Uk Organic Food Free Essays

string(117) This is likewise helpful for determining the course in which an industry is taking, and the force of this change. Substance 1. Introduction2 1. 1 Why this industry was picked for analysis2 1. We will compose a custom article test on Uk Organic Food or on the other hand any comparative subject just for you Request Now 2 Aim2 1. 3 Brief Background of the natural food delivering industry2 1. 4 Competitive condition? 3 2. PESTEL analysis5 2. 1 Political factors5 2. 2 Economic factors6 2. 3 Socio-social factors7 2. 4 Technological factors8 2. 5 Environmental factors9 2. 6 Legal factors10 3. Porter’s Five Forces analysis12 3. 1 Threat of new entrants12 3. 2 Threat of substitute products14 3. 3 Threat of built up rivals14 3. 4 Bargaining intensity of suppliers16 . 5 Bargaining intensity of buyers16 4. Conclusion18 4. 1 The business at present18 4. 2 Future changes19 5. Appendices20 5. 1 Critique of devices and examination limitations20 5. 1. 1 PESTEL framework20 5. 1. 2 Porter’s Five Forces20 6. References22 1. Presentation 1. 1 Why this industry was picked for examination The picked business for investigation in this report is the natural food delivering industry in the United Kingdom. This envelops gatherings of firms that produce comparable items, for this situation, natural food produc e. Lately, there has been an elevated mindfulness in the media corresponding to naturally delivered food, and an incredible accentuation has been put on ‘healthier eating’ and a decrease in the creation of hereditarily adjusted food. As this mindfulness builds, it is critical to break down the business so as to evaluate whether the business is positive to exist in, and to find out whether all things considered, it will be infiltrated by new contenders. Another purpose behind deciding to look at this specific industry is because of the absence of a refreshed Mintel report, or a comparative money related report, particularly since there has been so much additional consideration being put on this industry recently in the media. So as to improve picture about the full scale and smaller scale condition corresponding to the UK natural food creating industry, structures will be utilized so as to break down data about the business. 1. 2 Aim The points of this report are to investigate and survey the idea of the natural food delivering industry in the United Kingdom. This will happen by utilizing two unique structures, a PESTEL examination and the utilization of Porter’s Five Forces so as to completely comprehend the serious small scale and full scale condition of this industry. At the point when the investigation is finished, it will be resolved whether the business is ideal to enter or not, and future changes in the business will be anticipated. 1. Brief foundation of the UK Organic Food Producing Industry The term ‘organic’ has been characterized by the Organic Trade Association as a ‘ecological creation the board framework that advances and improves biodiversity, natural cycles, and soil natural activity†¦ dependent on insignificant utilization of off-ranch sources of info and the board rehearses that reestablish, keep up, and upgrade biological harmony’ [1]. Practically speaking , this implies fake compound composts and pesticides are not utilized, and creatures are raised without the medications that are regularly routinely utilized [2]. Security of the earth is vital, and the nature of the dirt is the thing that decides if the produce can be esteemed as ‘organic’ or not. Generally, it was normal practice to just have moderately scarcely any family run cultivates in which natural food was created, and this could be bought in farmers’ markets and littler stores, for example, green merchants. Nonetheless, since the 1990s, natural food has had development paces of around 20% every year, and figures from April of this current year show that natural food presently represents 1 to 2% of food deals overall [3]. This development rate has been somewhat because of huge grocery store chains receiving scopes of natural nourishments, which is diminishing the rancher to purchaser connect, and giving an advantageous better approach to eat ‘organically’, and furthermore because of an expanded enthusiasm from the media in this industry. For instance, huge general store chain Sainsbury’s has in excess of 1000 natural items, had a 14% expansion in deals of its natural produce in 2006/2007, sources all its natural meat, fish, poultry, milk, and eggs from the UK and has contracts with ranchers to ensure least costs to guarantee the drawn out flexibly of natural hamburger [4]. A statement from Jerry Dryer, who composed an article called ‘Organic Lessons’ expressed, â€Å"Organic is digging in for the long haul, not a trend walking by in the night† [5], which is a confident proposal that the piece of the overall industry is set to increment and that new open doors can be focused on, yet this will be affirmed or prevented toward the end from securing the report. 1. 4 Competitive condition? The natural food delivering industry comprises of an enormous number of little makers, who produce food which can be ensured as ‘organic’ by the Organic Farmers and Growers Organic Standards and the Soil Association. Due to there being countless divided makers in the business, it might be viewed as a serious market who are competing for the consideration of enormous or little general store chains and stores, green merchants, and individual buyers of natural food. Natural produce in itself is sensibly homogeneous, so all makers in this industry will be attempting to sell comparable items which are to a great extent undifferentiated. This builds rivalry between the makers with regards to how they will get their merchandise sold over the products of a contender. There is likewise the choice of people developing their own natural produce, which may lessen the interest for the acquisition of produce. The seriousness of the earth will be talked about in more detail when an examination is completed utilizing the Porter’s 5 Forces system [6]. ? 2. PESTEL Uncontrollable, outer powers that impact dynamic, which along these lines influence the presentation of an industry is known as the full scale condition. The full scale condition comprises of political, financial, socio-social, mechanical, natural, and legitimate powers, which can be alluded to as ‘PESTEL’ powers [7]. A decent meaning of this structure for investigation is given by Kotler [8], which is â€Å"PEST examination is a valuable key apparatus for understanding business sector development or decrease, business position, potential and heading for operations†. This is likewise valuable for estimating the course where an industry is taking, and the power of this change. You read Uk Organic Food in class Article models Factors can be surveyed and submitted in request of significance, so it is obvious to perceive what outer components are the most problems that need to be addressed in an industry. So as to discover data for every one of the components, dependable optional information sources will we utilized, for example, papers, periodicals, books, exchange associations, Government offices data, and industry examiners results. When this sort of investigation is finished, it is more clear to perceive how to make the most of emerging chances, and plan to forestall potential dangers that may happen in the business. The segments beneath separate the large scale condition into six sections. 2. 1 Political components Government enactment may direct what is viewed as natural in a specific nation. This report takes a gander at natural food makers in the UK, and this is managed by the Organic Farmers and Growers Organic Standards [9], and the Soil Association [10]. The Department for Environmental Food and Rural Affairs (DEFRA) states numerous layouts of what how produce ought to be developed and the taking care of domesticated animals, with the end goal for in to fulfill UK Government guidelines [11]. These norms change from nation to nation, inside and outside of the EU. This can profoundly affect the trading of produce by UK ranchers, as what might be esteemed as natural in this nation, may not be so in another. Relations with legislators should be maintained, as enactment is liable to change at some random time. For instance, it as of late has been chosen to boycott battery hen confines beginning in the year 2009 [12]. 93% of eggs in the UK advertise originate from battery hens, so once the enactment is completely set up, this won't happen. This will expand rivalry in the market, as all eggs will presently be from unfenced hens, which may influence the poultry side of the natural food industry. By adjusting to meet the new laws now, good relations will be kept with lawmakers, and current natural egg makers should discover new manners by which to pick up piece of the pie in what might be an inexorably immersed showcase. The Government right now gives farmers’ sponsorships, yet current news from May 2008 shows that the EU is hoping to cut the cash it gives, and reinvest it with motivations on taking care of horticultural land, instead of offering cash to help produce more food [13]. This may profit ranchers wishing to enter the natural food creating market, as they have additional motivating forces to change over their property to natural soil, yet may impede those as of now in the market because of the expanded rivalry, and the absence of cash to deliver additional food expected to satisfy need. 2. 2 Economic elements The natural food creating industry can be to a great extent influenced by the UK economy, for example, loan costs, trade rates, purchaser force, and buyer certainty, which will all presently be talked about thus. The current continuous credit crunch, and high expansion has diminished odds of any loan cost cuts, and a genuine danger of a downturn is available [14]. Mervyn King, the legislative leader of the Bank of England, has recently revealed that UK expansion will transcend its objective and the economy will pointedly back off [15], which doesn't mean beneficial things for an industry, for example, this, which depends on individuals purchasing premium quality items. On the off chance that entomb

Close Reading Essay

The responses to these inquiries rise more from the doing than the talking. Quickly, close perusing is a fundamental device for understanding, enjoying, and imparting one’s translation of an abstract work. The abilities utilized in close perusing loan themselves to a wide range of social understanding and examination. Close perusing accepts language as its subject since language can work in various manners to pass on importance. Perusing delicately permits one to stay open to the numerous ways language chips away at the psyche and heart. At the point when a task calls for close perusing, it’s best to begin by picking a brief yet encouraging section and checking your suspicions about its substance at the entryway. Close perusing frequently uncovers the crevices between what the speaker or storyteller says and how she or he says it. You know from your own experience that life includes consistent, regularly oblivious filtering of these subtleties. Here are some helpful advances. 1. Pick a short entry that permits you to research the subtleties intently. Here, for instance, is the primary section of Jane Austen’s Northanger Abbey, Chapter 2. Notwithstanding what has just been said of Catherine Morland’s individual and mental enrichments, when going to be propelled into all the challenges and threats of a six weeks’ habitation in Bath, it might be expressed, for the reader’s increasingly certain data, in case the accompanying pages should in any case come up short of giving any thought of what her character is intended to be; that her heart was tender, her attitude lively and open, without arrogance or gesture of any kindâ€her habits simply expelled from the ponderousness and timidity of a young lady; her individual satisfying, and when in great looks, prettyâ€and her brain about as oblivious and clueless as the female psyche at seventeen for the most part may be. This single sentence will give us bounty to work with. 2. Take a gander at word usage. What sorts of words does Austen use? Does she focus on grand phrasing (utilized for uncommon events) or basic expression? Are the words long or short, Latinate or Anglo-Saxon, specific (for example legalistic, clinical, language, first class) or standard? Recollect that the standards for expression are distinctive at various occasions ever. 3. Next, see sentence structure. Would you be able to delineate sentence (locate the subject and action word, find expressions and provisions)? Is it a basic, compound, or complex sentence? How does the structure of the sentence identify with its substance? Does the creator use dynamic or detached action words? What rhythms does the sentence structure createâ€long streaming ones, short uneven onesâ€and how do these identify with the significance? 4. After you have taken a gander at language (and there are other specialized issues one may focus on), you can start to dissect tone. Is the storyteller being direct, verifiable, open? Or on the other hand would she say she is taking a less immediate course toward her significance? Does the voice convey any feeling? Or on the other hand is it withdrawn from its subject? Do you hear incongruity? Where? Provided that this is true, what inconveniences does the incongruity produce? 5. Now, you may find some contrast between what the creator has all the earmarks of being doing (giving you a total, impartial image of her character) and what she additionally achieves (raising questions about whether these characteristics merit having, regardless of whether her character is a champion all things considered, whether ladies have minds by any means, accordingly whether this storyteller can be trusted by any stretch of the imagination, and so on.). You would now be able to start to discuss the ways Austen’s language, which appears to welcome our certainty, is likewise entangling its message by raising these questions. 6. Now, you can propose a conventional theory, something like, â€Å"In this section, Austen raises questions about Catherine Morland’s character through her utilization of intentionally cliché lingual authority, her stressed sentence structure, and her unexpected utilization of the terms of character portrayal for heroines.† 7. You can continue to fill in the diagrams of this point by clarifying what you mean, utilizing subtleties and citations from the entry to help your point. 8. You still, be that as it may, need a contention and should return to your opening to hone the proposition. The inquiry is Why? Or on the other hand to what impact? Your theory may expand on what you’ve effectively composed by recommending: Austen makes this incongruity right off the bat in the novel to make the peruser aware of the ways she’s sabotaging story shows. Or then again: The impact of this portrayal of Catherine is to sabotage any idea of her forces as a champion and to present Austen’s subject that genuine character rises up out of shortcoming as opposed to quality. Or on the other hand: Austen’s supercilious treatment of her courageous woman recommends that she has little regard for the run of the mill instruction of young ladies. 9. Indeed, even with these progressively evolved explanations, you should clarify and bolster your point further. Yet, you will have accomplished some significant things, in particular: 1) you have picked a particular bit of the content to work with, thus maintaining a strategic distance from enormous speculations and reflections that will in general turn a peruser off; 2) you have moved from composition (clarifying what’s thereâ€and truly, shouldn’t a peruser have the option to make sense of these things for oneself?) to contending a point, which will include your peruser in a progressively intuitive and hazardous experience; 3) you have cut out your own perusing of the content as opposed to taking the more all around worn way; 4) you have recognized something about Austen’s technique that may well open up different regions of the content for study and discussion. Bravo! 10. With your progressively refined proposition set up, you can return and ensure your supporting contention clarifies the inquiries you’ve raised, finishes on your contention, and reaches a provocative resolution. Before the end, you might have the option to extend from your underlying section to a bigger point, however utilize your association to keep the peruser concentrated as far as possible. The most energizing thing for a peruser, and the most helpful for a writer, is that nearby perusing for the most part offers shocks. Your undertaking isn't such a great amount about mentioning to perusers what they presumably can see with their own eyes yet what they may have missed that could charm them. It’s supportive, at that point, to go into the paper with a receptive outlook and be prepared to change your theory to the proof you find in the content. Have an awesome time!

