Wal-Mart Organizational Structure Paper Essay Example for Free

Wal-Mart Organizational Structure Paper Essay As an organization Wal-Mart has grown into a global and multimillion dollar company in America and around the world. They have been at the top of the list for the fortune and global 500 for years. They make big headlines both good and bad. They are in the United Kingdom, China, and Brazil, and all over the world. Wal-Mart started its global market in 1991, where they opened up a store in Mexico City. The profits were not that good at the beginning because they opened the store using plans and strategies they use in the United States. Those internal and external factors in globalization affected the four functions of management such as planning, organizing, leading, and controlling. It was a learning experience for the organization and they had to assemble different plans for more international stores. When we think of technology in companies like Wal-mart, we think of marketing technology. With marketing technology, Wal-mart uses all functions of management. These functions had to be planned, organized, controlled, and their managers have to take the lead to convince or motivate the employees to carry out the marketing strategies in order for them to be effective. For example, anybody can market a sale in their stores, but if it is not planned, organized, or controlled, the store will not meet the goals, which can include an increase in sales, or an increase in the amount of customers coming into the businesses. When Wal-mart first started their business, they were clothing, small appliances, and home goods type of business. Through the years of their technology innovation, they saw how they can benefit from expanding their sales to food, pharmacy, sporting goods, and even an auto center. As they moved forward, they brought in private banks, eye care centers, nail salons, hair salons, and even a place for professional photos. Their careful planning and organizing helped them to become one of the largest retail stores not only in America but also nation-wide. Their strategies to make this happen were very successful because of the four function of management working well when they made these changes. Wal-mart is a perfect example of the way the four functions of management can work. Not only work but also work effectively with organized planning, controlling the needed changes, and acquiring the right management in place to take the needed charge for it all to come together. Without technology and the four functions of management, Wal-mart would not be the successful business it is today. There are many internal and external factors that affect functions of management. When we speak of Diversity, which is a variety or range of different things, and we look at the Planning, organizing, directing, and controlling functions of management. An organization may look at hiring different ethnic backgrounds, ages, genders as well as focus on offering different types of services within the organization. Meeting the needs of the community will be very important for business to grow; therefore bi-lingual staff will be a plus. Store location is a keen factor as well, so an organization may have greater opportunity in a location where there is no competition. Advertisement will come into play when organizing. What types of advertisements to use will have to be decided upon. Billboards, TV commercials, newspaper inserts, English/Spanish, or even flyers may be considered. There are also sales papers in every entrance of every store for customers to look through as they shop. The set-up of the store also falls under organizing, figuring out the layout of items and additional services like urgent care centers or nail spas. Directing and Controlling of an organization will depend mostly upon management. Policies will be set on ways to encourage, motivate, and train employees. According to the Journal of Public Administration Research and Theory, â€Å"Organizations need to make cultures that allow workers from various fields to succeed.† An organization needs to have policies in place that provide opportunity for everyone to improve. Targeting customers from different ethnicities and age are important as well as offering an array of product, designating adequate handicap parking spots, shopping carts, and motorized scooters. Customer surveys and employee job performance reviews are also a part of Controlling. The ethics function will focus on the moral principles that govern a group’s behavior. Initially during planning, a company may be sure that items not appropriate for children are locked away, such as explicit CD’s or weapons. When organizing, customers are more likely to shop at a store where the staff is courtesy, kind, respectful, and helpful. The Directing and Controlling functions are monitored more so by management to ensure that policies are adhered to, and tracked for compliance. Excellent customer service will be a focus because happy and satisfied customers are return customers. Although as consumers, this is an area that many stores are losing their focus on. In Business Ethics: The Law of Rules, the author states â€Å"Rules have the greatest impact when they cause people to behave differently than they would have behaved in the absence of the rule.† This would mean that if there is a policy in place for monetary incentives for the employee with the most customer service nominations, and more employees are trying to obtain the incentive, the â€Å"great impact† will be that more employees are exuding excellent customer service and more often. Though there are many other stores that offer the same items as Wal-Mart such as Target, K-Mart, Sams, owned by the same person. Customers like Wal-mart better because of the great prices and can do more at this one location; they can at the other similar stores. In conclusion, Wal-Mart is still the leading organizational business to this day, mixing the good with the bad situations that come about. There are many internal and external factors that affect Wal-Mart, globally, technically, and ethically. Diversity and innovation also play roles in leadership and management. The reason I have chosen Wal-Mart as my topic for this assignment is that it is a great organization to research and discuss because of its popularity. Most of the family shopping is done at the local Wal-Mart. Clothing, Groceries, household items, pet supplies, and even my oil changes on the family car are done at Wal-Mart. After doing research I realized the effect that legal issues, ethics, and corporate social responsibility have on management planning. These are the reasons Wal-Mart has been at the top of the list for the fortune and global 500 for years. REFERNCES Journal of Public Administration Research and Theory: Oct2010, vol. 20 Issue 4 p 867-886, 20p Authors: Pitts, David W Heckling, Alisa Hawes, Daniel Melton, Erin Business Ethics: The Law of Rules Ã…  Ã„ eulovs, D., Gaile-Sarkane, E. (2011). E-MARKETING FOR A COMPANY: EXTERNAL AND INTERNAL INFLUENCE. Economics Management, 16947-953.

