Modernism Art Essay

As some critics contended, postmodernism represents a break with the modernist notion that architecture should be technologically rational, austere and functional, discuss the ways in which one postmodern architect has developed strategies which overcome these tendencies. Juxtaposition is seen between the characteristics of early 20th century modern architecture and the artistic endeavours of postmodernism that followed. To represent the ‘Less is More’ (R.Venturi, 1966, pg16) notion the modernist tendencies had adopted, Robert Venturi built a ‘Ghost Structure’ to imply architecture had no longer become an art form and was merely just a ‘spectator’ (Architecturerevived, 2011) in society. This essay will discuss ways in which the architect Robert Venturi adopts methods to overcome these tendencies that architecture has lost meaning and ways in which he attempts to remove himself with any links with the ‘post-modernist’ movement that he is viewed in having. Modern Architects saw their role as ‘reformers,’ (R.Venturi, 1966, pg16) and tended to break with tradition and start anew. Considering it was a new revolutionary movement they tended to ignore potential problems and focused on the new modern advancements available. A modernist tendency was to build individually however Venturi claimed that a ‘building derives meaning from its context’ (Out Of the Ordinary, 2002) and evidently each individual location requires a different form of architectural style to represent this. In Venturi’s book ‘Complexity and Contradiction’ he quotes ‘familiar things seen in unfamiliar context become perceptually new as well as old’ (R.Venturi, 1966, pg43) here he perhaps means in order for art to become worthy of aesthetic appreciation the viewer needs to see it in a different context. For example, Tracy Emin’s unmade bed was placed in an art gallery and was more acceptable and appreciated as ‘art’ rather than being viewed in its original, everyday context. Venturi was focused on the reason behind and the visual perception of architecture, he believed that in applying a ‘medley of styles’ (S.V.Moos, 1987, pg32) opposed to an ‘either/or ‘(R.Venturi, 1966, pg16) mind-set would offer a varied combination of architectural styles. Thus enabling to a successful response to the multitude of tastes society desired, as he was well aware that there were an  array of underlying problems of everyday life. Problems that modernist architects tended to ignore due to their concern of the solution not corresponding with what they believed to be their perfect design. Venturi disregards modernist tendencies as he favours a more eclectic style rather than the ‘less is more’ (R.Venturi, 1966, pg16) approach modernism supports. Venturi aims to ensure his buildings have ties with historical architecture thus to draw meaning and value. This was to evoke a sense of familiarity whilst still staying in context with a more modern environment. Venturi believed in using his knowledge from what he had learned and new had worked in the past, so sought to apply these techniques to his designs. An example of this is Venturi’s State Mosque of Iraq; (Ref 1) finished in 1982. Here Venturi sought to draw from numerous styles and periods, specifically, Art Nouveau. The purpose of incorporating so many previous instances was to provide meaning and depth to architecture once more. Venturi was inspired by the work of Edwin Lutyen’s Capital Buildings in New Delhi as Lutyen had successfully managed to integrate historical themes to look postmodern however with an underlying modernist culture. Post-modernist architects questioned the modernist tendency that form depends on function. Walter Gropius quoted ‘aesthetic image and monumentality of a design are more important than functionalism.’ (Architecturerevived, 2011) However the context of the building was all the more important. Venturi championed this and consequently revived the tendency to ‘change things around’ (Architecturerevived, 2011) to develop and discover a more motivating form. He believed that the simplicity of modernist designs were so minimal that they therefore could easily be manipulated to communicate historic and ornamental tendencies of the past whilst taking advantage of the modern advancements in technology and construction all the while considering the users requirements. An example of this is the Vanna Venturi House, (Ref 2) completed in 1961 which has multiple references to past periods and styles. Firstly the street faà §ade denotes Michelangelo’s Porta Pia in Rome, Alessondra Vittoria’s Villa  Barabo at Maser and finally the Nymphaeum at Palladio. Venturi quotes to ‘recognising the complexities and contradictions’ (S.V.Moos, 1987, pg244) in which this building instils, nevertheless was an ideal way to overcome his statement that ‘less is a bore.’ (R.Venturi, 1966, pg17) Additionally Venturi’s love of distortion over ‘straightforward’ and ‘ambiguous’ over ‘articulation’ (R.Venturi, 1966, pg16) notion is a prime example of how he overcame the modernist tendency of clean, designed and hence forth the exclusion of design traits. Venturi was similarly intrigued by the parallel of how design in the past related to the hierarchy of upper and lower classes of his today and whether or not the aesthetics of said classes could be outlined into categories that reflected the social divisions. More precisely he connected classical modern architecture with that of ancient upper classes such as ruins of palaces and the contrast of how they were erected differently from that of how Venturi describes as ‘ordinary’ peoples buildings. (Learning from Las Vegas, 1972) Everything appears to be in relation to, form, space and social responsibility also implying modern architecture seems to have forgotten the art of steganography in which was not only significantly spanning across four centuries from the 15th to the 19th century but was also how architects learnt to progress, appreciate and respect the aesthetic awareness of form. This can be related back to the Renaissance in which the development of form has been linked to the visual for centuries. Venturi wanted to instil ‘new perceptions of old functions’ (Architecturerevived, 2011). He sought to draw from the past and carefully extract relevant features and characteristics and with the buildings context in the forefront of his mind, apply them. An illustration of is how he exhibited historical examples from Baroque and Egyptian architecture to symbolise frames and overwhelm small window openings. He symbolically implied unconventional messages or problems he thought society needed to address, an  example of this being The Guild House, completed in 1963, (Ref 3) Philadelphia. It displays a system of layers with artistic meaning,  organisation and a well thought out design process which represents the importance of historical and architectural discourse. By instilling a gold-plated TV Ariel on top of the building signified what Venturi described as the ‘relevant revolution of today.’ (Architecturerevived, 2011) It communicated the underlying idea that the importance of architecture could potentially be forgotten with the advancement of TV and media. Venturi was concerned that the development of these new technologies were influential on art, ‘a machine for living while practical, is emotionless,’ (Molly Jacques, 2009) and that all reference to historical architecture could be perceived as irrelevant or even worse, lost in the progressing society he found himself in. Therefore the TV Ariel became demonstrative of this, a representation based on the theme of classical architecture. It was also said to represent the buildings inhabitants, by simply stereotyping the occupants, believing they watch too much TV, and alas the symbolic connotation of classical statues in cathedrals. Modern architects had pragmatic views. They believed technological advances allowed for the disregard of all historical periods and movements. Led by the new approach of ‘machines for living’ (The Arts – Le Corbusier, Dominic Gallagher) as Le Corbusier cited, inevitably led to the demise of decorative and aesthetics in favour for more organised and geometrical buildings, in addition to this there was a new enthusiasm for building vertically. Venturi believed that the introduction of this technologically motivated notion advertently simplified architecture so much so it had seen a departure from the ‘experience of life.’ (R.Venturi, 1966, pg17) Consequently becoming focused on what characterised as Realism. Venturi studied people in their everyday life and routines, purposely so as not to exclude designing for social problems and consequently to design for the truth. A somewhat stark contrast to the modernist notion of designing for simplification or t he ‘Less is More’ (R.Venturi, 1966, pg16) idea, as stated by Miles Van De Rohe. This evidently left many social questions unanswered or as Paul Rudolf, a prominent modernist architect quoted ‘all problems can never be solved.’ (R.Venturi, 1966, pg16) Furthermore the development of new materials and constructional technological advances allowed for modernist architects to design freely with focus on spatial forms and  geometric proportions. Miles Van De Rohes Pavilion’s illustrate this as they lacked any sort of reference to the past as his desire and purpose was to exploit new technologies to the fullest and have no recognized relation to the past whatsoever. Venturi opposed this as he looked to past historical architecture for inspiration and saw relevance in previous movements and styles. This allowed him to design with meaning and by combing new methods of construction and technology allowed him to develop and erect innovative buildings that reflected historical traits whilst still fitting into a modern society. A further modernist view was that architecture was about a blend on technology and art, and to inevitably reform some sort of style they believed had become lost in tradition. They admired the emerging new developments, especially in transportation and new materials becoming available. They tried to instil this new, sleek, streamlined look in their buildings. It was almost as if they wanted to draw a line under the past and render a new concept of design to follow with the new advances that were being made in other fields. Nonetheless Venturi held on to his belief that architecture hadn’t become so much as lost but instead had been forgotten. Stating that ‘conventional elements’ (R.Venturi, 1966, pg43) could be applied using the advanced methods the modernists championed, and