Study Habits of Successful Student

Study Habits of Successful Student Highly Effective Study Habits Home›Tips for Students›Highly Effective Study Habits Tips for StudentsStudy Habits of Successful StudentWhat are the best ways to study? The truth is that there are no magic rules here. Every person has his/her idiosyncrasies; what works for others may not work for you. There are so many options there and it seems that everyone has their own opinion on this subject. However, there are some studying habits that can increase your productivity, no matter which method you’re using for studies. Once you start applying these habits into your daily academic routine your results will definitely get better.Find the tight placethe right time. For some people the best time to work is in the morning, for some in the evening and for others at night. The same concerns noise levels: there are people who prefer to work in complete silence and there are people who are used to working with some background noise or music. Study yourself, see what works best for you and apply it to your study routines.Get OrganizedThis means constant planning. You need this because you can’t afford to find yourself in the situation when you have two missed deadlines and you don’t even know about it. Even if you dislike planning, just sit once a week and take a close look at your deadlines in order to make sure that you still can make everything on time.Better study little but oftenWe all have high-energy days and low-energy days. That’s a fact. In case you adopt “study little but often” philosophy, you can afford to work less and more slowly on the low-energy days, because you will know that it won’t affect the overall result that much.Take breaks regularlyThis rule corresponds with the previous point and it actually has a scientific basis. 2 hours of concentrated work will be much less productive than four 30-minute sessions with 5-minute breaks in between. Once you complete one 30-minute session, reward yourself with a short break and then get bac k to work.Mix your study methodsYou can have one favorite learning style, but you shouldn’t use it all the time. Mix different study methods to inject variety into your studies. This will definitely broaden your skills and experience.Reread your notes regularlyWhen you do this, than the information that you’re reading goes to your long-term memory and can be easily used anytime you want. That’s one of the greatest habits that good learners have. One more trick â€" link the information that you’re trying to memorize to something you already now.Don’t be afraid to ask for assistanceStudents are often afraid to ask their teachers for help. Somehow, they forget that teachers are there to help students and that they even get paid for it. Don’t be afraid, go to their office hours or come after the lecture and speak about your concerns. Most probably, they will be glad to help you, because they will see that you’re motivated to understand their subject.See, it’s not about s tudy methods â€" it’s about habits! Start developing these habits and become the witness of your own academic success!

The World Of Business, Obtaining Success - 1302 Words

In the complex world of business, obtaining success can often seem quite difficult. Problems arise, opinions differ, personalities clash, and often time’s solutions seem near impossible. The important idea to recognize in these situations, however, is that all businesses can be simplified to one main fundamental goal, making money. When thinking about making money, there are three important terms that must be understood. These terms are throughput, inventory, and operational expense. In the accounting world, throughput is revenue earned from selling a product or service, inventory is money spent on fixed assets which lead to throughput, and operating expenses are money spent to turn inventory into throughput. Each of these terms plays a†¦show more content†¦This leads to Alex getting in contact with an old professor, whom may be able to help. The professor teaches Alex about â€Å"The Theory of Constraints†, which is the main foundation that ultimately helps Al ex save the company. The idea of dependent events states that the outcome of one decision affects the outcome of future decisions. This idea is first evident to Alex while he is observing the children on the hike. The group’s productivity is dragged down by its slowest member, but by lightening the load of the slowest members and placing this person in front of the line, the productivity is able to increase, increasing throughput of the team or process. This is how Alex learns about the concept of the bottleneck. A bottleneck is any station or resource within a process that has a capacity less than the demand being placed upon it. Bottleneck’s slow down production causing backups at some stages of the production process. This leads to increased inventory and higher expenses. Although Alex learns that bottlenecks are necessary, he also learns that to increase their capacity it is vital to minimize their downtime. Another strategy that Alex uses to improve the process is to reduce the batch s ize. By reducing the size of the batches in the process, Alex is able to cut costs. Alex ends up reducing the batch to half its size. This in turn cuts the costs in half, as well as gives the company

Essay on Advertising Regulations - 857 Words

Advertising Regulation Abstract Advertising today comes in various forms of information such as television, newspaper, Internet, etc. With all these types of outlets of advertising, these regulations are put into place for the industry to follow on what can be put out there for the different type of audiences the advertising can affect. There are many types of advertising that these regulations pertain to for example tobacco and children. Currently, the market is using the self regulation law to promote to children which could become, in my opinion, a form of brain washing for children. The following research will discuss my viewpoints on the topic of advertising regulations along with articles to support†¦show more content†¦I would even argue that regular exposure to fashion models encourages eating disorders in young women and girls who feel they aren’t good-looking unless they are as skinny as the models. â€Å"The regulations will give the companies time to make adjustments. Now, as it stands, the recipes of about one-third of all food and beverages marketed toward children would have to change, or the companies will not be able to advertise those products after Dec. 31, 2013† (Seidman, A., 2011, 15). Another form of advertising that regulations need to be imposed on are deceptive advertising. In today’s world it is frequently show cased and more forcefully, especially using celebrities to entice the young audience. â€Å"Industry self-regulation is sometimes preferable to government regulation, especially on matters concerning free speech. Loopy as the Motion Picture Association of Americas ratings system is, its better than what youd probably get by putting such decisions in the federal government hands. But the restrictions advertisers impose on themselves when they market to young children are, as any parent knows, extraordinarily accommodating. The use of toys to lure children to McDonalds is perhaps the best example† (Noah, T., Internet). Overall, there are a lot of advertisements that can deceive any consumer. Consumers are advised to look and listen carefully to ads and to be skeptical of what the ads are claiming. Every time aShow MoreRelatedAdvertising Regulation Of The Advertising1812 Words   |  8 PagesIntroduction †¢ Why advertising needs to be regulated? †¢ Benefits for businesses by following advertisement regulations †¢ Unfavorable circumstances for businesses by not following advertisement regulations †¢ Types of false advertisements †¢ Advertising to businesses †¢ Telemarketing and Consumer Fraud and Abuse Prevention Act †¢ Advertising and Marketing Law †¢ REGULATIONS THAT AFFECT ADVERTISING †¢ Advertising Standards Regulation in Australia †¢ International advertising regulation †¢ How would you defineRead MoreRegulation of Advertising and Promotion Essay21364 Words   |  86 Pagesï » ¿Chapter 20 Regulation of Advertising and Promotion    True / False Questions    1. Regulatory concerns never play a major role in the advertising decision-making process.      True  Ã‚  Ã‚  Ã‚  False    2. Self-regulation and control of advertising emanate from individual advertisers and their agencies.      True  Ã‚  Ã‚  Ã‚  False    3. Self-regulation begins with the interaction of client and agency when creative ideas are generated and submitted for consideration.      True  Ã‚  Ã‚  Ã‚  False    4. Policies and procedures for industryRead More Regulations of Prescription Drug Advertising1857 Words   |  8 PagesRegulations of Prescription Drug Advertising This particular morning, Sheri*, a Northeastern senior, is able to get out of bed. With difficulty, she pushes past the chronic pain in her back and shoulder muscles and manages to get dressed. The clothes she wears are not the trendy, youthful clothes of a normal 22-year-old girl in college, but instead a baggy grey sweat suit that hides the nearly 20-pound weight gain she is still trying to work off. She covers her face in makeup to conceal the painfulRead MoreSelf – Regulation Laws and Ethics in Advertising2018 Words   |  9 Pages1. Self – regulation laws and ethics in Advertising : Self – regulation in advertising is a voluntary and internal mechanism within the profession. It is the process to monitor its own standards rather than have an outside, independent agency such as government entity to monitor and enforce those standards. Ethics is a bit harder to define. It has to do with an inherhent sense of right and wrong. Ethics refer to well based standards of right and wrong that prescribe what humans ought toRead MoreFda s Position On Regulation Of Drug Promotion And Advertising1312 Words   |  6 PagesFDA s position on regulation of drug promotion and advertising has undergone a very interesting pathway, and this is clearly reflected in the way they have enacted their regulations. This process has not been spontaneous but rather a result of extemporaneous pressure and events. Initially, as the pharmaceutical industry was growing and rapidly developing, it was also unmonitored, and the claims they made about the products they advertised posed a risk for the consumers given the freedom theyRead MoreBRAZILIAN ADVERTISING SELF-REGULATION CODE The primary purpose of the Code is to regulate the800 Words   |  4 Pages BRAZILIAN ADVERTISING SELF-REGULATION CODE The primary purpose of the Code is to regulate the ethical rules applicable to commercial advertising, that is to say, all activities designed to stimulate the consumption of products and services and promote institutions, concepts or ideas. Due sense of social responsibility, commercial principles of fair competition, conformity to the purposes of national economic, educational and cultural development, are some examples of the main principles establishedRead MoreMarketing And Advertising, Intellectual Property, And Regulation Of Product Safety1597 Words   |  7 Pagesimportant to resolve this issue. The stakeholders can be governments, societies, founders, higher management, capitals, employees, beneficiaries and customers (Schmeer, 1999). Ethical issues Analyzing relating to marketing and advertising, intellectual property, and regulation of product safety. This paper will examine violations of PharmaCARE, argue for Direct-to-Consumer marketing by drug companies, determine responsible parties in the PharmaCARE scenario, analyze laws to protect intellectual propertyRead MoreThe Role of Government in Business Essay1425 Words   |  6 PagesHistory Ever since the colonial times businesses in the United States of America faced business regulations. During the 19th century, when the American economy became more industrialized, and grew to a world power, the federal government passed business laws, that favored social reforms over the interests of big business. In the 20th century government involvement in business continued to expand. So made Roosevelt’s â€Å"New Deal† legislation effectively the federal government the countries largestRead MoreRecycling Recycling1006 Words   |  5 Pagesprevent the waste of potentially useful materials. Over the years, businesses started to associate themselves with recycling and being environmentally friendly. However, large coffee corporations do not feel like they need to abide their rules and regulations. Claiming to recycle paper cups allows them to maintain good relations in the public’s eye, but this is not what actually happens behind the scenes. As a result of th at, the recycling of paper cups should be more regulated. The recycling of paperRead MoreGovernment Regulation1301 Words   |  6 Pagesgovernment regulations, how those regulations affect current market structures while defining the different types of market structures and finally what provisions and laws have been put in place to protect consumers and society from big business and firms choices. Industrial regulation is the government’s attempt to enact laws designed to prevent firms from participating in bad monopolistic practices and to promote competition in the market space. The reason industrial regulation exists is to