Effect of Computer on Design Creativity

Effect of Computer on Design Creativity Are computers taking away the creativity in design? Abstract Computers are an integral part of todays design process. They, computers represent a time and cost saving device that aids designs in rendering shapes and looking at a broader parameter of possibilities than would be possible otherwise. In looking at design, one must be aware that it represents a part of a business process that has competitive considerations. The foregoing includes costs, materials, innovation, uniqueness, distinction, functionality, and utility in gathering clients and well as customers. The contribution of computers in this highly charged environment has helped to drive down costs, while developing innovation as well as approaches to creativity. As such, designers have been able to expand their creativity through the ability of the computer to permit them to look at more possibilities in their search to arrive at solutions that fit within the preceding parameters. As software programs advance on a technological basis, newer and more powerful programs are increasingly taking on more roles in the design process. This represents the foundation of this examination in that generative design has captured a new part of the preceding in that software can generate designs based upon input parameters. Is the preceding innovative? The answer would have to be a yes. Does the foregoing aid in the business aspects in terms of broadening the range of potential possibilities, and helping to keep costs low? Again, yes is the answer. So, computers do have their place in increasing the efficiency and range of design outputs. The question is, has their role starting to become so large that they, computers are taking over the design function, relegating the designer to a computer operator? Chapter 1 Introduction In equating the question as to whether computers are taking away creativity in design, an exploration into the key words of the examination is seemingly in order. The Houghton Mifflin (2007) dictionary defines generative as â€Å"Having the ability to originate, produce, or procreate†. Design, represents the process whereby one creates, fashions, executes and or constructs according to a plan (Merriam Webster (2007). The design process, depending upon the application that is being utilised, represents trial and error in working through the steps to the final design that fits the parameters of the project (Brown, 2001, p. 2). In order to focus in on the context, design as it relates to architecture, construction and new products such as vehicles, and machines shall represent the core of the examination as represented by the question as opposed to the design of clothing, packaging, and related forms whereby the product is designed based upon primarily internal considerations as opposed to client, and or competitive, and market considerations. As brought forth by McDonagh et al (2004, p. 13): â€Å"As established products have become more similar in technology, functionality, price and quality, companies have turned to design to differentiate their offerings through human-centred innovation and to create stronger emotional connections with their customers. More companies have followed the example of Apple, Braun and Philips, recognising design as a strategic function in their business-not one subservient to marketing, manufacturing or engineering† The design process has increasingly become more competitive in terms of differentiating products, and appealing to clients and customers, as â€Å"†¦companies seek competitive advantage through more integrated offerings, with differentiation through all points of customer contact that express their brand† (McDonagh et al, 2004, p. 13). Thus, design is a critical function most businesses, taking differing forms, thus the election to restrict this examination to the aforementioned categories. Rittel and Weber (1973, p. 158) tell us that design problems are more than just complex, they, design problems, represent what they term as â€Å"wicked problems†. Moran and Carroll (1996, p. 4) in elaborating on the aforementioned advise that design problems â€Å"†¦be stated per se or solved in the sense of definitive answers, because the criteria for evaluating goals and outcomes are innumerable, subjective, and conflicting†. They add that (Moran and Carroll, 1996, p. 4): â€Å"Any solution will generate waves of consequences that interact among themselves and with other problems, changing the problem situation in irreversible and unknown ways. Thus, each wicked problem is merely a symptom of further wicked problems; their solutions cannot even be finally evaluated.† In understanding the nuances as well as ramifications of design, it is necessary to note that design is a process that it usually proceeds under conditions that are represented by a high degree of uncertainty, whereby answers to critical facets cannot be had (Moran and Carroll, 1996, p. 4). The design process also is constrained by real world considerations as represented by time, and budgets, thus the boundaries of the process, design, are not unlimited. Thus, in view of constraints, the design process needs both ingenuity as well as creativity. As brought forth by Rittel and Weber (1973, p. 158), the complexity of design problems make design projects too large for on individual to handle as multiple â€Å"†¦technical disciplines are required, as well as management discipline, in addition to creative and integrative skills† (Moran and Carroll, 1996, p. 5). Evidence supporting the technical difficulties involved in the design process is presented by Brown (1998, pp. 45-46), who states the failure rate for new buildings of all types before construction starts is around 10%. For new products, such as electronics and related categories, the failure rate as a result of design is generally within Browns (1998, pp. 45-46) range, however there are exceptions, such as the 33% failure rate that Microsofts new Xbox 360 is experiencing (DailyTech, 2007). Pressures to get it right represent a critical business decision, whether there is a client involved, or if the design process represents an internal process for the companys own products. Thus, time, cost, simplicity, and failure rate minimisation are critical business concerns that the designer must operate within. Thus, the design function, while being creativity, is also subject to the foregoing pragmatic considerations. Generative design software represents the processes whereby new designs can be automatically produced at the push of a button (Mass Customization Open Innovation News, 2006). The preceding represents computer software taking various design specifications and formulating them into a final design matrix based upon the input variables within the software program (Mass Customization Open Innovation News, 2006). The basic forms, patterns and or objects is modified automatically by an algorithm, thus permitting faster trail and error processes (Mass Customization Open Innovation News, 2006). The process of automatic design generation permits thousands of differing designs to be produced, as well as permitting new ones, as the design process is not restricted to the designers imagination (Mass Customization Open Innovation News, 2006). It, generative design is â€Å"†¦ the power or function of generating, originating, producing, or reproducing† (Merriam Webster, 2007). The designing of architecture, and products represent processes that are three-dimensional (Beilharz, 2004). Parameters as represented by colour, texture, utility design input constraints, space, regulations, gravity, materials, heat (in the case of certain products) and costs are the boundaries to the structure as well (Beilharz, 2004). The application