEconomicsMedicineAdvertisingDemography The Foundations of Statistics Although some think of statistics as a branch of mathematics, it is better to think of it as a discipline that is founded upon mathematics. Specifically, statistics is built up from the field of mathematics known as probability. Probability gives us a way to determine how likely an event is to occur. It also gives us a way to talk about randomness. This is key to statistics because the typical sample needs to be randomly selected from the population. Probability was first studied in the 1700s by mathematicians such as Pascal and Fermat. The 1700s also marked the beginning of statistics. Statistics continued to grow from its probability roots and really took off in the 1800s. Today, it’s theoretical scope continues to be enlarged in what is known as mathematical statistics.

Communications-Medium vs. Message - Fitting the Message to the Channel Essay

Communications-Medium vs. Message - Fitting the Message to the Channel - Essay Example Nowadays, the electronic mail has emerged as a most effective tool of modern business communication. Its significance becomes most relevant especially in organizations which have a global presence or caters to overseas clients. Its potential as the fastest and easiest means of written communication has made it the most popular method of exchanging messages in the modern world. E mails can be classified into two categories: web mail and POP 3 mail (Post Office protocol). Most of the free services provide web mail system, while POP 3 mails services come with a subscription to any internet service. A lot of companies like G mail, Yahoo, Hot mail etc are providing free e mail services which anybody can use by registering with the concerned service provider. However my organization has our own server to meet our internet and e mail requirements. Apart from the benefit of speed, e mails are very convenient to use. It enables us to retrieve any mail through sorting by data. It also provides the facility to forward mails received from one source to any number of persons. One can also customize a mail and present it in an artful manner in a few seconds. While e mails offer convenience and speed it has some demerits also. If misused it can become a potential source of embarrassment or even litigation apart from being a security risk. Therefore it is necessary for a company to evolve some policy regarding e mail and internet usage. My organization has explicit guidelines if any of the policies of the company. We also have a system in place to monitor internet and e mail usage by the employees. Fax is the short form of facsimile which means ‘make copy’. In this system, scanned texts or images are transmitted through a telephone to another telephone connected with a printer or any other such output device. Thus a document or image is copied in digital form and sent as

Interpretation of Spss Outcomes Essay Example | Topics and Well Written Essays - 250 words

Interpretation of Spss Outcomes - Essay Example tions are mainly normal distributed: Normal Skewness shows that the participants’ distribution on the social influence questions were evenly distributed indicating a values fairly resembling the mean. This shows that the participants were equally statistically significant in determining the outcome. Performance expectancy questions are mainly left skewed: Left Skewness shows that the participants’ distribution on the performance expectancy questions was negative indicating a value lower than the mean. This shows that the participants were not statistically significant in determining the outcome. Effort expectancy questions are mainly left skewed: Left Skewness shows that the participants’ distribution on the intention questions was negative indicating a value lower than the mean. This shows that the participants were not statistically significant in determining the outcome. However, while some responses showed right and normal skewness, left skewness appeared more frequently. Facilitating questions are mainly left skewed, with a slight tendency to normal distribution for the last facilitating chart. Left skewness indicates that the participants’ distribution on the intention questions was mainly negative indicating a value lower than the mean. However, a slight tendency to the normal distribution shows that participants were fairly statistically significant. Perceived security risk answers are mainly normal distributed: Normal Skewed questions show that the participants’ distribution on the intention questions normal with almost even distribution and indicates a value closely tied to the mean. This shows that the participants were not statistically significant in determining the outcome. Perceived trust answers are mainly normal distributed, with a slight tendency to left skewness for the first chart: Considering the first chart, it is observed that the perceived question distribution is left skewed indicating that participants with opposing opinions

Parametric and Algorithmic Design: Faux Forms?