Environmental Class Project Lab Free Essays

These social notations might be encouraged in less developed countries exposing the coo entry to more modern cultures or the distribution of and education on birth control options. 3. Early, middle, and late demographic transition map the concepts of first, SE Condo, and third world countries because early countries are usually third world and late count rye’s first. We will write a custom essay sample on Environmental Class Project Lab or any similar topic only for you Order Now 4. The most developed countries have shapes that are more like blocks and the e least developed countries have steeper triangular shapes. 5. If a country has a steeper triangular shape than there are more children the n those in the ‘prime of their life’ can take care of, causing the quality of life to go down. 6. The Use’s demographic pattern about 1 00 years ago would be similar to thou SE countries in the Mechanization of Agriculture/ arbitration like Mexico or Nigeria. 7 . China would be in the presidential Age because their change occurred moor e rapidly. Factors that prompt women to have few children later in life include the rise I n birth control and social equality. Lesson 2 Responses to Questions: 1 . Population momentum is an important factor to consider when studying the demographics Of a country. The shape changes from being a steep triangle to being mostly blob click during all the generations after the change if a less developed country is given the birth rate of a more developed country. This is because the birth rates are from a more demographer hectically stable country, causing the shape to look more stable. Because of population meme mount. The change continues to affect the shape in subsequent generations. When the average c hill bearing age is increased, the population decreased because when women start having babe later in life, they have less time to have healthy children. Conversely, when the age is decrease d, the population increased, as women have more time to have children. â€Å"First world† country’s tend to have older childbearing women do to the cultural factors of social gender equality and birth control. 2. The results from Italy were not what predicted. I thought the changes woo old have a greater effect on birth rate than they did. This is probably because the population pry amid of Italy is more stable than that of Nigeria. Monetary incentives to employees who have ultimate children would encourage more child birth in Italy. 3. The government might want to do this because their birth rates are decree sing. This would affect their demographics because a baby boom would make Italy’s pyramid s deeper. Lesson 3 1 . Another factor that may be explored when considering the demographics o f a country is how they change when the birth and date rate are changed. 2. My prediction of how much the birth rate would have to be lowered and ho w much the death rate would have to go up to give Egypt a 0% population growth in 2050 ere far too low. To make my prediction, I compared Egypt population growth rate in 205 O, birth rate, and death rate to other countries and then tried to gauge how much the birth rate would have to decrease and the death rate increase to achieve a 0% growth rate. Then a adjusted the values based on the results. In order to achieve a zero growth rate, Egypt would have to either lower the birth rate or increase the death rate. Obviously, decreasing the birth rate I s the logical choice as there are ethical implications of artificially increasing the death rate. However, the Egyptian government would also face ethical debates on deck reassign the birth rate if they tried to enact laws against having a certain number of children. Egg yap would need to change more than the Mexico and a lot more than the LIST to achieve a 0% p population increase in 2050 because it is further from having a 0% population growth UN deer current conditions. 4. Mexico has a higher birth rate and a lower death rate than the Uni ted State s. This is probably because the United States is further along in the transition than Mix ICC is. How to cite Environmental Class Project Lab, Papers

Dangerousness of Drugs

Question: Write a summary, outlining the perception of the use of various type of illegal drugs. E.g. heroin, cannabis, cocaine. Choose one from these drugs, and research the possible benefits and the health risks associated with the short and long term consumption. Compare the perceived benefit and hazards associated with the use of the drug to the actual benefits and hazards associated with the use of the drug. Answer: Outline the use of illegal drugs This report has been used for outlining the use of the illegal drugs and the impact of the same on health of the people. Attitude of the people towards the consumption of drugs which is considered to be illegal drugs has to be analysed. The policy makers ensure to highlight the risks associated with the consumption of drugs which can affect the health of the people. Through the policy, the public are made aware of the drug associated knowledge which is related to creating awareness about the drug users. An attempt is made to create awareness about the drug related information or knowledge which aims at reducing inaccuracy details that can influence the general public. The awareness of the illegal drugs like heroin, cocaine, and cannabis has been discussed in this report (Parrott, 2007). Long and short term use of heroin usage Long term and short term benefits of heroin usage has been analysed in this report. Continuous usage of the illegal drugs affects the physiology of human brain and physical structure, which creates long term imbalance in human body. Long term usage, affects the functioning of the brain, which impacts the decision making ability of human. Consumption of the illegal drugs helps the human in increasing the tolerance or the physical dependency. The level of the tolerance level is assumed to have to similar effects of the human being. However, the withdrawal symptoms have a stronger impact on the users, which affects the physical stability of human beings. Disadvantage of the system includes muscle pain, bone pain, restlessness, cold flashes, and others. Such factors or symptoms can impact the normal life of the individual. This is one of the reasons, the long term health impact on humans has to be analysed. The withdrawal symptoms are at the peak for 24-48 hours (Kmietowicz, 2009). Short term impact exists with the impact on the brain. Abusers usually enjoy pleasurable sensation which remains for a shorter period of time. The impact on the user depends upon the quantity undertaken by the users. In some cases, the users might feel warm flush arises from the skins and dry mouth. The mental function is usually affected by the usage of the illegal drugs. In case of excessive usage, the user might face life threat, which is quite serious (Best, 2003). Comparison of the perceived and actual benefits and hazards associated with the drugs The perceived benefits related to the usage of heroine raises serious concern amongst the users. Increase anxiety and relaxed mental status are some of the perceptions that are assumed by the users. However, the actual impact of the use of the illegal drugs has serious impact on the user. This difference has to be analysed and has to be shared in the right manner. Such a factor will help in analysing the health related factor and challenges that can affect the health of the users. It affects the mental ability of the users and restricts the power to think and introduce action plan (Cole et al., 2010). References Best D., Gross S., Vingoe L., Witton J., Strang J. Dangerousness of drugs. A guide to the risks and harms associated with substance misuse. London: Department of Health; 2003 Cole C., Jones L., McVeigh J., Kicman A., Syed Q., Bellis M. A. Adulterants in illicit drugs: a review of empirical evidence. Drug Testing and Analysis 2010; 3: 89-96 Kmietowicz Z (2009). "Home secretary accused of bullying drugs adviser over comments about ecstasy".BMJ338: b612.doi:10.1136/bmj.b612.PMID19218327 Parrott A. C. Drug-related harm: a complex and difficult concept to scale. Human Psychopharmacology: Clinical and Experimental 2007; 22: 423-5. Nutt, D.; King, L. A.; Saulsbury, W.;Blakemore, C.(2007). "Development of a rational scale to assess the harm of drugs of potential misuse".The Lancet369(9566)

Venus and Andy Warhol free essay sample

Botticelli created the beautiful, captivating, and norm breaking Birth of Venus. It depicts the story of the goddess Venus, having emerged from the sea as a full grown woman arriving at the shore. Painted in 1486, and with the medium of tempera on canvas, The Birth of Venus hangs in the Uffizi gallery in Florence Italy. This renaissance painting is huge and is 67. 9 inches tall by 109. 6 inches wide. Andy Warhol’s screen print Venus was done is 1984 and has been mass produced all over the country. There are many critiques and analysis for both of these pieces. Also there is a large amount of comparisons between the two, because they are both of the same goddess. There is a lot of historical background pertaining to Botticelli’s masterpiece because of the era in which it was created: The Renaissance. Sandro Botticelli’s The Birth of Venus is his most famous painting, and was once hung in the Medici Villa. We will write a custom essay sample on Venus and Andy Warhol or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page In the composition Venus is in the middle drifting towards the sea shore. Venus is nude and at this time in the Renaissance nudity was not common, so is mythological image was risky. To the right of Venus a woman is waiting to clothe Venus, but she is floating away from the woman in her sea shell boat. To her left the god Zephyr and Flora are there to witness her arrival. The use of perspective in this painting is realistic because there is a vanishing point where the sky meets the water. The background is full of natural blues, and the white caps of the ripples in the water lead the viewer’s eyes toward the front of the piece. Shadow and light is used to make curves on the figures rather than outline, which were also becoming new in this period. All of the bodies seem to be very spiritualistic because of how they almost float above the ground. Sandro made the feet of the figures with flexed or almost pointed toes. This adds a really graceful flying look to the people. Also The placement of Zephyr and Flora is cornered so the look as if they are flying into the image. Also the way the clothing seems like it is blowing around the people gives movement to the picture. The subject matter here is a nude woman which is different from the Neo-Platonic rules of society. Mythological scenes in the Renaissance show how the people became more interested in not just religious subject matter, but more of a worldly view on art. In the second half of the fifteenth century portraits of everyday people such as average women, fellow artists and even peasants were more popular and in demand. People of this period became much more aware of themselves, and not just what religion based ideas said. Pop Art is seen as a trend now, because it’s printed on clothing, posters, magazines, bags, and even shoes. In pop art the medium is as important as the message, unlike in renaissance art. Religious paintings were the most common subject in the renaissance period. But The Birth of Venus could be considered pop art of the Renaissance because it was a nude woman and not a religion based fresco style piece. Pop art is supposed to relate to the current times, and when Botticelli painted his masterpiece, people were starting to get worldlier. Andy Warhol was an American painter, print maker, and filmmaker who were one of the best pop artists in history. He has many famous pieces such as his Marilyn Monroe, Eight Elvis’s, Banana, and of course Venus. Eight Elvis’s was sold for 100 million dollars in 1963. He used a technique called screen printing. Screen printing is a technique that uses woven mesh to support an ink blocking stencil. The stencil forms an open area of mesh that can transfer ink or other printable materials which can be pressed through the mesh as a sharp edged image onto a substrate. Then a roller is used to cover the screen stencil and the ink is applied over the woven parts, creating the negative space. This process has become very common today with clothing, fabrics, accessories and posters. Venus is the subject in Warhol’s rendition, but it is just her head. Warhol did many repeated patters of the same image but used different color combinations on each of them. The idea is you buy multiple pieces of the image, but each is a different color. Because this image was a screen print, there are many different colors and color combinations of this one image. For example on one version Venus has a black face with vibrant red, yellow and orange hair. In another version the background is completely black, while Venus is more muted, by this I mean she does not look as bold, but bold colors are still used. She has pale skin, with the same red, yellow, orange vibrant hair only with a clear matte covering over it to give the faded effect. In another popular version the background is purple, and Venus’s face is blue, with the vibrant fire colored hair. The composition of Warhol’s Venus is much simpler than Botticelli’s. It is just her head, neck and a small portion of the top of her left shoulder. She is centered on the rectangular piece with her pony tail flowing to the right and her loose hair around the left side of her neck. She is still making the same facial expression as the original and her body position is still relaxed and comfortable. The line work is very heavy. There is alternating line color and thickness to show her curls in her hair. Also the details of her face are partially done in contour lines. For example the nose and the eyebrows are simple lines but done in a contrasting color of the face. The shadows and highlights on Venus are done in neon colors or hard whites. There is a lot of contrast of color within each screen print. The shadows and line work is all done in a color of an opposite hue. The negative space in the print is always the background. This negative space makes all of the prints go together and look consistent, the negative spaces never change. If these negatives spaces were different in each composition there would be no sense of unity in Warhol’s work. Therefore for his style, space was a key element. Like mentioned earlier, The Birth of Venus was a breakthrough for the late fifteenth century. It was the first art work done to relate to mythological ideas. This went against the Neo-Platonic philosophy and the ancient thought. Mythology does not always correlate with the Christian ideas, but often are similar. The difference is myths are much more fiction based, and made to show symbolism while biblical stories are stated as facts in history. Venus is in a very relaxed contrapposto pose, which at the time was perceived as very sexual. Most paintings at the time the subject was facing to the side or directly forward. And of course not only is Venus standing like this, but she is also nude. This just reassures the viewer that she is a sexual symbol, and is very seductive and beautiful. At the time, this was all new and risky. People began to become more interested with events that were on a more global scale, not just a biblical view. Other pieces like Donatello’s David, caused controversy for the same reasons. He is nude, young, and sexual. Hercules and Antaeus was also a bronze statue with mythical meaning and nudity. When Botticelli painted The Birth of Venus the ruling Medici family was buying Flemish art for their palace. They had tons of tapestries and panel paintings. The Medici family fell in love with his art and he started creating painting for them such as the Primavera and The Birth of Venus. Pop art was a movement that started in Britain and America around the 1950s. â€Å"The Arts and the Mass Media† is another term for pop art and pop culture. The movement is characterized by themes and techniques drawn from popular mass culture, such as television, movies, advertising and comic books. It is easy to understand and easy to see because pop art is iconic, and current. Andy Warhol was alive during the heart of pop culture which made him so famous. At the time people like Marilyn Monroe, Elvis, Annie Oakley, and Albert Einstein were icons so he based his art off of them. His first famous print was of tons of flavors of the traditional red and white Campbell’s soup cans. Everyone can relate to these images, so everyone liked them. Campbell’s soup is a house hold item that the rich, poor and middle class had in common. So when Warhol made the print Venus he transformed it into pop art with a message. The message is to rebel, and be unique because the original painting was. This is a statement to be bold and risky, like the nude Venus. She was iconic in the 1500s and she is now iconic in the twentieth century. Pop art caused lots of controversy in the fifties due to the alcohol bans, civil rights, powerful women, JFK, sex, wars etc. Art was able to be created about all of these issues, and the public was able to see and access it. There are many similarities between The Birth of Venus and Venus. They both mainly represent love and compassion. Venus was the goddess responsible for those two traits. Other than the fact they have the same person in both of them, they are also compositionally alike. They both have a negative space as the background. This allows all the attention to be brought forward in the pieces and on to Venus. She is centered in both images, which makes her the most important and focal point of the pictures. In both Botticelli and Warhol’s art works Venus has red hair, and they both have sexual notions. Each of them are iconic images, by this I mean everyone who looks at either picture knows that this is Venus. Warhol’s Venus is obviously pop art but The Birth of Venus could also be called pop art. This is true because pop art deals with what is important, and current of the time. When there was more of an interest on global art rather than just religious art Botticelli made this piece for the Medici family. Therefore it has the same ideas that are behind the meanings of pop art. On the other hand there are a vast amount of differences as well. For one the medium screen printing was not even available in the late 1500s. Botticelli used tempera on canvas and there is only one original of this masterpiece. In other words Botticelli could not mass produce his picture with the same medium as the original like Warhol can. But that is mainly based on the time and age differences and technology. Botticelli’s colors are more natural and human like while Warhol’s are electric and are high in contrast. The Birth of Venus has natural lighting and shadows brought on by the other figures and setting around her. Venus has shadows in opposite colors and more obscure color combinations. He also uses contour lines, and obvious line work within the face and hair of Venus. Warhol decided to focus only on her head, while Botticelli painted an entire seen and story line with multiple figures. In all, both images are quite amazing. Venus was an amazing goddess who symbolized what society and real people are like. Even though the bible keeps sex, mythology, and love to a minimum does not mean everyone thinks about these thing. Botticelli was just the first to admit and prove it to society. So like pop artist Andy Warhol he followed along with current ideas and made a masterpiece. Warhol is one of the most famous artists of this century; he is like the Rafael, Michelangelo, Botticelli and Leonardo of the 20th century. It’s hard to say which piece I believe is better. They are both so different, but stand for the same beautiful things. I guess it’s just based on which is easier for the viewer personally to relate to.