of generative systems to design affects the design process phases and â€Å"†¦ integrates the macrocosmic and microcosmic relations of the design system†. For the purpose of clarification, macrocosmic represents â€Å"and large or complex system or structure made up of similar smaller systems or structures †¦Ã¢â‚¬  (allwords.com, 2007), whereas microcosmic is defined as â€Å" a little world †¦ a community or other unity that is an epitome of a larger unity† (Merriam Webster, 2007). This examination shall look at whether or not computers are taking away creativity in design by focusing on generative design, and how it affects the designer. In delving into the preceding, a number of important areas shall be examined in order to understand the design process, what it entails, along with what creativity is and how it is utilised. Chapter 2 -The Design Process In designing a product, building, vehicle or machine the principle output as represented by the design process is its specification as represented by either an annotated CAD rendering and or a schematic (Moran and Carroll, 1996, p. 324). The design rationale represents the why the design is done in the manner that it is, with the foregoing including various types of information (Moran and Carroll, 1996, p. 324). Fry (1999, p. 22) takes a wider view of design, stating that â€Å"†¦ it is one of the most powerful ways to understand how a world is prefigured, made and acts†. Mitchell (1990, pp. 67-71) explains the design process as one that depending upon the context, takes on differing forms. He explains that the most usual computational variations represent transformations, which he terms as unary, as well as binary operations of shapes as represented in either two dimensional drawings, and or three dimensional geographic models (Mitchell, 1990, pp. 68-69). Mitchell (1993, p. 25) states that there are areas in computer-aided design that fail to support creativity, citing shape emergence as an example. Mitchell (1993, p. 25) argues that: â€Å"that design intentions evolve through the course of a creative design process, that these intentions determine how emergent shapes in drawings will be recognized, interpreted, and reinterpreted, and that interpretation (and reinterpretation) of emergent shapes plays a crucial role in directing design explorations. Traditional computer-aided design systems do not effectively support creative design because they provide only very limited and inflexible ways of interpreting shapes.† In elaborating on the foregoing Mitchell (1993, p. 25) adds â€Å"†¦Computer-aided design systems can, however, be developed on an alternative foundation that provides the necessary flexibility†. Jun and Kim (2003) have a differing opinion of the preceding. They argue that shape semantics in CAD systems offer the potential for the emergence of shape semantics. In presenting their view, Jun and Kim (2003) offer the following rationale: â€Å"Drawings in the early phase of design support both continuity and change in a process of design through the use of two different types of drawings (1): context drawings which hold the evolving design decisions, and exploration drawings which are abstracted from the context drawing and act as graphic probes to investigate selected issues. The notion of emergence in design is found here. The ambiguity of the exploration drawings enables a designer to read more out of a drawing than he or she puts into it; that is, to generate new meanings within the design task. Through exploring drawings that are ambiguous until concept formation (2) is reached, various interpretations, in particular in visual aspect, are possible. As a consequence new drawings emerge. This process plays a crucial role to develop conceptual form in architectural design.† The limitations found in CAD systems are based in the fact that they are fixed, in terms of the representation that are embedded (Jun and Kim, 2003). They argue that there are three types of emergence in the architectural field, â€Å"†¦ shape emergence, shape semantics, and style emergence† (Jun and Kim, 2003). The rationale for this brief look at emergent shape semantics is that it represents a visual design concept, thus representing a segment of creativity (Jun and Kim, 2003). An alternative view of computers and creativity is offered by Kathleen Gibson, an associate professor of design and environmental analysis, who believes that computers actually aid in increasing creativity (Winter, 2003). Professor Gibsons unconventional approach is based upon the rationale that the designer can look at a multitude of differing examples, shapes, configuration and styles as part of their own internal creative processes and potential come up with ideas, shapes, and approaches that they may not have worked on without the aide of a computer to run through variations (Winter, 2003). Mathias (1993) advises that the more time and input designers spend on conceptualising through drawing, visualising as well as re-evaluating designs, the more they, in general, generate new information through multiple reviews and analysis, also resulting in reasoned explanations concerning problems, and proposed solutions. Lawson (1980, p. 6) advises that design represents a mental process that is highly organised, that is capable of manipulating differing as well as many kinds of information. He adds that the preceding blends that data into a set of ideas that is coherent, and finally results on the generation of ideas related to the process (Lawson, 1980, p. 6). Design, as shown throughout this examination, is a process, involving creativity, mental reviews, the manipulation of data and ideas, along with design possibilities, and then synthesising the process toward the end solution. In looking closely at the foregoing, it can easily be deduced that the limitations of the foregoin g are represented by the breathe of experience, exposure and mental foundation bank of the designer. This thus further explains why Mathias (1993) makes his statement that the more time designers spend on ‘drawing, visualising as well as re-evaluating designs, the more they, in general, generate new information through multiple reviews and analysis, the more they see other approaches, solutions and ways in which to accomplish the task, thus heightening their creativity. The explanation of the design process foregoing represents the use of non-creative facets, such as a systematic approach to the design issues and problems (Browne and Smith, 1993, pp. 1209-1218). Hertz (1992, pp. 396) brings forth what he terms as the mental synthesis-creation cycle, which represents the process of exploring alternatives in the development of the design that solves the end product and or building / structure. This represents the same approach, in general conception, as offered by Lawson (1980, p. 6). Chapter 3 Creativity Creativity, as stated by Turner (1994, p. 21) represents â€Å"†¦ the bringing forth of an original product of the human mind †¦Ã¢â‚¬ , which also has what he terms as its â€Å"†¦ mundane side as well†. The creative process is present in all of us. It represents our approach to problem solving for issues that we have not experienced before, through utilising past knowledge combined in new ways to result in a solution (Turner, 1994, p. 21). In equating creativity Weisberg (1986, p. 10) tell us that a solution is creative if it has significant novelty, and is useful. In order to qualify as creative, the new approach, and or solution must be new as well as different from those that preceded it, and, those differences need to be significant (Weisberg, 1986, pp. 12-13). The utility, usefulness, is the second facet present in a creative solution, it must solve the problem in a new, and better manner than those that preceded it, that