Parametric and Algorithmic Design: Faux Forms? Architecture is often practiced in a world dominated by the many, the client or the public and in many cases only understood by the few. Architecture has been relatively unsuccessful at moving forward with the world often failing to relate and communicate with cultural shifts, changing ways of life and the advancement of technology. Where other design related practices such as the automotive industry have blossomed, re seeded, re grown and regenerated with shifts in the way people live and the technology of the present, architecture seems to have floundered. As a result architects currently work in an environment employing century old technologies, with a client market which avoids risks to personal gain at all cost and a public which often still sees the president seen in architectural history as the very form of a relevant architectural future. The masses seem bewildered by the possibilities presented by the possibilities of the present. Even fellow practitioners and academics with in the architectural discipline would appear to be slightly taken aback by the possibilities now available to us. Not just on a technological level, but the impact that these new techniques ma have on the very basics of architectural theory and form. This brings me to my question Parametric and Algorithmic Design: Faux Forms or a Relevant Architecture? Computer aided design changed many design orientated professions such as the automotive and aeronautical industries as far back as the 1980s when they were first properly developed. A digital revolution if you will. Compare this to architecture where production and design still use techniques, theory and knowledge developed during the industrial revolution. Although the majority, if not all architects do use some form of computer aided design techniques the boundaries can still be pushed further. Processes such as BIM (building information modelling) are starting to become a real force in architectural design in places such as the USA. BIM is a process where the architect does not simply draw a line as with traditional drawing techniques or with programs such as AutoCAD (which to an extent, is simply a digital version of a traditional drawing) but instead when an architect draws a line, he draws a wall, with the possibility to combine this information with a limitless selection of pr operties be they size, cost, structural or how they relate to other members in a design. BIM begins to hand back the title of Master Craftsman to the architect, where the architect can see how design develops as a whole and make changes accordingly. Parametric and algorithmic architectures are currently at the forefront of the BIM architectural thinking, they are the products of the few created using advanced computer scripting techniques and individually written pieces of software. Using the latest design technologies available to us, combining this with the modern materials and production techniques often developed in fields which have embraced the digital revolution more openly, parametric and algorithmic design can begin to challenge cultural, technological and historical boundaries which architects have maybe failed to fully challenge in the recent past. Parametric design is a process based not n fixed metric quantities such as traditional design but instead, based a consistent network of relationships between individual objects, the bricks are different but they are connected with the same bond. This allows changes to a single element whilst working with other components within a system. In a similar way to that of parametric design, developments in scripting have allowed for algorithmic design processes to advance. These allow complex forms to be grown from simple methods while preserving specific qualities. In the most basic sense, a user defines a set of rules, and the software would arrange the form according to the rules. If parametric design is a method for control and manipulation of design elements within a network of any scale, algorithmic design is a system and objects producing complex form based on simple component rules. With the combination of these methods, principles, modern production techniques and materials parametric and algorithmic architectures have the potential to push architecture, beyond doubt into the 21st century. Age old architectural problems and theory such as form vs. material and form vs. function can begin to be solved in new ways, construction times can be reduced, materials can be managed more efficiently, and building qualities can be improved significantly. In the analysis and comparison of two projects utilising parametric and algorithmic architectural design principles, I aim to fully understand how relevant these forms and methods of producing architecture really are when compared to their traditional counterparts. I have selected my examples from opposite ends of the architectural scale size wise, but from a similar family of traditional public architectural type form, analysing how relevant the parametric forms are in relation to different situations and settings. My first investigation, looks at a temporary theatre located within the site of Corbusiers Carpenter Centre A collaboration between architecture Firm MOS studios and artist Pierre Huyghe, selected for its truly unique location and its contemporary play on the more traditional theatre / pavilion / bandstand form. Theatres are traditionally very grand buildings, for thousands of years they have been part of human culture with forms as far back as ancient Greece still found in theatre design. This coupled with its band stand / park pavilion like size associated with formal pavilions form around the Victorian age made the project particularly interesting. The challenge for MOS studios was to produce a take on the theatre whilst reacting appropriately to its location in what is an extremely prominent place. The design in basic form is similar to that of any regular theatre with raked seating, unhindered viewing and high-quality acoustics but it was with the use of parametric processes that a theatre which corresponds to the individual conditions of the site has been produced. The theatre sits in the underbelly of the Carpenter Centre by Le Corbusier, commissioned to commemorate the 40th anniversary of the building. Corbusiers Carpenter centre is the centre for the visual arts at Harvard University, MA. Completed in 1942 the building is the only building ever completed by Corbusier in the United States of America and the last to be completed during his life time although he never actually visited the building due to ill health. The building corresponds with Corbusiers five points of architecture (as seen in the Villa Savoye, France) with interior elements such as the ramp, a dominant feature, exploding out from the inside of the building providing an s shaped walkway continuing into the environment. Curved partitions also extend through the main walls of the building in to the surrounding areas swinging to and from the pilotis which support them. This creates a series of