High Brow and Low Brow Culture The Fall of American Popular Culture in the Contemporary Society essays

High Brow and Low Brow Culture The Fall of American Popular Culture in the Contemporary Society essays The emergence of the 20th century gave way to the development of high mass consumption of media goods and services, which occurred due to the proliferation of advertising and increased manufacturing of commercial goods in the market. The advent of high mass consumption furthered with the development of information technology, where computers and the Internet paved the way for the "globalization" and easier and faster transmission of information suitable for mass consumption. Throughout history, American popular culture is determined mainly through its entertainment industry. The need to advertise for surplus goods by manufacturing companies allowed for the growth of the country's entertainment industry, which in turn, dominated American culture and society. Thus, Americans have inevitably been linked to entertainment icons and personalities shown on mass mediathe phenomenon called as the McDonaldization' of Americathat is, the reign of consumer culture. The worldwide spread and influence of American popular culture all over the world, however, led to the development of critiques that consider American pop culture as decadent, what with the seemingly limitless and liberal way in which pop culture goods, products, and services are produced and consumed by the masses. This is reflected in Feigenbaum's (2003) analysis on the effects of American pop culture on the globalization process ongoing in our society today. In his study, he illustrated how the advent of digital technology made it inevitable to produce pop culture goods and services (artifacts). The ease in producing these artifacts have, according to the author, has developed the perception that American pop culture is morally degenerating' and/or illustration of "rotten Moral degeneracy was the result of the prevalence of liberalism in the expression of ideas in...

Enterprise Culture and Entrepreneurship Case Study

Enterprise Culture and Entrepreneurship - Case Study Example The enterprise culture in the UK has also not played a major part in Charles Dunstone's success, as he relied more on himself and close associates to make his business a success. Entrepreneurship is the creation of new enterprise (Low and MacMillan 1988) and it is also often focussed on profit making. Examples of famous entrepreneurial ventures include Gerber baby foods, Barbie dolls and Heinz ketchup. Entrepreneurship is important for any country as it has significant economic and social contributions (Bartol and Martin 1998). For instance, the creation of new enterprise is associated with job creation and the creation of other smaller businesses to supply the business. The economic impact of small business job growth is likely to be greatest during times of economic slowdown, when larger companies are cutting back (Case 1989). During such reductions many individuals whose jobs are eliminated find employment with small businesses. According to one estimate, as many as 20% of managers who have lost their jobs as a result of downsizing in recent years have become entrepreneurs (Zimmerer and Scarborough 1996). New jobs and new business increase a government's tax base and improve the general standard of living. Notable examples of changes in the standard of living include the motor car following Henry Ford's invention of the automobile. Despite the benefits of entrepreneurship, many new ventures still fail and this has led to research on the factors that make some entrepreneurial ventures successful, as it is also reported that as many as 50 -70% of new businesses fail or merge with other larger organisations within their first five years (GPO 1990). In the United Kingdom, there are examples of successful entrepreneurs which include but are not limited to Sir Richard Branson with his Virgin empire, Sir Alan Sugar with Amstrad and Anita Roddick with The Body Shop. These individuals all started with little idea and they maximised the opportunities available to create internationally successful organisations. This case study will focus on Charles Dunstone of The Carphone Warehouse and look at the motivations and reasons behind his venture, the activities involved and an analysis with enterprise culture. Charles Dunstone has been selected for this case study because he managed to set up a business venture in a relatively short period of time, with significant success. He has also gone on to diversify his business and managed to create a stir in the broadband internet market with a huge risk of offering free broadband. At the age of 25, Charles Dunstone was turning over 1.5 million in his first of year of operation, and his employee numbers were growing (The CarPhone Warehouse 2006). The CarPhone Warehouse is now considered Europe's largest independent retailer of mobile communications, with over 450 stores in the UK and over 1000 in Europe and between them he now employs over 4000 employees (The CarPhone Warehouse 2006). Origins of Charles Dunstone's entrepreneurship There are a number of factors that

Chronic disease Essay Example | Topics and Well Written Essays - 500 words

Chronic disease - Essay Example Finally, smoking and alcohol are some of the major causes of heart disease. This things need to be consumed in smaller amounts so it does not affect the heart. The previous recommendations for combating heart disease were general without giving too many concrete suggestions. Because those with high cholesterol, high blood pressure, or diabetes are most at risk for heart disease, it is advised that these problems are addressed. First of all, a simple blood test can be taken to check you cholesterol levels. In order to make sure that nothing is missed, cholesterol levels should be checked once every five years. Next, blood pressure needs be checked regularly because high blood pressure does not show any symptoms. If you are a diabetic then blood sugar levels must be controlled. This is best done by talking with a healthcare provider so he or she can advise the best treatment. Finally, if medication has been prescribed for any of the above mentioned conditions, then it is really importa nt to always to medication properly (â€Å"Prevention: What You Can Do†).

SQL Injection and Buffer Overflow Attack Detection

SQL Injection and Buffer Overflow Attack Detection CHAPTER ONE INTRODUCTION This chapter discussed about research requirement for this research. It discussed briefly the research background in section 1.1, problem statement in 1.2, research objectives in 1.3, research questions in 1.4, scope of research in 1.5, research elements in 1.6 and research significant in 1.7 1.1 Research Background The internet which is a free, supportive and self-sustaining facility reachable to hundreds of millions of people worldwide, have become one of important communication’s medium today. The greatest widely used part of the Internet is the web or World Wide Web (WWW). The Web uses the Hypertext Transfer Protocol (HTTP) to convey data through the Internet as HTTP is a well-known language over the Internet. There is a Web Browser that acts as the main door to the Internet if user wants to view the web pages in different websites. Web pages is a document that may contain text, videos, sound, images or any multimedia components created in Hypertext Markup Language (HTML). In addition, to make the process of searching specific web pages easier, there is Uniform Resource Locator (URL) where it standardized naming convention for addressing documents available over the Internet or Intranet. As Internet become more and more significant, there are some individuals identified as hackers that have the ability to interrupt the peace of using Internet. For that reason, network security is required. Network security emphasis on securing networks from any violence or exploit especially from hackers and typically handles by network administrator on each organization that applies security policy. Thus, to ensure the three main goals of security which are integrity, availability and confidentiality is guarantee, network security become the main role to some kind of vulnerabilities in web application. Vulnerabilities can be referring as the flaws where attacker can take benefit by exploiting it to gain unauthorized access to their target. There are two of the most common web application vulnerabilities that exist in a web application are Structured Query Language (SQL) Injection and Buffer Overflow (BOF). SQL Injection is an attack in which the attacker inserts SQL commands into form or parameter values. It exploits the use of SQL query in the application. SQL Injection has become a predominant type of attacks that target web applications. The Open Web Application Security Project (OWASP) ranks it on top among the Top-10 security threats. Buffer Overflow is an exploit that can make the memory allocated to a certain application become massive. For example, an application expecting a five-digit postcode therefore the programmer only allocates enough memory for the perimeter. If an attacker enters more than five digits for example hundreds of digit, the application will end up using more memory than what it should. As of September 2010, 12 of the 20 most severe vulnerabilities ranked by US-CERT were Buffer Overflow related. There are a lot of web application vulnerabilities detection scanners existing in Internet. Either it free source or need to buy, there are more or less problems faced by these tools. The common problem meet by some of the scanner are false positive and false negatives. A false positive is when there is an error whereby a web application tested for is mistakenly found the vulnerabilities which actually there is none. Meanwhile, false negatives are the scanner does not found any vulnerability in a web application and telling user that the web is secure. However, actually the web application may have some vulnerability. Thus, by proposed a method for detecting the web vulnerabilities through searching for the suspicious and defined web vulnerabilities criteria, it will help the web application administrator to take a look and always standby in secure mode to avoid and secure mode for avoiding any attacks from the attacker. 1.2 Problem Statement Usually developers of a web application does not realize that their web application have vulnerabilities. They only realize it when there is an attack or manipulation of their code by someone. This is normal as in a web application, there are thousands of lines of code so, it is not easy to detect if there is some mistakes (Houghton, 2013). Nowadays lots of new hacker are born as the tools and tutorials are easier to get. According to Dougherty (2012), even though SQL Injection is very easy to protect against, there are still large numbers of the system on the internet are vulnerable to this type of attack because there will be a few subtle condition that can go undetected. Besides, in Buffer Overflow, although many methods have been proposed to address this problem, it mostly very high overhead involves considerable additional resources (Zheng, Zhou Liu, 2015). Therefore, a detection method for detecting the SQL Injection and Buffer Overflow while producing minimum false positive a nd false negative was proposed. 1.3 Research Objective There are two objectives that have been achieved in this dissertation: To construct a detection method that can detect SQL Injection and Buffer Overflow attack in web application based on acknowledged features and characteristics of the vulnerabilities. To evaluate the performance of proposed method in term of accuracy and efficiency by conducted two sets of experiments under laboratory testing environment. 1.4 Research Questions There are four research questions that have been addressed in this dissertation: Is it possible to employ a dynamic method for SQL Injection and Buffer Overflow detection in web application? What are the criteria used to detect SQL Injection and Buffer Overflow in the proposed detection method? What is the evaluation metrics used to measure the performance of the proposed detection method? How to measure the accuracy and efficiency of the proposed detection method? 1.5 Scope of Research This dissertation focused on the web application vulnerabilities which are more specific on SQL Injection and Buffer Overflow. This dissertation limited to: Detection of web application vulnerabilities which are limited on: SQL Injection Buffer Overflow A number of vulnerable website’s URL collected from: http://www.thetechnism.com/ http://pastebin.com/ For detection of web application vulnerabilities of SQL Injection and Buffer Overflow, the criteria used are: Get the URL of website Tokenize the URL Match the pattern with the matching criteria based on Boyer-Moore Algorithm Get the web application vulnerabilities The evaluation metrics that used in this dissertation are accuracy and efficiency 1.6Research SIGNIFICANCE There are two significances of this dissertation: This dissertation able to provide a method that can detect SQL Injection and Buffer Overflow attack based on Boyer-Moore String Matching Algorithm. This proposed detection method also able to generate the report regarding the level of vulnerability of the web application. The proposed method can assistance the web application developer or administrator to take any extra action to protected their application from being attacked by the unethical person outside the network to SQL Injection and Buffer Overflow attack.