can include at less cost, fewer parts, faster response time, etc. (Weisberg, 1986, pp. 12-13). In the design process, Cross (1986, p. 15) advises that the special ways in which designers think is embedded in their visual thinking process. Their process of creativity is based in lines, relationships, drawings and formulas representing their approach to problems (Cross 1986, p. 17-18). It must be noted that Dorst et al (1991, pp. 39-40) brought forth that the field of study in terms of design thinking was found lacking in three important areas. Dorst el al (1991, p. 42) identified the preceding as 1. a lack of research clarity, 2. lack of consistency in the tools, methods and theories utilised, and 3. the lack of a common unifying purpose. In defining design thinking, Dorst et al (1991, p. 43) advise that it represents the totality of cognitive activities during the design. The preceding is called ‘design reasoning that is distinguished from inituition as a result of the conscious as well as predictable use of rules representing inference for the outcomes of using and mani pulating design information. The preceding brings forth the facet of intuition as an important part of the process (Dorst et al, 1991, p. 46). It, intuition, resides in the subconscious, which represents the synthesis of experiences, ideas, new approaches and concepts to result in approaches (Dorst et al , 1991, p. 46). In subjecting the preceding to experimentation, Dorst et al (1991, p. 46-48) utilised four designers in a reasoning task that was comprised of a series of architectural drawings for buildings of modest size containing 9 errors. The designers had to locate the errors in a think aloud mode to let their processes be known, which was being recorded, and also making sketches, along with marking the drawings (Dorst et al, 1991, p. 46-48). Later analysis of the recordings resulted in the formulation of two groupings. One represented the mental process of new design generation through changes in the drawings and designs (Dorst et al, 1991, p. 46-48). The second category revealed that the verbal statements made led to new information generation that built upon prior statements they uttered aloud (Dorst et al, 1991, p. 46-48). Their prior histories and experiences represented the database to ascertain the errors, and pose solutions. In commenting upon this Dorst et al (1991, p. 46-48) noted th at the resulting changes were not novel, nor creative, but did solve the errors. The purpose of the foregoing is that the designers were only given a limited time frame in which to conduct their reviews, which demonstrated visual thinking as well as visual reasoning processes (Dorst et al, 1991, p. 46-48). The importance of the preceding is that it brought forth the manner in which designers use visual thinking to stimulate their processes. Wiggins and Schon (1992, pp. 45-51) provide illumination to this direction in advising that drawings and representation represent the manner in which designers communicate, not only with themselves, they also use it to communicate with others in furtherance of their ideas. Important in the preceding, is that designers employ visual thinking that consists of three types of visual imagery. The preceding is represented by what they see, what they imagine, and what they draw (McKim, 1980, p. 26). The foregoing is a highly important point in this examination, thus the rationale for the exploration these areas. Drawings and other visual representations aid in the stimulation process. It is the combination of these factors that are utilised by designers in the process of creating new designs and creative solutions. Further elaboration on this process is important in understanding the manner in which visual representations aid the design, and creative processes. Wiggins and Schon (1992, pp. 102-122) tell us that drawings help the designer in seeing, interpreting what can be potentially moved, re-evaluated, and or transformed. Tovey (1989, pp. 26-31) argues that seeing is an important part of the design process as it aids the designer in imaging, which prompts creativity and drawing. The preceding three processes work together to encourage visual thinking. The connection between the use of computers as an aid in this process will be further explored to draw upon examples that either support or refute if generative design impacts the designer, and if it aids or diminishes creativity. Herbert (1988, pp. 26-40), in his exploration of the design process states that once a designer begins to perceive the task, images, and or pictures representing solutions start to be generated in the designers mind. He adds that in the beginning of the process, these images, pictures, ideas and thoughts are not really well defined, thus needing further development (Herbert, 1988, pp. 26-40). The next stage on the process moves towards more refinement as potential solutions, a means to these ends and the routes and ideas as to how to arrive there start to develop (Herbert, 1988, pp. 26-40). The foregoing was brought forth by Mathias (1993) who advised that designer tends to utilise drawing as a means to move to developing their first ideas, and in later stages of the process, drawings are utilised for synthesis. This is what Mathias (1993) describes as stepping back and then forward in the mental processes to be engaged, and then reflect on what has been thought, to re-engage the pro cess again. Mathias (1993, pp. 113) diagrams the preceding as follows: Diagram 1 Designers Framework for Idea Development (Mathias, 1993, p. 113) Analysis of problem statement Holistic solution concept Problem Solution concept Convergence Exploration Validation Solution Mathias (1993) and McKim (1980) follow the same conceptual foundation in terms of imagery (drawings), representing a foundational facet in the design process. The preceding is part of the creative mental synthesis process whereby ideas begin as a result of engagement with the project. Verstijnen (1997), conducted experiments based upon the research methods of Finke (1990) as well as Helstrup and Anderson (1993). The six experiments conducted by Verstijnen (1997) used undergraduate industrial design engineering and psychology students to investigate emergent figures and drawing / sketching relationships. The experiment called for some students to utilise sketching and drawing, and the others to use mental processes only in resolving the problem of wire frame drawings that had figures embedded (Verstijnen, 1997). The second experiment represented the investigation of creative mental synthesis tasking asked to generate shapes that were creative based upon a cube, sphere and cone. The results indicated that the restrictions of memory was not a motivating factor in sketching as an aid in creative mental synthesis experiments (Verstijnen, 1997). In the reinterpretation of shapes, the task proved difficult based upon the utilisation of imagery alone, thus suggesting an aid was needed, drawing (Verstijnen, 1997). She added that sketching for use in synthesis may not play a significant, and or important role, however in creative mental synthesis, sketching helped to yield a higher number of creative forms (Verstijnen, 1997). A comparison of the engineering students, and non-students was not included in her study (Verstijnen, 1997). From the foregoing, the data thus far reviewed seemingly indicates that visual thinking represents an important facet of creative mental synthesis, which is important in the design of new objects. The foregoing also seems to point to the fact that the manipulation of visual images in a mental mode is an important aspect of mental creative synthesis. In addition, the preceding seems to also point to the fact that drawing is important in supporting the process