interpenetrating interior and exterior events running along the promenade ramp. Within the design of the Carpenter Centre you can see the elements of projects spanning the entire career of Corbusier modified and adapted into this building. The puppet theatre itself, like Corbusiers Carpenter Centre, was designed with a set of parameters or architectural rules if will. These parameters were derived from a given brief and limitations of the space created by the Carpenter centre itself. To avoid damaging the Carpenter Centre no contact with either the ceiling or the buildings supporting structural systems was permitted. Therefore, fitting the puppet theatre in between these important structural barriers became key. The architect has described the theatre as an organ placed in a new host, it has a feel similar but not exactly that of a parasitic structure. Is seems not to be taking away, leaching from the Carpenter, but adding to it, giving it new life as though it really is a new organ, a new heart. This imagery is reinforced in the choice of materials for the theatre, further expressing the feel of new life. The main self supporting structure is a polycarbonate, clad on the outside with a moss. The moss adds heat and noi se insulation, absorbing sound from the nearby street with sound quality being of paramount importance in practicality of a working theatre. At night light from within the theatre glows through the light polycarbonate moss giving a green glow, as if it really is a new organ, a new hub from which life stems into the Carpenter Centre. The rounded form of the theatre was produced though the parametric manipulation of elongated diamond shaped panel units, each one individual in form, each one connected through the same set of parameters. This parametric manipulation was created through the limitations of site, the need for self supporting structural integrity, the use and the restrictions of fabrication processes during production. The ultimate form is therefore created through a system of analysis where the most efficient form was deduced using the parametric system. Most of the theatre was prefabricated and assembled off site. The elongated diamonds were designed to be produced from a single flat piece of polycarbonate minimising both manufacturing times and wasted materials. Each of the 500 pieces was CAM cut, before being folded into three dimensional forms with points drilled to connect each of the diamond forms. The entire structure could then be assembled by connecting the panels using simple tools. The use o f simple hand tools meant that the theatre could rapidly be assembled and dissembled, suitable to the temporary nature of the structure, it was imperative that the structure could not only be dissembled, but left no permanent trace of its construction on the carpenter centre. This again was made possible through the use of parametric design. Each panel is 3 in depth and spans over 15 at the centre; they were stiffened with a foam insert to help with rigidity with the combination of strategic panels being placed inside out, thus acting as key stones. These strategic inside out keystone panels also act as skylights, allowing light to travel both in to and out of the theatre. When assembled the panels dissipate forces around the skin of the theatre, creating the self supporting monocoque structure. The monocoque structure mean that mo permanent fixings or structural supports had to be made with the Carpenter Centre, therefore the puppet theatre became connected through its relevance as a design but remained separate as a structural object. With the puppet theatre sitting in a sunken exterior courtyard underneath the Carpenter Centre, the change in level of 1.25m between the street side and the courtyard had to be addressed, and so this became one of the key parameters in the design. This was overcome by incorporating the 1.25m change in level in to the raked theatre seating, with the actual performance stage sitting at the lower level of the courtyard. As you enter the puppet theatre at street level, the elongated diamond forms combine with the change in height and almost surreal sizing of the puppet theatre itself to creating a visual illusion, a false perspective. This invites the visitor into the theatre with a sense of magic and curiosity, drawing the eyes towards the stage end where the parametric boundary lines of the diamond forms stop abruptly with the introduction of the stage. The use of this optical illusion helps to reinforce the sense of theatre, a sense of magic that I feel could be easily have been misse d or overlooked with the use of other materials or construction techniques. You could maybe say that similar forms could have been created in concrete or wood, but then the all important play of light created by the polycarbonate panels chosen would have been missed. With the combination of material and parametric design theatre is actually incorporated into the design of the structure. The Glossy polycarbonate panels also reflect light, creating an ambient glowing light during performances, with the only lighting coming from the puppet show itself, this transforms the theatre into a glowing lantern at night, projecting its energy onto the bare barren concrete surfaces of the Carpenter Centre. It seems to work well in a juxtaposition between the high-tech nature of the design and the connection created with what is a very ancient form of entertainment, connected by lighting which would seem to draw you in a similar way to that of a candle light. During the day the reflectance is reversed when the natural light brings the exterior surroundings into the puppet theatre, this focuses the attention on what is happening in the outside world, the walls almost become the walls of an aboriginal cave, telling the stories of the exterior world as they are happening. This connection to the outside world through the reflectance of light is reinforced by the framing of a single t ree which sits beyond the entrance of the theatre. It frames the view with some purpose whilst creating a sense that the tree could possibly ask as some barrier, a limit to the boundary of the theatres threshold. Through extensive analysis and research this theatre and its host building, the carpenter centre I believe that this truly is a remarkable form, an excellent piece of design. The theatre works with and answers to every one of its parametric challenges. Through the use of parametric design I feel that a form has been created that would otherwise never have been imagined or realised. The organic form of the theatre, created using very non organic production techniques answers to the brief on so many levels. It creates this new heart, new hub for the Carpenter Centre. It does not try and mimic the great modernist architecture used by Corbusier himself, but in no regard does it fight against it, it somehow moves in to an architecture beyond, with each individual member of the theatre being very geometric, but arranged in an intelligent way, produce a form which is more organic. Neither structures the same but they do work together. The