Food Dyes

Purpose of food coloring People associate certain colors with certain flavors, and the color of food can influence the perceived flavor in anything from candy to wine. [2] Sometimes the aim is to simulate a color that is perceived by the consumer as natural, such as adding red coloring to glace cherries (which would otherwise be beige), but sometimes it is for effect, like the green ketchup that Heinz launched in 1999.Color additives are used in foods for many reasons including:[3] offset color loss due to exposure to light, air, temperature extremes, moisture and storage conditions correct natural variations in color enhance colors that occur naturally provide color to colorless and â€Å"fun† foods Color additives are recognized as an important part of many foods we eat. [4] [edit]Regulation Food colorings are tested for safety by various bodies around the world and sometimes different bodies have different views on food color safety.In the United States, FD&C numbers (which indicate that the FDA has approved the colorant for use in foods, drugs and cosmetics) are given to approved synthetic food dyes that do not exist in nature, while in the European Union, E numbers are used for all additives, both synthetic and natural, that are approved in food applications. The food colors are known by E numbers that begin with a 1, such as E100 (turmeric) or E161b (lutein). [5] Most other countries have their own regulations and list of food colors which can be used in various applications, including maximum daily intake limits.Natural colors are not required to be certified by a number of regulatory bodies throughout the world, including the United States FDA. The FDA lists â€Å"color additives exempt from certification† for food in subpart A of the Code of Federal Regulations – Title 21 Part 73. However, this list contains substances which may have synthetic origins. FDA's permitted colors are classified as subject to certification or exempt from certification, both of which are subject to rigorous safety standards prior to their approval and listing for use in foods. Certified colors are ynthetically produced and are used widely because they impart an intense, uniform color, are less expensive, and blend more easily to create a variety of hues. There are nine certified color additives approved for use in the United States. Certified food colors generally do not add undesirable flavors to foods. Colors that are exempt from certification include pigments derived from natural sources such as vegetables, minerals or animals. Nature derived color additives are typically more expensive than certified colors and may add unintended flavors to foods.Examples of exempt colors include annatto, beet extract, caramel, beta-carotene and grape skin extract. [edit]Natural food dyes Natural food colors can make a variety of different hues A growing number of natural food dyes are being commercially produced, partly due to consumer concerns surrounding synthetic dyes. Some examples include: Caramel coloring (E150), made from caramelized sugar Annatto (E160b), a reddish-orange dye made from the seed of the achiote. Chlorophyllin (E140), a green dye made from chlorella algae Cochineal (E120), a red dye derived from the cochineal insect, Dactylopius coccus Betanin (E162) extracted from beetsTurmeric (curcuminoids, E100) Saffron (carotenoids, E160a) Paprika (E160c) Lycopene (E160d) Elderberry juice Pandan (Pandanus amaryllifolius), a green food coloring Butterfly pea (Clitoria ternatea), a blue food dye To ensure reproducibility, the colored components of these substances are often provided in highly purified form, and for increased stability and convenience, they can be formulated in suitable carrier materials (solid and liquids). Hexane, acetone and other solvents break down cell walls in the fruit and vegetables and allow for maximum extraction of the coloring.Residues of these often remain in the finished product, but they do not need to be declared on the product; this is because they are part of a group of substances known as carry-over ingredients. Natural food colors, due to their organic nature, can sometimes cause allergic reactions and anaphylactic shock in sensitive individuals. Coloring agents known to be potential hazards include annatto, cochineal and carmine. [citation needed] [edit]Artificial coloring [edit]In the United States Seven dyes were initially approved under the Pure Food and Drug Act of 1906, but several have been delisted and replacements have been found. 6] Some of the food colorings have the abbreviation â€Å"FCF† in their names. This stands for â€Å"For Coloring Food† (US)[7] or â€Å"For Colouring of Food† (UK). [8][9] [edit]Current seven In the US, the following seven artificial colorings are permitted in food (the most common in bold) as of 2007: FD Blue No. 1 – Brilliant Blue FCF, E133 (blue shade) FD Blue No. 2 – Indigotine, E 132 (indigo shade) FD Green No. 3 – Fast Green FCF, E143 (turquoise shade) FD Red No. 40 – Allura Red AC, E129 (red shade) FD Red No. 3 – Erythrosine, E127 (pink shade, commonly used in glace cherries)[10] FD Yellow No. 5 – Tartrazine, E102 (yellow shade)FD Yellow No. 6 – Sunset Yellow FCF, E110 (orange shade) [edit]Limited use The following dyes are only allowed by the FDA for specific limited applications: Orange B (red shade) – allowed only for use in hot dog and sausage casings. Citrus Red 2 (orange shade) – allowed only for use to color orange peels. [edit]Delisted and banned FD Red No. 2 – Amaranth FD Red No. 4[11][12] FD Red No. 32 was used to color Florida oranges. [6][11] FD Orange Number 1 was one of the first water soluble dyes to be commercialized, and one of seven original food dyes allowed under the Pure Food and Drug Act of June 30, 1906. 6][11] FD Orange No. 2 was used to color Florida oranges. [6] FD Yellow No. 1, 2, 3, and 4[11] FD Violet No. 1[11] [edit]Other Locations As stated above, most other countries have their own regulations and list of food colors which can be used in various applications, including maximum daily intake limits. In the EU, E numbers 102-143 cover the range of artificial colors. For an overview of currently allowed additives see here. Some artificial dyes approved for food use in the EU include: Quinoline Yellow: E104 Carmoisine: E122 Ponceau 4R: E124 Patent Blue V: E131 Green S: E142 [edit]Dyes and lakesColor additives are available for use in food as either â€Å"dyes† or lake pigments (commonly known as â€Å"lakes†). Dyes dissolve in water, but are not soluble in oil. Dyes are manufactured as powders, granules, liquids or other special purpose forms. They can be used in beverages, dry mixes, baked goods, confections, dairy products, pet foods, and a variety of other products. Dyes also have side effects which lakes do not, including the fact tha t large amounts of dyes ingested can color stools. Lakes are made by combining dyes with salts to make insoluble compounds. Lakes tint by dispersion.Lakes are not oil soluble, but are oil dispersible. Lakes are more stable than dyes and are ideal for coloring products containing fats and oils or items lacking sufficient moisture to dissolve dyes. Typical uses include coated tablets, cake and doughnut mixes, hard candies and chewing gums, lipsticks, soaps, shampoos, talc, etc. [edit]Other uses Because food dyes are generally safer to use than normal artists' dyes and pigments, some artists have used food coloring as a means of making pictures, especially in forms such as body-painting. Red food dye is often used in theatrical blood.Most artificial food colorings are a type of acid dye, and can be used to dye protein fibers and nylon with the addition of an acid. They are all washfast and most are also lightfast. They will not permanently bond to plant fibers and other synthetics. [13 ] [edit]Criticism and health implications Though past research showed no correlation between attention-deficit hyperactivity disorder (ADHD) and food dyes,[14][15] new studies now point to synthetic preservatives and artificial coloring agents as aggravating ADD and ADHD symptoms, both in those affected by these disorders and in the general population. 16][17] Older studies were inconclusive, quite possibly due to inadequate clinical methods of measuring offending behavior. Parental reports were more accurate indicators of the presence of additives than clinical tests. [18] Several major studies show academic performance increased and disciplinary problems decreased in large non-ADD student populations when artificial ingredients, including artificial colors, were eliminated from school food programs. [19][20] Norway banned all products containing coal tar and coal tar derivatives in 1978. New legislation lifted this ban in 2001 after EU regulations.Tartrazine causes hives in less t han 0. 01% of those exposed to it. [21] Erythrosine is linked to thyroid tumors in rats. [22] Cochineal, also known as carmine, is derived from insects and therefore is not vegan, vegetarian or kosher. This criticism originated during the 1950s. In effect, many foods that used dye (such as red velvet cake) became less popular. [citation needed] Brilliant Blue (BBG) food coloring was cited in a recent study in which rats that had suffered a spinal injury were given an injection of the dye immediately after the injury, and were able to regain or retain motor control.BBG helps protect spine from ATP (adenosine triphosphate), which the body sends to the area after a spinal injury, which further damages the spine by killing motor neurons at the site of the injury. [23] Research by King Feisal University points that the use of synthetic color in various foods has adverse effects on some of biochemical analysis, specifically at high concentration and administration for along periods of tim e. Changes in liver and kidney histopathological structure and increases in white blood cell count indicated that inflammation is specific to certain colorants. [24]