of creative synthesis in new design. The use of the word seemingly and seem are utilised as there is little to no empirical evidence to support the preceding, thus the views are based upon the views as expressed by a number of authors and researchers. Chapter 4 Generative Design In generative design, the description and design of relationships and components is accomplished by the use of powerful algorithms (MacDonald et al, 2005). These algorithms permit users to manipulate geometry and dynamically model through the application of rules that capture relationships in geometric features, along the defining of complex forms (MacDonald et al, 2005). Under a generative design program, the designer, utilising a CAD tool that specifies parameters and the restraints, the program then generates a number of outcomes that the designer then utilises as input, and or for another generation of shapes, forms or approaches, solutions (MacDonald et al, 2005). The generative design approach is applicable in the whole design process, once the parameters have been input and modified (Gatarski and Pontecorvo, 1999). Generative design has been employed in the development of cars, cell phones, structures and other areas. CAD and Design Automation software has long been utilised to optimise the assembly of differing design elements. Through the use of visualisation software, designers are able to see the results without having to build prototypes. In the generative design methodology, outcomes are rendered after a detailed and high level of input specification, thus saving time over the CAD and Design Automation approach that requires time in that each instance of an idea has to be imagined, manually expressed, and evaluated (Gatarski and Pontecorvo, 1999). On the most basic level, generative design systems consist of four elements (Gatarski and Pontecorvo, 1999): design representation, generation engine, expression engine, mechanism for evaluation and selection of the new generated specifications The following, further explains the workings within these steps (Gatarski and Pontecorvo, 1999): design representation, The design representation are input as a set of parameters, along with the corresponding constraints. In the preceding, the parameter sets represent the genetic design elements, defining the form as well as structural aspects. The constraint set controls the aesthetic as well as the fabrication facets, meaning the limitations as afforded by the material dynamics to be utilised. The foregoing constraints, and rules thus place a limit on the range of the generated design. generation engine This aspect of the generative design process represents the internal process that generates the new design descriptions. It represents a set of prototype design descriptions that are also termed as ‘parents, and then utilises the algorithm to take the parameter sets and combine them into new descriptions, or children. In general, the algorithms use operations that are based upon the concepts found in the mutation and crossover aspects found in genetics. The preceding thus ensures that the descriptions, children, are drawn from the parameter values as contained in the prototype set. expression engine In the process of generative design, the expression engine interprets the descriptions, rendering them into a structure or model. The process can be set so that it is modular, thus permitting it to be able to support a host of alternative interpretations. mechanism for evaluation and selection of the new generated specifications The generative design approach is based upon having an objective function that evaluates the fitness output of the specifications of the design. In creative design area this facet is usually embedded in the human using the system. The foregoing is termed the human user in the loop as it provides a more intelligent and analytic capability as opposed to computed functions. The preceding is described as being a better match for the ranges of possibilities offered by the generative approach. Generative design offers the ability for designers to try as many ideas as possible, a critical facet when time is a constraining factor. It permits designers to thus present a variety of solutions that can thus be evaluated internally and or through focus group testing to refine the process and move to the final design variables. The foregoing recognises the fact that the design process has always been a process that is subject to the acceptance of the end user, which is either the client, or the general public. It, generative design, thus represents a means to work through a wide variety of approaches to achieve faster approximations of what will work. Chapter 5 The Role of Computers If computers are potentially limiting, and or taking away design creativity, it would seem appropriate to example the role of computers in the design process and attending questions. In the pragmatic sense, unlimited time to render and use a design is not a function of the design process. Whatever the function, be it architecture or products, there is a limited time frame for the design process to take shape, evolve, become proven through mathematical, structural, component material and cost / build considerations. The preceding represent constraints on the process that are real as well as binding. Computers have advanced the process of design through software such as CAD that enable users to perform a number of functions in time saving fashion. The preceding takes in such functions as (SAP, 2006): wire frame geometry creation, solid modelling, 3D parametric, freeform surfaces, automated assembly design, engineering drawings from solid models, re-utilisation of design components ease on design modification and the generation of multiple versions, automated generation of design components, design simulation without prototype building, data exchange, as an aid in visualisation process for areas such as rotation, shading, etc., design studies as a few of the more important, or used functions. In equating this segment of the examination, the question of creativity resurfaces. As previously mentioned by Turner (1994, p. 21), creativity brings  ·Ã¢â‚¬ ¦ forth of an original product of the human mind †¦Ã¢â‚¬ . In the design process, it aids in the production of multiple view, as well as ideas. Gero (1991) indicates that there are, in his view, five creative design processes that result in the introduction of new variables in the design prototype. These are (Gero, 1991): Combination Mutation Analogy First Principles, and Emergence The following sets forth the preceding in more detail Combination Gero (1991) tells us that ‘combination represents the combining of two or more prototype designs, with the new resulting variable introduced into the original from the former. Within this process, mutation represents the alteration of variables as accomplished by external agents (Gero, 1991). Mutation Within the preceding process, mutation represents the alteration of variables as accomplished by external agents (Gero, 1991). Through mutation, new variables can result due to extrapolation, and or combination of the variables (Gero, 1991). Analogy This is also known as ‘case-based reasoning, representing structural elements applied by one prototype design into another design problem, as well as the use of past processes for a new design problem (Gero, 1991). First Principles The above is a process whereby new relational knowledge is logically derived from the behaviour of existing structures without the knowledge of the prototype (Gero, 1991). Emergence The process of inferring structural elements that are new through the extension of elements that exist, represents emergence (Gero, 1991). Indurkhya (2002), in defining creativity from a different perspective, provides insight into Geros (1991) concept of new variable introduction. H