puppet theatre design speaks of the Carpenter centre today; it speaks not of the architecture and the Carpenter Centre of the past, but the architecture, the people and the Carpenter Centre of the future. The architects could have chosen so many different approaches to producing a pavilion of sort on this site but Im positive they would have struggled to produce a design that overall worked more responsively with the entirety of the design challenge presented. The second example of parametric architecture that I have analysed is the Mercedes Benz Museum, Un Studio, Stuttgart 2005 with parametric and algorithmic working by Designtoproduction. This example of parametric design was selected not for its obviously parametric appearance but for the way in which parametric modelling combined with BIM was used in the construction and design of what can only be seen as a truly revolutionary building. Today the majority of the worlds exceptional historical, cultural and artistic pieces of are all in place, the future of the museum, as seen with this, the Mercedes Benz museum, lies with those who can fully communicate a specialist collection, what they are about and where they came from. They have the capability to stimulate a culture much more than a generalist collection, the works, the cars in the museum coud be seen to speak much more of the people that the majority of todays art. This is where the use of parametric design can be seen to influen ce and completely communicate the work of Mercedes in a new way. The importance of museum design has been at the forefront of architectural thinking since Frank Lloyd Wright first challenged the plan of the museum with the design of the Solomon R. Guggenheim Museum in New York, 1969. Since then museum has been challenged again and again by a multitude of architects such as Renzo Piano Richard Rodgers with The Pompidou Centre, Paris, 1977 and Daniel Libeskind with the Jewish Museum, Berlin, opened 2001. The Mercedes Benz Museum can be seen to relate to all of these examples in its pursuit to step forward away from the regular, to challenge the spaces, circulation paths and forms of a museum, to create a museum of purpose. The success of a museum depends upon the inventiveness of its internal arrangement, spaces created and its ability to exhibit artefacts within these spaces in a relevant way. The museum will / has become famous not only in the continuing line of challenging museum architecture starting with buildings such as Frank Lloyd Wrights Guggenheim in New York but for putting the digital design process firmly on the map. Stuttgart is home of the Mercedes Benz brand, and so with the need of a new museum, UN studios were chosen to redesign a new museum on a new site close to the main gateway to the city, where the old museum had previously been located in a dedicated building within the actual Mercedes factory. The design is based on a concept involving the over laying of three circular forms in plan with the removal of the central space creating a triangular shaped building height atrium area. In section the building raises over eight floors in a double helix form, maximising space and providing 16,500 square meters of useable space on a relatively small footprint. Originally the brief brought to UN studio suggested that the building should be no more than two storeys high with worries that any more height in the building may cause complications with exhibits, for example the manoeuvring and exhibiting of lorries, circulation problems around such large pieces and structural integrity of the building w ith extremely heavy exhibit loads. With the site being situated so close to a major motorway it was soon suggested by UN studios that the building should be taller relating to the close situation to the motorway, seeing that problems such as circulation and weight of exhibits could be overcome with the correct knowledge and attitude towards the project. The circulation system used in the Mercedes Benz Museum s similar to that used in the pompidou centre Paris, with the circulation running around the external facade of the building. In a similar way, the circulation can be seen to draw clear links with the ramp like circulation of the Guggenheim New York. The main difference with both of these buildings is that the Mercedes Benz museum has, through advanced construction techniques combined with the use of parametric modelling is able to convey the main forces applied to the building to a structural core through floor slabs rather than perimeter, therefore fully liberating the facade and plan of the building. The visitor enters the building on the ground floor where they are met by the vast scale of the open atrium. This ground floor is home to the general facilities expected of a large museum; reception, gift shop and cafe but it is where the tour begins that the form really takes a leap forward. The museum is designed so the visitor is transported to the eighth and top floor of the building before working their way down double helix form ramps on a tour that would take approximately six hours to complete in entirety. Transportation to the top floor is a celebration in movement itself, the visitor is transported via a portal like elevator with limited viewing; flashes of projected imagery are seen from the inside. Once at the top floor, two tours split from the starting location each following one of the double helix ramps, each following a different side to Mercedes vast history. The two tours known as Collection and Myth vary in their exhibits with the Collection tour being more of a h istoric timeline of Mercedes design and the Myth tour taking more romantic, cultural take on Mercedes history, featuring some of the companys greatest designs and cars previously owned by the likes of Ringo Starr. As a result the special feel of the two tours h seen designed to vary and adapt to the various exhibitions enormously. The Collection tour is flooded with natural, truthful lighting whilst the Myth tour is illuminated in a much more theatrical way, mimicking the romance and glory associated with its exhibits. The tour paths do cross at various points through the vertical of the space, allowing the visitor to pick and choose between the two tours. The eight levels of the building are separated into regular and special areas, based on their functions within the museum and their impact of the structure as a whole. The levels alternate between single and double height spaces as they progress through the vertical of the building. Classical sculptors such as Bernini and Brancusi knew the importance of the pedestal, they were masters of this, once again the pedestal has been utilized in this museum, creating views, highlighting without blinding and focusing the visitors attention where it is needed. Not only have plinths been used but with the employment the semi circular ramps which hug the exterior boundaries of the building, perspectives have been produced, providing new, interesting and invigorating views of the exhibitions. Viewing the leaf shaped, semi circular, exhibition spaces from a multitude