Noland. Dance Reaserch

The Human Situation on Stage: Merce Cunningham, Theodor Adorno, and the Category of Expression Carrie Noland Dance Research Journal, Volume 42, Number 1, Summer 2010, pp. 46-60 (Article) Published by University of Illinois Press DOI: 10. 1353/drj. 0. 0063 For additional information about this article http://muse. jhu. edu/journals/drj/summary/v042/42. 1. noland. html Access Provided by University of Manchester at 07/08/10 10:18PM GMT Photo 1. Merce Cunningham in his Sixteen Dances for Soloist and Company of Three (1952).Photographer: Gerda Peterich. 46 Dance Research Journal 42 / 1 summer 2010 The Human Situation on Stage: Merce Cunningham, Theodor Adorno, and the Category of Expression Carrie Noland here is expression in Cunningham’s choreography? Are the moving bodies on stage expressive? If so, what are they expressing and how does such expression occur? Several of the finest theorists of dance—among them, Susan Leigh Foster, Mark Franko, and Dee Reynolds—have already approached the question of expressivity in the work of Merce Cunningham.Acknowledging the formalism and astringency of his choreography, they nonetheless insist that expression does indeed take place. Foster locates expression in the â€Å"affective significance† as opposed to the â€Å"emotional experience† of movement (1986, 38); Franko finds it in an â€Å"energy source . . . more fundamental than emotion, while just as differentiated† (1995, 80); and Reynolds identifies expression in the dancing subject’s sensorimotor â€Å"faculties† as they are deployed â€Å"fully in the present† (2007, 169). Cunningham himself has defined expression in dance as an intrinsic and inevitable quality of movement, indicating that his search to capture, isolate, and frame this quality is central to his choreographic process. 2 As a critical theorist (rather than a dance historian), I am interested in expression as a more general, or cross-media, c ategory and therefore find the efforts by Cunningham and his critics to define expression differently, to free it from its subservience to the psyche, refreshing, unconventional, and suggestive.I have become increasingly convinced that Cunningham’s practical and theoretical interventions can illuminate more traditional literary and philosophical discourses on the aesthetics of expression and that they have particular resonance when juxtaposed with the approach to expression developed by Theodor Adorno in his Aesthetic Theory of 1970.Similar to Cunningham, Adorno complicates the category of â€Å"expression† by shifting its location from Carrie Noland is the author of Poetry at Stake: Lyric Aesthetics and the Challenge of Technology (Princeton University Press, 1999) and Agency and Embodiment: Performing Gestures/Producing Culture (Harvard University Press, 2009). Her taste for interdisciplinary work has resulted in two collaborative ventures: Diasporic Avant-Gardes: Ex perimental Poetics and Cultural Displacement (Palgrave, 2009), co-edited with Language poet Barrett Watten, and Migrations of Gesture (Minnesota University Press, 2008), co-edited with Sally Ann Ness.She teaches French and comparative literature at the University of California, Irvine, and is an affiliate faculty member in the Department of Anthropology, a fellow of the Critical Theory Institute, and director of Humanities-Arts, an interdisciplinary undergraduate major combining the practice and analysis of art. Dance Research Journal 42 / 1 summer 2010 47 W subjectivity, understood primarily as a psychic phenomenon, to embodiment, understood as a function of locomotion and sensual existence (in Franko’s words, â€Å"something more fundamental than emotion, while just as differentiated† [1995, 80]).Adorno’s Aesthetic Theory, at once rough around the edges and sparkling with insights, is arguably the most important book on aesthetics since Immanuel Kant’s Critique of Judgment (1790) and Georg Wilhelm Friedrich Hegel’s Lectures on Aesthetics (1835), the two works that serve as Adorno’s point of departure. The German-born musician and philosopher advances along the lines established by Kant and Hegel, but he consistently raises questions about art’s function in society. Adorno belonged to a group of early to mid-twentieth-century philosophers who submitted the classical Enlightenment tradition to Marxist critique.Along with Walter Benjamin, Max Horkheimer, Herbert Marcuse, Georg Lukacs, and Bertolt Brecht, Adorno entertained suspicions with regard to the notion of subjective expression; he wondered if the artistic languages identified as â€Å"expressive† hadn’t become conventionalized to the point where it was necessary to break them down, subject them to permutation, distortion, or â€Å"dissonance† by means of practices he associated with the category of â€Å"construction† (Adorno 19 70/1997, 40–44 and 156).Traditionally, â€Å"expression,† he argued, presupposed a self-identical subject to be expressed; but if the subject were in fact a reification of something far more volatile, responsive, and delicate, if the subject were, as he put it, something closer to the â€Å"shudder† of â€Å"consciousness,† then the nature of â€Å"expression† in artworks would have to be rethought (331).It is not my intention in this essay to conduct a full analysis of Adorno’s theory of expression, nor do I intend to â€Å"apply† Adorno to Cunningham, thereby implying that one is more theoretically sophisticated than the other. Instead, I want to initiate a dynamic engagement between the two in an attempt to discern and highlight what I believe to be an incipient theory of expression that is embedded in Cunningham’s practice and that secretly informs Adorno’s account of modernist aesthetics as well.The theory of expres sion I am referring to is one that is not fully articulated in Adorno’s aesthetics. However, implicit in his debate with the Kantian tradition is an incipient theory of art’s engagement with the sensorium; focusing on art’s attention to and dialogue with the sensory and motor body produces an aesthetics arguably in conflict with the traditional aesthetics of disinterested beauty or the cerebral sublime.This new theory of the aesthetic as implicated in human embodiment can be drawn out most effectively if we read Adorno in conjunction with watching (and learning more about) Cunningham’s dance. Although my concerns are primarily theoretical in nature, I am intrigued by the opportunity to explore how a choreographic and dance practice can go where aesthetic theory has never gone before. Neither the technical, discipline-specific language that Adorno employs, nor the schematic idiom Cunningham prefers, can, in isolation, be made to divulge a persuasive altern ative account of expression.However, when the two are juxtaposed and intertwined, and when practice itself is analyzed as theoretically pertinent, then a new definition of â€Å"expression† begins to emerge. The question that immediately arises when one juxtaposes Cunningham with Adorno is â€Å"Why doesn’t Adorno ever mention dance? † Although, as has been well documented, dancers and choreographers were fellow travelers of the authors and artists Adorno treats, 48 Dance Research Journal 42 / 1 summer 2010 e never discusses a single choreographer during the entire course of Aesthetic Theory. Dance is simply not part of Adorno’s history, his chronological treatment of modern works; nor is dance included in his theory, his speculations on how artworks relate to what they are not (nature, material conditions, the human subject). Dance only makes a few cameo appearances as the putative origin of all art, a mimetic form related to magic and ritual practices ( 1970/1997, 5, 329). For Adorno, as for Walter Benjamin, dance coincides with the emergence of art in the caves; it is the earliest practice whereby humans mime nature and, by miming, interpret, displace, and stylize nature, even as they attempt to become one with it (Benjamin 1986). In their treatments, dance remains stuck in that cave, never entirely modern, because it is more intimately connected to practices related to the organic body and the sensorium. It may be that what is intrinsic to dance, its address to the body, surreptitiously characterizes all the other art forms that putatively emerged out of it. This is a path of inquiry I am currently pursuing. ) For now, it is sufficient to note that dance cum dance—that is, as a tradition of corporeal practice that evolves over time, that has its own schools, and that inspires its own critical discourses—never figures as a subject of study in Aesthetic Theory. The historical trajectory Adorno establishes for art in g eneral—its increasing autonomy and formalism as a result of industrialization and secular â€Å"disenchantment†Ã¢â‚¬â€is neither applied to nor tested in any rigorous way against a concrete example of modernist (or any other kind of ) dance.Thus it could be said that, in the strict sense, Adorno ignores dance. At the very least, he finds no place for it in modernism. While other scholars have not been as blind to dance’s contributions as Adorno, they do have difficulty assimilating it into a standard chronology of twentieth-century art. In Ecstasy and the Demon, Susan Manning sums up the critical consensus: Dance stands in an a-synchronous relation to all other twentieth-century forms of expression.It does not evolve at the rhythm it should, or else the story is more messy than one would like (Manning 1993). For example, we cannot say with any certitude that Graham is to romantic ballet as Beckett is to Baudelaire, or as Schoenberg is to Beethoven, or as Malevi ch is to David. Whereas art, writing, and music all seem to pass through the same moments at roughly the same time—late Romanticism; early modernism; late modernism or postmodernism—choreography appears to lag behind, or follow a different route.A typical rendering is provided by Jill Johnstone, who argues that â€Å"not until Cunningham appeared [in the 1950s] did modern dance catch up with the evolution of visual art traced by Clement Greenberg† (qtd. in Manning 1993, 24). In other words, during the era of cubism, when a constructivist aesthetic was clearly gaining ground in painting, writing, and musical composition, Isadora Duncan was still performing supposedly natural gestures and emoting supposedly lyric passions on the international stage.My goal here is not to figure out whether Cunningham is modern or postmodern, or why twentieth-century choreography evolved the way it did. What I want to think about is whether that a-synchronicity, the messier story o f dance (and its absence from Kantinspired aesthetics), tells us something about the inadequacy of the Greenberg-Adorno model. How might Cunningham’s work shed some light on Aesthetic Theory—its lacunae but also its possibilities? How might Aesthetic Theory—despite its inadequacies—be made to say something of value about dance?Dance Research Journal 42 / 1 summer 2010 49 To approach these areas of questioning intelligently, we must first recall that Adorno treats modernism not simply as a matter of increasing self-reflexivity and formalism but also as a struggle—explicitly—with expression. His chronology of secular art could be encapsulated in the following way (and here comes my speed train version of Aesthetic Theory, which I hope summarizes clearly the vital points of the dialectic): The institutional critique responsible for late impressionist and then cubist rt engenders a suspicion with respect to illusionism; the abandonment of illusi onism then heralds the embrace of expressionism as a kind of anticonventionalism (think of the German art movement of the 1920s, the Neue Sachlichkeit or New Objectivity); the subsequent rejection of psychological narrative and subjective emotion, however, entails a critique of expressionism, which then leads ineluctably to an astringent, objective constructivism (minimalism, permutational procedures, chance operations, and so on). At each moment, expression remains—how could it not? but it is reworked through different forms of critique. For Adorno, the tension between expressionism and constructivism becomes paradigmatic of late modernist art. A close reading of Aesthetic Theory reveals further that for its author, this tension is productive of art itself. The salient points of convergence between Adorno and Cunningham are that they both show a marked preference for construction and they both reject psychological narrative, yet they simultaneously rescue expression as an in evitable component of man-made things.In their respective and utterly idiosyncratic ways of thinking they both manage to re-define expression—and they do so in surprisingly compatible ways (although this may not at first seem to be the case). For Cunningham, no movement performed by the human body can ever be lacking in expressive content, either because the human body always communicates some kind of dynamic or because the audience member maps onto the moving body a personal meaning (see Brown 2007, 53). For Adorno, in contrast, expression in art â€Å"is the antithesis of expressing something† (1970/1997, 112; emphasis added).True expression, he argues, is intransitive; there is no object for the verb â€Å"to express. † As with the verb â€Å"to move,† there is a transitive form: one can â€Å"move furniture† as one can â€Å"express a liquid†Ã¢â‚¬â€say, juice from an orange. But when referring to dance (as opposed to painting), to be an intransitive form of expression means that a body must move and thus express without an external object to be expressed. Put differently, the expressive movement is not trying to illustrate anything (even the music).And here is where Cunningham and Adorno converge: an artistic act can be conceived as antinarrative, apsychological, and yet fully expressive. The dance can move its audience without relying on pathos embedded in plot, or energy framed as categorical emotion. There is no external referent that the body’s movement refers to; it is not expressing more than it is (or, rather, more than it is doing). On this reading, expression is borne by a materiality—the moving body—it can only transcend by losing itself.David Vaughan, Cunningham’s archivist, has defined Cunningham’s project in terms that resonate in this context: â€Å"It goes without saying,† he writes, that Cunningham has not been interested in telling stories or exploring psy chological relationships: the subject matter of his dances is the dance itself. This does 50 Dance Research Journal 42 / 1 summer 2010 not mean that drama is absent, but it is not drama in the sense of narrative— rather, it arises from the intensity of the kinetic and theatrical experience, and the human situation on stage. (1997, 7; emphasis added)By â€Å"intensity of the kinetic and theatrical experience,† Vaughan is probably referring to the audience’s experience; he is alluding to John Martin’s famous theory that we, as spectators, empathize kinesthetically with the dancers (a theory developed by Expressionist dancers of the 1920s, or Ausdruckstanz). (He may also be thinking of Cunningham’s aforementioned claim that members of the audience are free to introduce their own meaning into the performed motions. ) What is more interesting in this passage, however, is the notion of a â€Å"human situation on stage. What, precisely, does Vaughan mean by a â€Å"human situation on stage†? What would a â€Å"human situation† consist of? How could non-narrative dance produce â€Å"drama† and remain expressive? Expressive of what? To illustrate what a â€Å"human situation on stage† might be, how it solicits an intransitive expression, and thus how it illuminates the hidden corners of Adorno’s theory of expression, I want to turn to a particular moment in Cunningham’s development as a choreographer, the period roughly from 1951 to 1956. During these years, Cunningham was just beginning to experiment with the chance procedures he learned from John Cage.The two dances that are most pertinent in this regard are Sixteen Dances for Soloist and Company of Three, a fifty-three-minute work first presented in 1951; Suite by Chance (1952–1953); and Solo Suite in Time and Place of 1953, which later became Suite for Five (performed in 1956). The first one, Sixteen Dances, is historic for several reasons: it demonstrated the influence of Hindu aesthetics, which Cage had been exploring since at least 1946, when he first mentions Ananda Coomaraswamy’s The Transformation of Nature (Nicholls 2007, 36).The piece depicts the nine â€Å"permanent† emotions described in the Natyasastra, the sourcebook of Hindu/Sanskrit classical theater. These emotions were, as Cunningham recast them, Anger, Humor, Sorrow, Heroic Valor, the Odious (or disgust), Wonder, Fear, the Erotic, and Tranquility (or Peace). Moreover, Sixteen Dances (accompanied by a composition Cage wrote bearing the same name) contained what might very well be the first dance sequence based on the use of chance operations. 