Drugs Should NOT be Legal :: Against Legalization of Drugs

Drugs Should NOT be Legal Everyone agrees that something must be done about the tremendous physical and emotional health problems that drug abuse causes. Concern about the abuse of drugs is so widespread that recent polls indicate it to be one of the most serious problems in today's world, threatening the security and freedom of whole nations. Politicians, health experts and much of the general public feel that no issue is more important than drug abuse. America's other pressing social problems- disease, poverty, child abuse and neglect, and corruption- often have a common element; that is drug abuse. The use of illegal drugs such as cocaine, crack, heroin and marijuana cause extensive harm to the body and brain. Yet, even after knowing this many people want illegal drugs to be legalized in every aspect. The last thing we need is a policy that makes widely available substances that impair memory, concentration and attention span; why in God's name foster the uses of drugs that make you stupid? The campaign for drug legalization is morally disgusting.The number of people who are addicted to illegal drugs or are users of these drugs is quite shocking. Drug abuse is clearly an injurious and sometimes fatal problem. The leaders of the international economic summit in Paris in July 1989 concluded that the devastating proportions of the drug problem calls for decisive action. On September 5, 1989, President Bush called upon the United States to join in an all-out fight against drugs. The United States Congress reports an estimated 25 to 30 million addicts of illegal drugs worldwide. Not all users are addicts, but some of the 26 million regular users of illegal drugs in the United States are addicted. Reports of child abuse to New York social services tripled between 1986 and 1988 and most of the cases involved drug abuse. Approximately 35 percent of the inmates of state prison were under the influence of illegal drugs at the time they committed the crimes for which they are incarcerated. In some parts of the country, that percentage is as high as 75 to 80! Another fact that hits people hard is that out-right deaths from illegal drugs have quadrupled in the last ten years! The proportion of 19 to 22 year olds who were at risk from using illegal drugs rose from 44 percent in 1980 to 69 percent in 1987. Among 17-18 year olds the shift over the same interval was from 50 percent to 74 percent (Williams 226)! The abuse of illegal drugs is very threatening to America's future. These drugs are the cause of many problems and crimes.

The Modified Market Economy :: essays research papers

The Modified Market Economy What is a modified market economy? What factors have been responsible for the emergence of this kind of economic system? How do governments influence economic decision making in such systems? Use Australian examples to illustrate your answer. A modified market economy is a market economy in which there are varying amounts of intervention and property ownership by the government. The Australian economy would be classed as a modified market, as we have a certain degree of government intervention, and this is something we should feel lucky for in our country, because due to this we are able to experience the free, fair lifestyle which we enjoy. The emergence of this kind of economy is mainly due to weaknesses in the market economy which, with out regulation, becomes an economy mainly concentrated on the wealthy people. The basic reason for the modified market economy is that the free market does not produce an efficient allocation of resources, and that the free market does not distribute output in a socially desirable way. For example in a modified market, the government regulate the flow a income a bit so that not only the rich make money. In a market economy the rich get richer and the poor get poorer as there is no regulation in terms of income distribution. The intervention by the government, in forms such as social security nets, which is present in a modified market, makes society more evenly spread rather than everyone being one of two things, that is, very rich, or very poor. In such economies as these, the government influence economic decision making much to our advantage in terms of them providing many of the resources needed to satisfy collective wants, making restrictions upon what can and can not be done, in the interests of our health, the environment, impacts upon society etc. Through this they regulate much of the possible ‘bad' economic decisions that could be made. The Australian government does place some limitations on freedom of enterprise, but generally encourages private business activity as it is an advantage to our whole economic growth in terms of employment etc. The Australian government also encourages the idea of fair competition. To keep the consumer choice less restrictive the government might not allow certain take overs that may limit the number of choices available to the consumer. Competitive prices that come from businesses are also good for the economy in general, for example if an Australian owned company, such as Uncle Toby's,

Charles Dickens, The Old Curiosity Shop :: Free Essays Online

Charles Dickens, The Old Curiosity Shop Charles Dickens 1841 novel The Old Curiosity Shop, entering its third century, mesmerizes readers with either heartfelt sentimentality to the plight of a homeless thirteen year-old girl, Nell Trent, and her aged Grandfather, as they wander the countryside of England, keeping one step ahead of their horrible dwarf nemesis, Daniel Quilp; or as a "crude sentimental" (Harris 137) journey down the path of individual weakness that lead to the death of them both. In Dickens day, a curiosity shop was an establishment where individuals would go to purchase precious or antique gifts, and it is in one of these shops that thirteen year-old Nell lived with her Grandfather. A short summary of the story is that the Grandfather has an addictive gambling problem, and gambles the money needed to run the shop away, all the while borrowing money from Daniel Quilp, a nasty goblin type figure of a man. The losses amount to the shop being taken over by Quilp, leaving Nell and the Grandfather fleeing to avoid him. They wander the English countryside amongst the throng of carnivals, sideshows, philanthropic souls who try to help them, and downtrodden people who try to exploit them. Their deaths, Nell’s especially, whose Dickens wrote of in a lingering, sentimental tone, are where the discussion of the book has been centered on for over a century-and-a-half. The Old Curiosity Shop began as a series of short stories in a publication Dickens created in 1840 called Master Humphrey’s Clock. With a weekly circulation of over 70,000 readers, Dickens was able to finance the work of The Old Curiosity Shop with the income made from Master Humphrey’s Clock. Emotionally, working under a strenuous monthly deadline proved to be straining on Dickens. In July of 1840, Dickens was telling his friend Lord Jeffrey, editor of The Edinbergh Review, that The Old Curiosity Shop "demands my constant attention" (Page 22,23), and by December of that year Dickens seemed to be on the edge of a mental collapse, telling Lord Jeffrey that the "anguish" of writing under the pressure was "unspeakable, the difficulty tremendous" (Page 30). The story was completed in early 1841 and Dickens began the painstaking steps in putting the short stories into a complete novel. One of the immediate obstacles Dickens encountered (actually his printers, Dickens was busy completing his next novel, Barnaby) was marrying the chapters together in proper sequence.