of heights as you descend through the building generates a series of panoramic overviews. Visitors see the exhibits from higher, low er, closer and more distant view points. No viewing angle is ever quite the same, and the normal head on viewed approach is avoided, there is a sense that you will never capture every view throughout the tour, that the building is constantly changing, twisting around and beyond you, that you as the visitor never quite fully understand where you are within the building. Together the pedestal, panoramic viewing spaces and constantly twisting forms create a new special complexity within the form of a museum. Never before has something been exhibited like this before. There is a constant feel of movement within the exhibits and the form of the building. The museum tries to set the static in motion says one German architectural critic, as if it wants to prove that the architecture is still alive, it has been said to explore motion in all of its possible expressions. The whole acts as an accelerator for the different, unpredictable and sometime incomprehensible spaces presented to the vis itor. The open plan has been achieved through the ability to transmit vertical loads to the central distribution cores via the floor slabs with the facade systems carrying limited vertical loading. The floor slabs within the exhibition areas cover an area of almost 30m without intermediate structural columns, made possible through the use of parametric modelling and advanced structural calculation. In addition to the actual exhibit weights and live loads such as visitors to the museum the floor slabs also have to transfer a significant amount of the horizontal load from the twisted exterior structural system to the huge central tri column core of the building. The floors slight curvature and incline help to create a truly dynamic space around the cars aswell as creating the structural support for the building. The floor folds, becomes the wall before folding again to become the ceiling. UN studios most recent works have been described as relating to and recalling ways in which baroque architects worked and diagrammed their work. Van Berkel, co founder of UN studio, amused by the comparison says I have been really fascinated by Bernini and Borromini. Not just in their buildings but by their incredible ability to cast their discipline into question with innovative representation techniques. These techniques are imperative in the means of bridging the gap between the abstract of thought and the realism of building construction, they become essential when beginning to comprehend how a structure may work and how building may operate. They open new horizons and give architecture a holistic dimension, a means of creating volumes that respond dire ctly to project requirements. As an ultimate statement: The Mercedes Benz Museum by UN studio could not have been created without the help and research offered by Designtoproduction and their parametric work. There was limited time to design what can only be described as one of the most complicated structures in modern time, and so, over two hundred and forty six different companies and engineering firms were employed to help with the production of the Mercedes Benz Museum. Designtoproduction were able to provide solutions to the gaps between separating design and production. This was imperative as these steps are interconnected, they highly influence each other and with so many different teams working on the project, strong design and production links were needed. Parametric design proved to be the key to the buildings success in this regard. The only solution was to control the geometry of the building as completely as possible using the latest computer technology Ben van Berkel, UN Studios co founder and direc tor. The intertwining forms of the Mercedes Benz Museum meant that the forms could barely be described using standard plans and sections, yet contractors needed working plans, sections and details to construct the building. From the basic geometry of 2D parametric modelling, the edges were transformed in to constantly rising 3D forms by layering levels; ultimately the 3D volumes of the structure began to rise from the layering of plans. For different building components the geometry was directly taken from the model, thus closing the chain of information from early design stages until the construction and fabrication. For example, the formwork for doubly curved surfaces was accurately developed into plain boards taken from information in the parametric model. Designers dont think in numbers, they think in relationships, in connections, in the whole. CAD packages do not think in relations, they think purely in numbers, they do not care for relationships or what they represent within the form or design of building. The parametric CAD models that Designtoproduction produced combined these numbers behind the developing building in a set of a parameters, dictating what would work and what would not; therefore thousands of numbers become merely a handful of meaningful parameters. The parametric model for the Mercedes Benz Museum was not only part of the design but key to the construction. It linked the participating trades in the building in a harmonic whole with the architect acting once again as the master craftsman at the helm, overseeing the construction as a whole. Unlike those who use digital architecture merely for aesthetic qualities, UN studios have gone beyond anyone else in the means of imaginatively managing a building through a des ign with a mathematical parametric model, without compromising the initial design principles, cramping the design with formal or preconceived solutions. The Guardians architecture critic Jonathan Glancy has described the building as jet-age baroque. The use of parametric design tools, the architect had been able to design and create a building which seems as though it is a product of or closely linked with the Mercedes Benz brand. It screams movement, technology, the future, and the impossible. If you think about this building in any other sense, an exhibitor of modern art, an exhibitor of any other form of specialist collection or historical artefact it simply would not work. The building would seem to be truly purposely tailored to the client and purpose, that of exhibiting the greatest works of Mercedes Benz, with this, the museum is already seen by many as one of the single most astonishing buildings of the new century. The Image of God | Literature Review The Image of God | Literature Review The term image is everything is truer today than its ever been before. Whether its the designer clothes a person is wearing, place of residence, the car they drive or the calculated lines they recite, presentation is now replacing content when it comes to discerning the authenticity and character of a person. This is the measure by which people are valued nowadays; superficially and without substance. Unfortunately and sadly this is also true within the church. We lack concern when it comes to the true character of an individual, but we care more about