4 Thus, Sixteen Dances, the very choreography in which chance procedures are introduced for the first time, is explicitly about the emotions and their expression.There is some confusion concerning precisely how—and to what extent—Cunningham applied chance procedures to Sixteen Dances. However, his comments in â€Å"A Collaborative Process between Music and Dance† and his rehearsal notes (in the Cunningham archive at Westbeth) indicate that in at least one segment (the interlude after Fear), he used charts and tossed coins to determine the order of the movement sequences (phrases), the time intervals, and the orientations and spatial arrangements of the dancers.In â€Å"A Collaborative Process† he writes The structure for the piece was to have each of the dances involved with a specific emotion followed by an interlude. Although the order was to alternate light and dark, it didn’t seem to matter whether Sorrow or Fear came first, so I tossed a coin. And also in the interlude after Fear, number 14, I used charts of separate Dance Research Journal 42 / 1 summer 2010 51 movements for material for each of the four dancers, and let chance operations decide the continuity. (qtd. in Vaughan 1997, 58; qtd. in Kostelanetz 1998, 140–41).A gain, in â€Å"Two Questions and Five Dances,† Cunningham specifies: â€Å"the individual sequences, and the length of time, and the directions in space of each were discovered by tossing coins. It was the first such experience for me and felt like ‘chaos has come again’ when I worked in it† (qtd. in Vaughan 1997, 59). It is clear that the first dance Cunningham choreographed entirely through the application of chance procedures was Suite by Chance in 1953. Cunningham’s published accounts of Suite by Chance are much more specific with respect to the use of charts and coin tossing than his accounts concerning Sixteen Dances (Cunningham 1968, n. . ; see also Brown 2007, 39; and Charlip qtd. in Vaughan 1997, 62, 70). Carolyn Brown has indicated that in Sixteen Dances it was the order of the movement phrases that was determined by chance, not the individual movements or positions within the movement phrase. 5 The continuity at stake in Sixteen Dances, t hen, would be the continuity between phrases, not individual movements. And yet, in an unpublished note from the archive, Cunningham indicates that he was already interested—at least conceptually—in separating phrases into individual movements and enumerating their various possibilities.In other words, the logic generating his later procedures—the breaking up of phrases into individual movements that were then charted and ordered into sequences selected by chance—already existed in an embryonic state. Anticipating a practice he would soon refine, Cunningham provides the following list of potential movement material in his rehearsal notes: â€Å"Legs can be low, middle or high in air; legs can be bent or straight; legs can be front, side, or back† (Cunningham 1951). The schematic rendering of movement choices (into what he calls â€Å"gamuts of movement†) foreshadows the kinds of taxonomies he would develop later (Vaughan 1997, 72).Photograph ic representations suggest that at this point in his career, Cunningham was still choosing movement material thematically. That is, the types of movement selected for any given emotion had a culturally conventional relation to that emotion. Describing Sixteen Dances, Cunningham writes: â€Å"the solos were concerned with specific emotional qualities, but they were in image form and not personal—a yelling warrior for the odious, a man in a chair for the humorous, a bird-masked figure for the wondrous† (qtd. in Vaughan 1997, 59).Unfortunately, there is no video or film record of the dance, but from the extant photographs, it is apparent that Cunningham was working with a modernist vocabulary; there is something reminiscent of Martha Graham or Ted Shawn in the dramatic poses, the off-center leaps, and the contracted upper body that we do not see in his work later. In Cunningham’s rehearsal notes (1951) for the piece—and there is no way of knowing if these re flect the completed piece as it was ultimately performed—he jots down the idea of introducing a conventional balletic vocabulary for the final quartet on â€Å"tranquility. â€Å"Finale to proceed from balletic positions, and return to them at all cadences!!! † he exclaims. I believe Cunningham so emphatically chooses balletic positions as starting and termination points, as tranquil â€Å"rests,† because they offer movement material that is less associated 52 Dance Research Journal 42 / 1 summer 2010 Photo 2. Merce Cunningham in his Sixteen Dances for Soloist and Company of Three (1952). Photographer: Gerda Peterich. by convention—at least, by Graham convention—with particular emotional states.As Cunningham writes about the period: â€Å"It was almost impossible to see a movement in modern dance during that period not stiffened by literary or personal connection† (qtd. in Vaughan 1997, 69). If â€Å"tranquility,† the ninth emotion f rom the Natyasastra, signifies the transcendence of emotion, then perhaps a ballet vocabulary would be appropriate, especially against the background of the earlier eight, more conventionally expressive, â€Å"images† used for the solos and the erotic duet. During the years 1951–1956, Cunningham was obviously making discoveries that would become consistent elements of his practice for years to come.In works such as Sixteen Dances and Solo Suite in Space and Time (1953), not only does he introduce chance operations but he also develops an approach to the body as an expressive organ. He chooses movement material that might be considered conventionally expressive as well as movement material based on classroom exercises, but he elects (or engenders through chance operations) a sequence of phrases or poses that is not conventional. In Sixteen Dances newly minted chance operations allow him to experiment with the order of the movement material in a way that endangers the co ntinuity of the dance. But what he learns by endangering that more conventional Dance Research Journal 42 / 1 summer 2010 53 form of continuity is that another form of continuity can emerge. As he underscores in his rehearsal notes for the 1956 Suite for Five (an extension of Solo Suite in Space and Time with added trio, duet, and quintet): â€Å"Dynamics in movement come from the continuity† (Cunningham 1951; emphasis in the original). What would supply this continuity if not the acquired syntax of traditional dance forms, if not the momentum of propulsive movements?Over the course of a year of rehearsals for Sixteen Dances (the time it took to mount the duets, trios, and quartets on Dorothea Brea, Joan Skinner, and Anneliese Widman) Cunningham found his answer. The continuity melding one movement to another would be derived from the dancer herself, that is, from the way she found to string together movements previously not linked by choreographic or classroom practices. In â€Å"Two Questions and Five Dances,† Cunningham describes his pleasure as he watched Joan Skinner take a notoriously difficult sequence of movements and thread them together seamlessly with her own body.Skinner introduced â€Å"coordination, going from one thing to another, that I had not encountered before, physically† (qtd. in Vaughan 1997, 59). His comments introduce what emerges as a constant in his choreography. According to Carolyn Brown, Although the overall rhythmic structure and tempi were Merce’s, he wanted me to find my own phrasing within the sections. . . . Unlike what happens in ballet, there is no other impetus, no additional source of inspiration or energy, no aural stimulus . . . There is only movement, learned and rehearsed in silence.In order for Cunningham dancers to be â€Å"musical,† they must discover, in the movement, out of their own inner resources and innate musicality, what I call, for want of a better word, the â€Å"song. à ¢â‚¬  . . . There is a meaning in every Cunningham dance, but the meaning cannot be translated into words; it must be experienced kinesthetically through the language of movement. (2007, 195–96; emphasis in the original) Dynamics are thus not preconceived by the choreographer but instead emerge from the dancer’s creation of unscripted, â€Å"discovered† transitions leading from one movement, or one movement sequence (phrase), to the next.These transitions providing continuity are forged by the dancer’s own coping mechanism, her way of assimilating each movement into a new sequence, a new logic, that only the body can discover in the process of repeated execution. In Sixteen Dances Skinner provided him with a crucial insight (reinforced by Carolyn Brown soon after), namely, that the expressivity of the body is lost neither when the elements of an expressive movement vocabulary, a set of â€Å"image forms,† are re-mixed or forcibly dis-articulated, nor when the elements re-mixed are themselves as neutral and unburdened by cultural associations as possible.So what is the â€Å"human situation on stage†Ã¢â‚¬â€to return to our earlier question—and in what way can it be considered expressive? I believe that what Cunningham was beginning to uncover in his work during this period, and that he fully realizes in Suite for Five of 1956, is that the human body is doubly expressive: it can be expressive transitively, in an easily legible, culturally codified way, and it can be expressive intransitively, simply by exposing its dynamic, arc-engendering force. This intransitive expressivity belongs to an animate form responding at what Adorno calls the â€Å"proto† subjective level (1970/1997; 112).That is, the continuity-creating, coping body is relying on an order of sensorimotor 54 Dance Research Journal 42 / 1 summer 2010 sensitivity that is itself an expressive system, one that underlies and in fact renders possib le what we identify as the familiar signifying system of conventional expressive â€Å"images† and â€Å"personal† emotions. 7 The â€Å"human situation on stage† can therefore be summed up as a set of kinesthetic, proprioceptive, weight-bearing, and sometimes tactile problems to be solved. In the rehearsal notes for Suite for Five (1952–1958), these problems are enumerated succinctly.Cunningham composed this piece by relying on movement materials whose sequences were determined by the imperfections appearing on a sheet of paper. (Here, he was imitating Cage, who invented the process with Music for Piano, which accompanied the Solo Suite. ) Cunningham tells us that the dancers had to worry about (1) â€Å"where† they are; (2) â€Å"then where to† (where they have to get to); and (3) â€Å"if more than one person [is] involved,† how the movements they make will be affected by the other’s presence on the stage. In short, the spat ial and interpersonal relationships present the problems and constitute the â€Å"human situation on the stage. The dancers are called on not to express a particular emotion, or set of emotions, but instead to develop refined coping mechanisms for creating continuity between disarticulated movements while remaining sensitive to their location in space. They must keep time without musical cues; sense the presence of the other dancers on stage; know blindly, proprioceptively, what these other dancers are doing; and adjust the timing and scope of their movements accordingly, thereby â€Å"expressing† the â€Å"human situation† at hand.All this work is â€Å"expressive†Ã¢â‚¬â€it belongs to the â€Å"category of expression†Ã¢â‚¬â€insofar as it is demanded by a human situation on a stage and insofar as human situations on stages (or otherwise) constitute an embodied response to the present moment, an embodied response to the utterly unique conditions of exis tence at one given point in time. In an interview with Jacqueline Lesschaeve, Cunningham puts it this way: â€Å"You have to begin to know where the other dancer is, without looking. It has to do with timing, the relationship with the timing. If you paid attention to the timing, then, even if you weren’t facing them, you knew they were there.And that created a relationship† (Cunningham 1991, 22). Relationships, engendering inevitably the â€Å"human situation,† are defined as body-to-body relationships, or really moving-body-to-moving-body relationships. As Tobi Tobias has suggested, â€Å"perhaps movement is at the core, the body’s response preceding the psyche’s† (1975, 43). Contemporary neuroscience is in fact beginning to confirm this point of view: relationships are forged kinetically, and thus the human drama begins at a prepsychological, perhaps even presubjective level of interaction with the world.The work of Antonio Damasio (1999) and Marc Jeannerod (2006) in particular emphasizes the degree to which largely (although not entirely) nonconscious operations of the sensorimotor system—including visuomotor functions and kinesthetic, proprioceptive, haptic, and vestibular systems—constitute the very conditions of possibility for the emergence of â€Å"higher level† processes of conscious thought, symbolization (language), and feeling. These scientists dub the former, more somatic (and evolutionarily prior) layer of activity the â€Å"protoself. This protoself is related to homeostasis and the fundamental intelligence that discerns the boundary between the subject’s body and other bodies; it is thus the corporeal substrate of subjectivity understood as an awareness of being a separate self. 8 If we return to Cunningham’s statement, quoted above, we can see that a relationship Dance Research Journal 42 / 1 summer 2010 55 forged simply by occupying the same duration of time produce s a â€Å"human situation† insofar as two bodies are obliged to remain aware of each other’s presence.This awareness is not necessarily colored with affect; that is, the â€Å"human situation on stage† is not necessarily charged with emotion. To that extent, we can say that Cunningham’s choreographic procedure attends to intimacies occurring on the level of the presubjective layer of interaction between human beings; â€Å"presubjective† would not mean pre-individual or pre-individuated but rather singular embodiment in an intersubjective milieu before that embodiment enters a narrative, a conventional, socially defined relation to the other.The relation to the other, as Cunningham points out, is structured by time; in a duet, for instance, the choreographic imperative is that bodies should be doing particular things at particular moments in a predetermined sequence. Yet at the same time, the cohabitation of that temporal and spatial dimension that is the stage creates a situation—a â€Å"human situation†Ã¢â‚¬â€in which two or more bodies must become aware of one another’s movements; they thereby enter into a relation on the â€Å"presubjective,† or prepsychological, level.In Aesthetic Theory Adorno defines precisely this presubjective layer of existence as the origin of expressive behavior: that is, the prepsychologized body, related in his mind to the human â€Å"sensorium,† is itself the source of expressive content. Beyond—or underlying—the explicit, conventionalized content of artworks is another content: the sensorium’s â€Å"objective† consciousness, as he puts it, of the surrounding world that it probes. In their expression, artworks do not imitate the impulses of individuals, nor in any way those of their authors†; instead, he continues, artworks are imitation (mimesis) â€Å"exclusively as the imitation of an objective expression† (1970/199 7, 111–12; emphasis added). This objective expression is best captured by the musical term â€Å"espressivo,† he continues, since it denotes a dynamic that is entirely intransitive, â€Å"remote from psychology,† although generated by a human subject.Significantly for our purposes, he adds that the â€Å"objective expression† of subjectivity is continuous with the layer of existence â€Å"of which the sensorium was perhaps once conscious in the world and which now subsists only in artworks† (112). This â€Å"sensorium†Ã¢â‚¬â€a â€Å"consciousness† not yet self-reflexive yet nonetheless a consciousness—is composed of a set of receptors relating intimately to the external world.The layer of existence captured by the sensorium may be considered the objective aspect of subjectivity, the world-sensitive, outer-directed, knowledge-seeking, coping body that is the foundation on which a psychic subjectivity, a personality, builds. Ult imately, for Adorno, it is the experience of this objective layer of being (the â€Å"consciousness† of the sensorium) that artworks seek to â€Å"express. † â€Å"Artworks,† Adorno writes, â€Å"bear expression not where they communicate the subject, but rather where they reverberate with the protohistory of subjectivity† (112).Another fruitful way to think of the relation between the â€Å"protohistory of subjectivity† and expression can be found in the work of Charles Darwin. As unlikely as it may seem, there is a continuum leading from Darwin’s The Expression of the Emotions in Man and Animals (1872/1965) through Merleau-Ponty’s Phenomenology of Perception ([1962] where he relies heavily on Darwin for his understanding of the expressive body), to Adorno’s Aesthetic Theory and its notion of a primordial sensorimotor apprehension captured mimetically in art.Adorno’s sensorial â€Å"consciousness† or â€Å"presu bjective† layer of being in the world looks surprisingly like Darwin’s understanding of â€Å"corporeal intensities†Ã¢â‚¬â€muscular 56 Dance Research Journal 42 / 1 summer 2010 contractions, accelerated circulation, and their various manifestations on the faces and bodies of animals and humans. These â€Å"corporeal intensities† are forms of expression—or â€Å"proto† expression, if you like—that serve as the precondition for the development of more culturally legible, codified expressive gestures (such as the wince or the smile).In The Expression of the Emotions in Man and Animals, Darwin’s theory of expressivity links the development of what we call emoting to primary neurological and physiological responses generated by a sensorimotor intelligence. What we identify as rage, he writes, is actually caused by a response generated in animals by the autonomic circulatory system; behavior that comes to be designated as anger (for the observer) begins with an accelerated flow of blood, while behavior identified as joy or vivid pleasure is underwritten, so to speak, by the quickening of the circulation.What we identify as â€Å"suffering† is expressed through the contraction of a wide variety of muscle groups. Over the course of time, muscular contraction in general comes to be associated with angst, although the specific groups of muscles contracted might vary from culture to culture. For instance, one culture might associate suffering with the contraction of the facial muscles, for example, in a grimace. A different culture—or really, a subculture, such as modern dance—might associate suffering with the contraction of muscles in the abdominal cavity, sternum, and pelvis.In both cases, the adaptive behavior, muscular contraction, can be observed as distinct from the social significations it comes to acquire. Animals and humans both exhibit behaviors that are closely associated with emotio ns, but theoretically it should be possible—and this is Darwin’s goal—to dissociate the protosubjective expressiveness of the body (muscle contractions, autonomic responses) from the conventionalized, codified gestures into which this expressivity has been conjugated.Adorno and Cunningham both target—the first to theorize, the second to achieve—this primary order of protosubjective expressiveness contained in, but potentially dissociable from, the conventionalized gestures to which it gives rise. The â€Å"human situation on stage† that is so â€Å"dramatic† or â€Å"expressive† (in Cunningham’s vocabulary) is one in which human bodies have been released from the prefabricated shapes and congealed (â€Å"stiffened†) meanings imposed by a given choreographic vocabulary or gestural regime (qtd. n Vaughan 1997, 69). Cunningham trusts that by preventing the conventional sequencing of movements within a phrase (through the application of chance procedures) he will coax dancers to exhibit dynamics that are at once more â€Å"objective†Ã¢â‚¬â€in the sense that they are generated by coping mechanisms rather than emotional states—and utterly idiosyncratic—radically subjective, we might say, in the sense that they are generated by the singular body of the dancer confronting an utterly unique â€Å"human situation on stage. In â€Å"The Impermanent Art† (1952), Cunningham comes very close to naming Darwin’s â€Å"corporeal intensities† when he evokes an order of muscular dynamics released from association with conventional emotions, such as passion and anger. Here he writes that Dance is not emoting, passion for her, anger against him. I think dance is more primal than that. In its essence, in the nakedness of its energy it is the source from which passion or anger may issue in a particular form, the source of energy out of which may be channeled the energy t hat goes into the various emotionalDance Research Journal 42 / 1 summer 2010 57 behaviors. It is that blatant exhibiting of this energy, i. e. , of energy geared to an intensity high enough to melt steel in some dancers, that gives the great excitement. (qtd. in Vaughan 1997, 86) The â€Å"blatant exhibiting† of an intensified corporeal energy bears a relation to what Darwin calls the exhibition of â€Å"corporeal intensities† by animals that can only be said to be â€Å"angry† or â€Å"ashamed† if we anthropomorphize their movements.Cunningham seems acutely attuned to what Darwin also notes: our tendency to interpret (anthropomorphize) animal behaviors, a tendency he implicitly identifies with the public’s desire to read psychological meaning into the intensified corporealities of the dancers on stage. One could even say that Cunningham attempts to de-anthropomorphize our understanding of human behavior on stage; that is, he wants us to de-reify, to extract from the conventionalized, psychologizing modes of dance spectatorship, the movement behavior â€Å"blatantly† exhibited in his choreography.He asks us to experience even the graceful, plangent duet of Suite by Chance without sentimental overlay, as though it were simply an instance of protosubjective expressivity displayed by two moving bodies implicated in a â€Å"human situation on stage. † Perhaps not incidentally, Cunningham’s most suggestive evocation of this â€Å"protosubjective† layer of expressivity appears in a passage on animals and music—and it is with this passage that I would like to conclude. Cunningham is talking about his reasons for separating music from his horeography, explaining why he avoids giving his dancers musical cues with which to time the duration of their movements or generate their expressive dynamics. At pains to offer a positive rendering of what he is seeking, he notes instead that the polar opposite of what he aspires to in his collaborations with Cage may be â€Å"seen and heard in the music accompanying the movements of wild animals in the Disney films. [This music] robs them of their instinctual rhythms,† he claims, â€Å"and leaves them as caricatures.True, [the movement] is a man-made arrangement, but what isn’t? † (qtd. in Vaughan 1997, 10). Let us imagine for a moment the Disney animator as cave painter, miming—like the â€Å"primitive† dancer of Benjamin’s â€Å"On the Mimetic Faculty†Ã¢â‚¬â€the power of the animal totem. In an act of sympathetic response, troubling the boundary between mime and mimed, the animator studies the animal, acquiring its rhythmic gait, the expressive dynamic of its way of howling or extending a paw.Without knowing exactly what the animal means, how that howl or extension signifies in an animal world, the animator copies, uses whatever conventions and images—whatever man-made arrangementsà ¢â‚¬â€she has to approach the original in its presubjective, prepsychologized movement state. That, for Cunningham, is what can be freed through the disruption of continuity, through the imposition of the strict, unforgiving disciplines of permutation and chance.The protosubjective order of the wild gesture is what we might see if it were unencumbered by narrative, if it could be captured without the omnipresent, strip-mall swelling music of the Disney world in which we all too often bathed. Ultimately, the â€Å"human situation on stage† is, despite years of rehearsals and revivals, a set of â€Å"wild gestures† expressing what it is like to be a sensorium moving on stage. The challenge that remains is to determine both how Cunningham’s choreographic practice divulges the work of the proto-self and how that work informs (and is balanced by 8 Dance Research Journal 42 / 1 summer 2010 the exigencies of ) the construction of artworks, that is, the construction of dances for audiences in specific historical settings with demands of their own. Another challenge arises with respect to Adorno and my allied project of reading dance back into Aesthetic Theory. If, as he claims, artworks—not dances, but paintings, sonatas, and poems—â€Å"reverberate with the protohistory of subjectivity,† then where is this â€Å"reverberation† to be located?Where (or when) in the process of art making does protosubjectivity intervene as an agent, as a constituting force? And if, as Adorno implies, we are no longer sensuously alive (â€Å"the sensorium was perhaps once conscious in the world,† he writes), then how do we recognize the presence of the sensorium’s influence on the composition of artworks? What remains of the sensorium in art, of the sensorium in dance? These questions inform the next phase of my research, the contours of which I have only begun to outline.Notes 1. Jose Gil provides several fine articulations of Cunningham’s project in â€Å"The Dancer’s Body† (2002). I agree with Gil that, in an attempt to â€Å"make grammar the meaning,† or â€Å"make body awareness command consciousness† (121), Cunningham â€Å"disconnects movements from one another, as if each movement belonged to a different body† (122); however, I do not believe that the actual dancer ends up with a â€Å"multiplicity of virtual bodies† (123), a â€Å"body-without-organs† (124).As I document later in this essay, Cunningham’s most successful dancers (in his eyes and my own) have been those who are able to absorb the movement sequences into their own body; the grammar’s inflection, the sequence’s assimilation through the body’s singular dynamics, is what ultimately lends the dance â€Å"meaning† in the way Cunningham intends. 2. See â€Å"The Impermanent Art,† first published in Arts 7, no. 3 (1955) and reproduced in Ko stelanetz (1989) and Vaughan (1997). 3.See especially the appendices to Adorno’s Aesthetic Theory. The work was not finished during Adorno’s lifetime (Adorno died in 1969. ) 4. Sixteen Dances for Soloist and Company of Three was first performed in Milbrook, New York. It contained the following sequence: solo, trio, solo, duet, solo, quartet, solo, quartet, solo, duet, solo, trio, solo, quartet, duet, quartet. See Vaughan (1997, 289). 5. Carolyn Brown, personal communication with the author, June 24, 2009. 6. Cunningham presents what he is getting at as ollows: â€Å"You do not separate the human being from the actions he does, or the actions which surround him, but you can see what it is like to break these actions up in different ways, to allow the passion, and it is passion, to appear for each person in his own way† (qtd. in Vaughan 1997, 10). 7. Mark Johnson (1987) and Daniel Stern (1985/2000) also believe that our ability to be expressive in the more familia r way—to display human emotions such as anger or pity—is predicated on a presubjective capacity to organize experience into â€Å"image schemata† ( Johnson) or â€Å"vitality affects† (Stern).The neuroscientist Antonio R. Damasio has more recently argued that a protoself, or neural substrate of sensory feedback, is the condition of possibility for emotions per se (1999). What is â€Å"expressed† by this protoself is movement, a nonthematized awareness of orientation, a sense of balance. Cunningham’s choreography appears to be calling on its dancers to â€Å"express† precisely these functions; they are what provide the continuity, the dynamic, that is so moving to watch. On the sensorimotor protoself and our access to it, see my Agency and Embodiment (2009). 8. See Damasio (1999) and Jeannerod (2006).Damasio insists that the protoself is entirely nonconscious, but Jeannerod provides persuasive evidence that kinesthetic awareness is oft en available to the conscious self. See also Joseph LeDoux (2002) for a similar account. Dance Research Journal 42 / 1 summer 2010 59 Works Cited Adorno, Theodor W. 1970/1997. Aesthetic Theory, edited by Gretel Adorno and Rolf Tiedemann. Translated and introduced by Robert Hullot-Kentor. Minneapolis: University of Minnesota Press. Benjamin, Walter. 1986. â€Å"On the Mimetic Faculty. † Reflections: Essays, Aphorisms, Autobiographical Writing, edited by Peter Demetz, 333–36. New York: Schocken.Brown, Carolyn. 2007. Chance and Circumstance: Twenty Years with Cage and Cunningham. New York: Knopf. Cunningham, Merce. 1951. Rehearsal Notes. Merce Cunningham Archives, Westbeth, New York City, New York. ———. 1952–1958. Rehearsal Notes. Merce Cunningham Archives, Westbeth, New York City, New York. ———. 1968. Changes: Notes on Choreography. Edited by Frances Starr. New York: Something Else Press. ———. 1991. Th e Dancer and the Dance: Merce Cunningham in Conversation with Jacqueline Lesschaeve. New York: Marilyn Boyars. Damasio, Antonio R. 1999. The Feeling of What Happens: Body and Emotion in the Making of Consciousness.New York: Harcourt Brace. Darwin, Charles. 1872/1965. The Expression of the Emotions in Man and Animals. Chicago: University of Chicago Press. Foster, Susan Leigh. 1986. Reading Dancing: Bodies and Subjects in Contemporary American Dance. Berkeley: University of California Press. Franko, Mark. 1995. Dancing Modernism/Performing Politics. Bloomington: Indiana University Press. Gil, Jose. 2002. â€Å"The Dancer’s Body. † In A Shock to Thought: Expression after Deleuze and Guattari, edited by Brian Massumi, 117–27. London: Routledge. Jeannerod, Marc. 2006. Motor Cognition: What Actions Tell the Self. Oxford: Oxford University Press.Johnson, Mark. 1987. The Body in the Mind: The Bodily Basis of Meaning, Imagination, and Reason. Chicago: University of Chica go Press. Kostelanetz, Richard. 1989. Esthetics Contemporary. Buffalo, NY: Prometheus. ———, ed. 1998. Merce Cunningham: Dancing in Space and Time 1944–1992. New York: Da Capo. LeDoux, Joseph. 2002. The Synaptic Self. New York: Viking. Manning, Susan A. 1993. Ecstasy and the Demon: Feminism and Nationalism in the Dances of Mary Wigman. Berkeley: University of California Press. Merleau-Ponty, Maurice. 1962. Phenomenology of Perception. Translated by Colin Smith. New York: Routledge. Nicholls, David. 2007.John Cage. Urbana: University of Illinois Press. Noland, Carrie. 2009. Agency and Embodiment: Performing Gestures/Producing Culture. Cambridge, MA: Harvard University Press. Reynolds, Dee. 2007. Rhythmic Subjects: Uses of Energy in the Dances of Mary Wigman, Martha Graham, and Merce Cunningham. Hampshire, England: Dance Books. Stern, Daniel. 1985/2000. The Interpersonal World of the Infant. New York: Basic. Tobias, Tobi. 1975. â€Å"Notes for a Piece on Cu nningham. † Dance Magazine 42 (September). Vaughan, David. 1997. Merce Cunningham: Fifty Years. Edited by Melissa Harris. New York: Aperture. 60 Dance Research Journal 42 / 1 summer 2010