The Transitions of Women’s Role in the Society

From the beginning of time, females have been considered the inferior sex. They have been given titles such as, â€Å"fragile, delicate, weak†¦ † beings when in fact women have proved that they are certainly equal as men, if not stronger. Child labor is one physical aspect of their strengths that women endure while others constitute taking over the duties of their male counterparts while they fought in the major wars for the country. Yet history hardly gave women credit for their accomplishments in the 19th and early 20th century. When history did give the female sex a voice, it consisted of their participation in the traditional roles cast upon them as wives and then mothers. Outside of this realm, women†s activities were considered unusual or accidental. This was certainly the case with Latin America, a complex, diverse, stratified region composed of many different nations. It seems appropriate at this time to undertake a search of the history of Mexico in order to probe the little known mysteries of the women†s actual role in society. My search will revolve around the regime of Porfirio Diaz, commonly known as the Porfiriato. Women of every class and background were involved in many diverse undertakings during that period. Vivian Vallens in her book, Working Women in Mexico during the Porfiriato depicted this picture well. She discussed the upper and middle class women briefly so that a rounded view of women†s activities can be understood. Her book concentrated around the theme of Mexican women working in the textile and cigar-making factories from 1880 – 1910. She stressed how their traditional roles went through a great transition in response to the rise of industrialism and the labor policies of the Diaz regime. Prior the Industrial Revolution, women played a direct role in the economy and in the development of society. Most of the population lived on large estates or haciendas on which all production took place for each family. Women worked alongside men in the fields or in home enterprises; in addition to their economic contribution, women also undertook the task of bearing and raising a large family. With the Industrial Revolution came many changes in economics, politics, society, and in the role of women. The production of many necessities shifted out of the home and into the factories. Many families moved to urban areas to better their economic status and to become a part of the new society. The government practiced laissez faire (no regulation of the business sector) which allowed the factory owners to abuse their workers to reap great profits. The working class was most affected by the Industrial Revolution. Upper and middle class women found themselves with considerable time on their hands since the new economy assumed the production of many household items. While the upper-class women busied themselves with their looks and entertainment, the middle-class women developed the idea of motherhood as a full-time occupation. These women retreated from their previous roles and public life by totally centering their lives around their husband and children. This change set a pattern of the ideal activities for women being centered around the home and family. Gradually, however, some upper and middle class women found this rather narrow concept of their roles too rigid and restrictive, and they became involved in many activities in order to open educational and occupational opportunities for women. It was the Diaz government and the positivist view that allowed the women to educate themselves and grow both mentally and socially. As Vallens described it, The positivist concepts about education ‘had a profound effect on Mexican women†¦ of the middle sectors,†¦ Juarez and his associates offered women an education and a chance to work outside the home. † They looked to the women of the middle sectors as potential teachers. Yucatan, for example, became one of the first states to make secondary education available to women. As teachers, the Mexican women served not only as agents of literacy, but also as instigators of change and advocates of new ideas. The positivists had originally instituted education to bring conformity; nevertheless, educated women seemed to bring exactly the opposite. The number of women attending both primary and secondary schools steadily increased. Schools for women were established in the Federal District as well as in leading provincial cities. Women began to enter the teaching profession in ever increasing numbers. â€Å"By 1895, 51. 3% of all the teachers were women and by 1910 this figure had raised to 64. 4%. † A select number of women went on to get higher education and became professionals such as lawyers and doctors. Vallens indicated that such women included Maria Asuncion Sandoval de Zarco and Matilda Montoya. They not only tested their traditional role but also pioneered a path for others to follow. The lower-class women of Mexico faced an entirely different type of change in their pattern of living. The lower class women moved to the urban surroundings to better their economic status with their families. Forced to work in the factories to support their families, these women enlarged their circle of association and this helped them become aware of the communality of the problems faced by working women. This shift had a tremendous impact because the urban life had the effect of broadening their scope and developing their militancy. Working class women began to thrust aside their earlier attitudes of passive submission and became involved in group activities and organizations. Vallens portrays their struggle in the textile and cigar-making factories. Their docile attitude in the beginning allowed the factory owners to take advantage of them and abuse their condition terribly. The owners hired women so they can reap more profits by paying them less than men. For example, the Cocolapam textile factory in 1893 employed 90 men, 240 women, and 15 children. Wages varied by factory, by sex, and by age. Conditions under which they worked were horrible and unsanitary. Even more women worked in the cigar-making factories, thus subject to higher percentage of abuse. The Mexican women cigar-makers worked fourteen to fifteen hours per day with each woman searched for factory products before she went home. They too worked in unhygienic atmosphere with low roofs and no ventilation. Originally, upon first arriving from the rural areas, they accepted any salary or condition of work set by the factory owners of both industries without any protest. With time, however, Vallens indicates that their traditional outlook was slowly discarded after the women were exposed to economic self-dependence and the â€Å"spirit of growing militancy