their gifts and talents. Its seems like society and the church are captivated and awestricken with an individuals false persona, and television personalities rather than a persons character. This standard is used chiefly because of the materialistic and/or secular nature of todays society. Much of this is done either consciously, or subconsciously, in an effort to enhance ones image as seen through the eyes of man, ones friends, family, peers, and even society in general. All that being said, the term, image is everything is alive and well. However, it shouldnt have validity for the reasons described above, but rather because man is created in the image and likeness of God. This is the true image that should shape the manner in which Orthodox Christians live their lives. Then God said, Let us make man in our image, after our likeness; and let them have dominion over the fish of the sea, and over the birds of the air, and over the cattle, and over all the earth, and over every creeping thing that creeps upon the earth. So, God created man in his own image, in the image of God he created him; male and female he created them. (Gen 1: 26-27) The significance of man being created in Gods image is sometimes overlooked due to the complete silence of the rest of the Old Testament on this subject (In the Image and Likeness of God by Vladimir Lossky). However, the Orthodox Church lays the utmost emphasis on the image of God in man (The Orthodox Church by Timothy Ware). To acquire the likeness of God is to become deified or to become a god by grace, this is the ultimate goal of Orthodox Christians. According to the church fathers, the terms image and likeness do not mean the exact same thing. In general, the term image can be thought of as the powers with which each one of us is endowed by God from the moment of our existence. By making proper us of being created in His image, each one of has the ability to acquire Gods likeness or to be deified. (1) Oddly, its meaning image of God has been debated, a hot topic, if you will, for centuries in and outside of the church. Most theologians argued that it is the human mind the capacity to exercise reason or rationality, the intellect which marks us as being made in the image of God. It also distinguishes us from animals. The argument for this is that God himself can be described as acting in accordance with reason. Gods actions, Christians affirm, are always consistent with Gods inherent qualities, such as love, justice and mercy. God is consistent and trustworthy, and so can be said to be characterized by perfect reason. In creating human beings, God gives them, uniquely, a capacity for reason that reflects Gods own reason. It is in this respect that Christians believe we are in Gods image. (2) I. Image: The image of God is a key concept in Christian theology. It is foundational to Christian thinking about human identity, human significance, bioethics, and other topics. Many Christians see evolution as incompatible with the image of God. How could Gods image bearers have evolved from simpler life forms? Doesnt image-bearing require miraculous creation of humans rather than shared ancestry with chimpanzees? When in the evolutionary process did humans attain this image? These questions are tied to many other issues concerning human origins, including the soul, the fall, and the historicity of Adam and Eve. The phrase image of God does not appear many times in the Bible, but the importance of the concept is emphasized by its repetition in the scripture: Then God said, let us make mankind in our image, in our likeness, so that they may rule over the fish in the sea and the birds in the sky, over the livestock and all the wild animals, and over all the creatures that move along the ground. So God created mankind in his own image, in the image of God he created them; male and female he created them. (Genesis 1:26-27) Herein, its clear that part of bearing Gods image is ruling over the animals. Genesis 9:5-6 reveals another aspect of image bearing: all human lifeblood is sacred because all humans are made in the image of God. The emphasis on Judeo-Christian thought on the sanctity of human life is derived in part from this passage. In the New Testament, the idea is expanded further as Christ is revealed as the true image of the invisible God. (2 Corinthians 4:4, Colossians 1:15). Being made in the image of God, says Lyons and Thompson, does not refer to the physical body, the posture, or the authoritative aspect of man. It is true that the word image (Hebrew tselem) is a term used in certain contexts within the Old Testament to refer to a model or to idols (and thus can refer to a similarity in physical appearance). It cant and doesnt denote such meaning in Genesis 1:26-27, nor in any of the other passages referring to the imago Dei (image of God). God is not like unto gold, or silver, or stone (i.e., He is not physical; Acts 17:29). As Ashby Camp observed: God, of course, is a spirit (Jn. 4:24), and the O.T. stresses his in corporeality and invisibility (see Ex. 20:1-4; Deut. 4:15-16). So, the resemblance no doubt relates to some nonphysical aspect(s) of humanity (1999, p. 44). Since it is the case that a spirit hath not flesh and bones (Luke 24:39; cf. Matthew 16:17), then man does not bear the image of God in his physical nature. (6) Creation in the image of God distinguishes humankind from all other life forms said Milne in Know the Truth. Additionally, he said, traditional interpretations of the image refer to features such as human knowledge, moral awareness, original moral perfection and immortality. He goes on to say some scholars argue for a physical meaning for the image. And he also declares that others have argued for humanitys alleged Trinitarian constitution, or the image as human dominion. (Gen.1:26-28.) They are looking forward to the renewal of the dominion in the kingdom of God through Christ, the embodiment of the image. (Heb. 2:5-9) Furthermore, more recent interpretation Milne says, has spoken of the social nature of the image, human experience as being-in-community reflecting the divine being-in-community of the Godhead. Barth extended this interpretation specifically to the man-woman relationship. (Gen. 1:27) God created (humanity) in his own imageà ¢Ã¢â€š ¬Ã‚ ¦ Male and female he created the m. Irenaeus distinguished between the image, which he identified with human reason and moral freedom, and the likeness, he identified with original righteousness. He taught that only the likeness was lost in fall. This interpretation was followed through the medieval period and contributed to its essentially optimistic view of human nature. Luther, however, says that there is a case of Hebrew parallelism in Genesis 1:26. He believed image and likeness were synonyms; what was true for one was true for the other. The image of God, he said, has therefore been totally lost and can be restored only through regeneration by the Holy Spirit. There is a variety of views on how the image has been affected by the fall. A common view is that the image of God refers to the human abilities which separate us from the animals. Still, scientists have found that abilities like communication and rationality are also present in animals on a basic level. Another view is theologians do not see the image of God as human abilities, but instead it as our capacity for a relationship with God. Other theologians see it as our commission to represent Gods kingdom on earth. Either way, the author says God has given us our spiritual capacities and calls us to bear his image. (3) Nevertheless, Milne says the bible doesnt actually refer to a total loss of the image of God. (Gen 9:6, 1Cor. 11:7 and James 3:9.) Calvin, spoke of relics of the image of God in fallen humanity, which, while affording no basis for humanitys justification, still distinguish them from the animal creation account for the undoubted gifts and achievements of non-Christians. Dutch scholars, in the reformed tradition, such as A. Kuyper and H. Bavinck, spoke in this connection of common grace, whereby God in his pity restrains the worst effects of the fall and renders social life tolerable for humankind. (4) Lyons and Thompson communicate that, through the years, numerous scholars have suggested that the image of God spoken of in Genesis 1:26-27 refers to some sort of spiritual perfection that was lost at the time of mans fall, and thus is incomprehensible to us today. Genesis tells us that man was created in a special way, bearing the stamp of God upon him which the animals did not bear. Unfortunately Genesis also tells us that he lost this stamp. While Adam himself was created with this image, his disobedience so robbed him of it that all his children thereafter bore not the image of God but his-and even his likeness (1975, pp. 103, 109, first emp. added, last emp. in orig.) When we see in Genesis 1:26-27 that man was created in the image and likeness of God, does the language refer only to Adam and Eve as these writers would have us to believe? Or does it refer to all mankind in general? It is the authors position that the image of God spoken of in Genesis 1:26-27 does not refer to some kind of spiritual perfection, especially considering the fact that the members of the Godhead (Who created man) are omniscient and therefore knew that man would sin. Reformer Martin Luther claimed that the image was an original righteousness that was lost completely. He averred: I am afraid that since the loss of this image through sin, we cannot understand it to any extent (as quoted in Dyrness, 1972, 15:163, emp. added). John Calvin similarly spoke of the image of God as having been destroyed by sin, obliterated by the fall, and utterly defaced by mans unrighteousness (see Hoekema, 1986, p. 43). Yet, at other times, he took a less hard-core approach and vacillated between a complete loss and a partial loss of the image. In his commentary on Genesis, he wrote: But now, although some obscure lineaments of that image are found remaining in us, yet are they so vitiated and maimed, that they may truly be said to be destroyed (as quoted in Hoekema, p. 45, emp. added). Keil and Delitzsch commented that the concrete essence of the divine likeness was shattered by sin; and it is only through Christ, the brightness of the glory of God and the expression of His essence (Heb. 1:3), that our nature is transformed into the image of God again (Col. 3:10; Eph. 4:24) [1996, 1:39]. Canadian anthropologist Arthur C. Custance, in his book, Man in Adam and in Christ, observed. Feinberg, in speaking of the image of God as what he called an inalienable part of mans constitution, spoke of that image as currently being in a marred, corrupted, and impaired state (1972, 129:245). Hoekema elaborated on the same point when he wrote: in other words, there is also a sense in which human beings no longer properly bear the image of God, and therefore need to be renewed in that image. We could say that in this latter sense the image of God in man has been marred and corrupted by sin. Nevertheless, we must still see fallen man as an image-bearer of God, but as one who by nature images God in a distorted way (1986, p. 31). (6) II Likeness: Jim Schicatano believes that likeness and image are different. Likeness, he says, doesnt convey such preciseness as image. To be like someone means you possess many, but not all of the characteristics of that person. Obviously, man does not possess Gods omnipotence, wisdom, righteousness, perfection, ability to create, and divineness, he said. (5) In these others (along with Lyons and Thompson) differs with Schicatano in relations to the image/likeness of God. They say, the image (tselem) of God does not refer to something different than the likeness (demuth) of God. The Greek and Latin church fathers frequently suggested a distinction between the two words. They taught that tselem referred to the physical, and demuth to the ethical, part of the divine image (Feinberg, 1972, 129:237). Other theologians (like Irenaeus, A.D. 130-c. 200) taught that image denoted mans unchangeable essence (viz., his freedom and rationality), whereas likeness referred to the changing part of man (i.e., his relationship with God). Thus the former related to the very nature of man, while the latter was that which could be lost (Crawford, 1966, 77:233). As of 1972, this still was the official view of the Roman Catholic Church (Feinberg, 129:237). They go on to say despite the influence of those who claim that these words carry very different ideas about the image of God, a careful study of such passages as Genesis 1:26-27, 5:1-3, and 9:6 reveals that, in fact, these two Hebrew words do not speak of two different entities. Likeness simply emphasizes the image. As William Dyrness noted in regard to tselem and demuth: The two words should be seen as having complementary rather than competing meanings. The first stresses the image of God as its being shaped and the second express its being like the original in significant ways (1972, 15:162). Charles Feinberg, writing on The Image of God in the respected religious journal Bibliotheca Sacra, agreed when he remarked: A careful study of Genesis 1:26-27; 5:1,3; and 9:6 will show beyond question that it is impossible to avoid the conclusion that the two Hebrew terms are not referring to two different entities. In short, use reveals the words are used interchangeably (1972, 129:237). There actually is no good evidence for making any distinction between the two. In fact, the words are essentially synonymous in this context. Keil and Delitzsch remarked in their commentary on Genesis that the two words are merely combined to add intensity to the thought (1996, 1:39). As Clark puts it: Man is not two images and to distinguish between image and likeness is fanciful exegesis (1969, 12:216). (6) III Dominion: In relations to dominion, there seems to be a difference of opinion as to what exactly God meant when he said, Let hem have dominion over the fish of the sea, and over the fowl of the air, and over the cattle, and over all the earth, and over every creeping thing that creepeth upon the earth. (Genesis 1:26-28 ) Schicatano believes we are like God in the sense that we have been