among their fellow factory workers. â€Å"(38) They realized that they could challenge and protest many of the owner†s actions. Their concept of their proper role changed and they responded to their pressures by organizing, protesting, and striking. A number of socialists and anarchists helped give leadership to these early organizations. Their political philosophy stressed, among other points, the need for inclusion of women in all levels of activity. For example, Santiago Villanueva – an anarchist – stressed the theme of women†s rights and responsibilities both in Mexican society and within the labor movement. This encouragement allowed women to actively participate in meetings of the labor movement. As a result, women like Carmen Huerta became prominent labor leaders and were elected president of the Congress of workers. Vallens† book was interesting and easy to follow. She clearly stated her point and used hard evidence from her sources to prove that point. Her use of statistics made her point all the more believable and very realistic. What was shocking to me was that she was able to retrieve such statistics and stories of women†s leadership when history gave them a silent voice. Women, of that era, in fact saw the need for organization and so they played a role in such a development as a result of their tragic experiences. Many leaders rose to the occasion and served as an inspiration; they laid the groundwork for working women†s acceptance into more active and public roles. They learned their lesson well – that only through collective action could change be made. Such leadership and action cannot be considered accidental or inconsequential as societies of the past have labeled women heroes. Vallens, through her clear-cut style of writing, showed the reader that women in Mexico did not have a quite voice as history has written. They possessed a loud voice and when they realized they did, they used it! Vallens† theme of the changing role of women and their growing level of consciousness can be best described by Josefina Reyes in La Mujer en el hogar y en la sociedad, Happily we belong to a generation that has the good fortune to conceive the sublime idea of the emancipation of woman, one of the greatest steps that humanity has taken along the broad path of progress. We are now no longer in the error of believing that woman was made only for the home†¦ and†¦ family.

A Review about the movie “Raise Your Voice” Essay

This is about a young woman named, Terri Fletcher (Hillary Duff), who’s fond of singing to herself, but never in public. She is always afraid to raise her voice to the world. However, she and her brother, Paul Fletcher (Jason Ritter), is sharing the same dream, for Terri to be a famous and successful artist, so he secretly captured her talent and then sent it to California’s most famous music school. Paul was very excited about the application that he asked Terri to go and sneak with him to see a concert. On the way home, a truck hit them that killed Paul. Terri became very traumatic about it, especially when seeing a light ray; it reminds her of her brother’s death. She became very depressed about the incident that she blames herself of it. Until they received a letter from her dream school, saying that she was admitted and that, the school has offered her a spot to the following school year. Even though it’s her dream school and that every aspiring artist would die to be admitted to this school, she has no plan of accepting their offer, for she’s thinking that by accepting the offer could also mean that she’s betraying her brother to leave him alone, not knowing that her brother sent the application himself. But her parents told her that this could also be a good opportunity for her to take a break after everything that has happened. By pursuing her and her brother’s dream could also give her a way to be far from home, far from traumatic memories of her brother, to be freed from her guilt. She then, accepted the offer and went to California. She didn’t know what’s awaiting there for her but she’s hoping that somehow her brother will help her pursue their dreams. She brought nothing but her talent and her inspiration with her. She feels so alone, until she met Jay Corgan (Oliver James). He is also a student in California Music High School; he’s the first to approach Terri and helped her fix her arrangements in the school. She’s lucky to readily find a friend in a foreign place. He helped her in all things and together, they faced the challenges encountered. But, there came the time that she fail to meet her professors’ expectations and that she became hopeless of trying to do so. Then, her professor showed her something to cheer her up. It’s her brother’s video of her singing, supporting and cheering for her. She then, felt the tears in her eyes, and finally knew that it’s all because of her brother that everything came to pass, that she’s about to reach their dream. And that, her brother only wants the best for her. She’s lifted from her burdens and felt her brother’s love for her. From then on, she did her best to make up for her brother and that her brother’s efforts won’t be put to waste. Jay never left her through the journey to their dreams. But there’s still something that Terri needs to overcome. It’s her fear of light rays. She’s still suffering a trauma. It’s essential for her to overcome her trauma, for in order to perform on stage, lights are dawned on you! She couldn’t perform unless she overcome her weaknesses. In lined with this, there is a competition on campus and her professor is expecting the both of them, Terri and Jay, to join the competition. She feared that her weakness would lead them to failure, so she decided not to participate. However, Jay insisted that he’ll help her get over her trauma and let go of her guilt. Thinking of her brother again, she joined the competition with Jay and hoped that her brother will help her win the race. They rehearsed too hard and prepared for the competition. Then came the competition, everyone is furious about it, even her parents who’s aware of Terri’s fright of lights. They fear that she might freak out or collapse whenever that happens. But they are somewhat believing that she can do it and that Paul will help her in his own ways. And miracles  happened. When Terri and Jay’s turn came, lights were already dawned on them. She felt the trauma again and was frightened, she couldn’t sing. But suddenly, she saw her brother, smiling at him from the lights, cheering her up and let her know that he’s proud of her. The scenario lightened her feeling and took her trauma away. From then on, everything she do, she dedicates it to her brother, who first believed in her. And taught her how to raise her voice to the world!