given sovereignty over the entire Earth. God is responsible for the creation of the universe, and likewise, we are responsible for our world. This sovereignty, however, is not a birthright of ours. It is a sacred gift, given to us from God; it is a delegated responsibility. Just as God has created and formed our world to His liking, we are capable of changing it and managing it to our liking. So, it is this responsibility that has been entrusted to us. It must not be taken for granted because ultimately we are answerable to God for the conditions of planet Earth and the state of our fellow human beings. (5) However, Lyons and Thompson dont share Schicatano belief. They convey that the image is not mans domination of the lower creation around him. In a letter to the editor that Norman Snaith penned to the Expository Times in 1974, he boldly claimed: The meaning is that God created man to be his agent, his representative in ruling all living creatures, and he was given sufficient (to quote the psalm) honor and glory to do this. Biblically speaking, the phrase image of God has nothing to do with morals or any sort of ideals; it refers only to mans domination of the world and everything that is in it. It says nothing about the nature of God, but everything concerning the function of man (1974, 86:24, emp. added, parenthetical comment in orig.). In regard to this kind of thinking, we would be wise to remember that man must exist before dominion can be invested in him, and that man has authority because of the truth that he is made in the image or likeness of God. Also, the authority is not the cause of the image or likeness, but the image and likeness is the ground of the authority (Chafer, 1943, 100:481, emp. added). In commenting on this subject James Hastings wrote: The view that the Divine image consists in dominion over the creatures cannot be held without an almost inconceivable weakening of the figure, and is inconsistent with the sequel, where the rule over the creatures is, by a separate benediction, conferred on man, already made in the image of God. The truth is that the image marks the distinction between man and the animals, and so qualifies him for dominion: the latter is the consequence, not the essence, of the Divine image (1976, 1:48, emp. added). Dominion, Keil and Delitzsch noted, is unquestionably ascribed to man simply as the consequence or effluence of his likeness to God (1996, 1:39). As William H. Baker commented: [I]t is the presence of the image of God in people that makes them able to exercise dominion over the earth. Dominion itself is not what constitutes the image (1991, p. 39, emp. in orig.). Although somewhat closely related to the image of God, exercising dominion over the world is not itself that image. (6) Conclusion: Perhaps while on earth we may never totally understand what is meant by these verses. But, upon research, some theologians, Christian Orthodoxy believe we are still in the image of God, others concur that when man fell his image was marred. And some agreed it was lost. However, without a doubt, what is clear is that in mankind, God has completed His final creation of the Creation Story. Lets consider what King David said of our creation and our special place among all of Gods creations. When I consider your heavens, the work of your fingers, the moon and the stars, which you have set in place, what is man that you are mindful of him, the son of man that you care for him? You made him a little lower than the heavenly beings and crowned him with glory and honor. You made him ruler over the works of your hands; you put everything under his feet: all flocks and herds, and the beasts of the field, the birds of the air, and the fish of the sea, all that swim the paths of the seas. (Psalms 8:3-8 NIV) With the diversity of views, most (Christian orthodox) agree that each of us have been made in the image and likeness of God, and because of this, we are capable of determining our own destiny. Unlike the plants and animals, God has endowed us with the ability to form a relationship with Him, the ability to increase our knowledge and wisdom, and the responsibility of caring for the world that He has given us. As His primary creations, we are obligated to imitate and show evidence of His divineness in every area of life. Some may find it complimentary that we have been made in His image. But, because of evolution many no longer treasure this mystery. Matter-of-fact, some have become irresponsible stewards and have neglected the responsibilities that it entails. Above all of His earthly creations, God has endowed man/womankind with a unique soul holding us responsible for all of our actions. (5) One day we will give an account to the Creator how weve managed; our temples, our lives, family, resources, businesses, ministries, blessings, and this planet called earth. Each author seems to have scriptural evidence to support their theory on this controversial and highly debatable topic. But, there was another point of agreeableness among them: some of the characteristics were which represent man/woman being formed in the image of God. To name a few, we are creators, God created the heavens and the earth, were relational, God is relational, we are communicators, God is a communicator, we are spiritual beings as God is a Spirit, and we are intellectual beings who reasons, God is intelligent and reasons too. When we fully grasp what it means to bear Gods image, we are amazingly struck with the boundless, grandeur of our possibilities and the tragedy of our unrealized potential! To be fully human is to completely reflect Gods image. Furthermore, though all humans possess these godlike capacities, each of us has the potential to express them uniquely because Gods image has been imprinted peculiarly on each of us. (7) In Gods infinite creativity there are no duplications. Everybody is an original and is created in the image of God, which according to Orthodox Christians can never be lost. Endnotes/ Works sited: 1) http://www.stgeorgeserbian.us/darren/darren03.html 2) V. Plater- In the Image of God: http://www.virtualplater.org.uk/?page_id=2054 3) BioLogos: How could humans have evolved and still be created in the Image of God? BioLogos is a community of evangelical Christians committed to exploring and celebrating the compatibility of evolutionary creation and biblical faith, guided by the truth that all things hold together in Christ. [Col 1:17] Daniel Harrell, Senior Minister, Colonial Church, Edina, Minn.- http://biologos.org/questions/image-of-god 4) Text Book; Know the truth, by Bruce Milne 5) Jim Schicatano,Created in the Image and Likeness of God. http://thebibleandscience.webs.com/articles/image.htm 6) Lyons and Thompson- In the Image and Likeness of God. Eric Lyons, M.Min. Bert Thompson, Ph.D. http://www.apologeticspress.org/apcontent.aspx?category=11article=149 7) Dick Staub- What Made in the Image of God Really Means By Dick Staub, March 4, 2013 (Taking a second look at a very misunderstood part of our faith.) http://www.relevantmagazine.com/god/deeper-walk/features/23549-qmade-in-the-image-of-godq