that some sort of balance could be achieved. It suggests a complete rejection of the past is not relevant in order to move forward in not only a social aspect but also to cater for what appeared to be, a demand for a new architectural style. Venturi was positive in regards to the new materials and construction methods now available and did not deny that they were not beneficial to society in his today and stating ‘conventional elements’ (R.Venturi, 1966, pg43) constructed in ‘unconventional ways’ (R.Venturi, 1966, pg43) supports this. As does his design for the Vanna Venturi House, (Ref 2) constructed in 1961 in which an array of modernist materials were used, such as steel. Yet he chose to mix both development in techniques and materials with historical features to create a design that was visually, functionally and constructed successfully in design. Venturi became interested in the Las Vegas Strip (Ref 4) leading him to write the book ‘learning from Las Vegas’ published in 1972. He came to the conclusion that the city had been built to accommodate for the  technologically savvy society. The architectural advertisement method Vegas seemed to have adopted had all been carefully angled to appeal to the people now driving down the strip. This was an original concept in which to appeal to an audience not necessarily on foot. The architecture almost becomes an advertisement in itself and the landscape inadvertently develops into its notorious messy, chaotic and fast paced form, which also reflected the traits the city and people in it had undertook. The architecture became a direct contrast to the modernist tendencies as the strip ‘serves culture rather than dictates it.’ (Architecturerevived, 2011) this was perhaps as Vegas was competitive and needed to directly interact with its audience in order to entice them. Venturi was inspired to take aspects of how Las Vegas had so forcefully removed the constraints of which had seemed to be put upon architecture and apply it, however in a not so embellished manner. Venturi states how The Guild House (Ref 3) was built with these intentions as well as having a ‘vernacular’ (Perkowitz, 2002) idea in mind. He went on to exploit every available inch of building space obtainable, by building up six-stories high. An attribute in fact of the modernist conception, however Venturi came to this design conclusion to enable the inhabitants to interact more conveniently with the outside. This was said to be purposely done so as not to break up the prevailing aesthetics of the street, nonetheless still managed to introduce another dimension to it. A fragmented outline of the Southern faà §ade directly contrasts with the smooth surface of the North. This intentionally done so as the building was built for the elderly so rather than isolate, the distorted faà §ade in fact drew the outside in, to allow for maximum interaction in a visual nature. Venturi attempts to imply a Baroque Palazzo style upon the Guild House (Ref 3) by the introduction of white tiles on the lower and upper levels of the building. Which was believed to have ‘symbolic’ and ‘representational’ (S.V.Moos, 1987, pg25) components that merge as a whole which in avertedly was to reflect the architectural connotation of the structure. It was understood that the Guild House (Ref 3) was built on a system of layers. Layers of artistic meaning and organisation, each one symbolising the importance of the  historical and architectural discourse. This is reinforced by Venturi testifying ‘knowledge instead of learning’ (R.Venturi, 1966, pg12) supports the fact he draws upon what was effective in the past and relates it to his own compositions. He breaks up the historical foundations and is driven and instils a sense of the past throughout his designs. The modernist notion of designing for what the architect believed society wanted rather than needed impacted primarily upon the poorer societies. Hence forth Venturi was particularly careful when building The Guild House perhaps to show designing with the context and user in mind can be achieved successfully without social problems having to be ignored or forgotten, again a tendency modern architecture seemed to adopt in fear of losing aesthetic value. Venturi sought to prove you could have both. In reflection it can be said that Venturi is extremely knowledgeable and has an in-depth understanding and appreciation for historical architecture in which he feel shouldn’t be forgotten but instead should be admired and inspire future movements. Despite modernism striping what Venturi believed was the ‘art’ from architecture he fought to overcome these tendencies are drew upon relevant historic features and characterisations and applied them liberally to his design, in accordance to their context. Nevertheless he understood that designing for the user was significant and not to exclude social problems. He undertook the modernist concept of advanced ways to construct and recognised and understood the developing society, yet he chose not to ignore historic references and applied them in a system of layers within his designs to accommodate for the advanced civilization whilst electing to apply asceticism for both a functional and visual experience. As some critics contended, postmodernism represents a break with the modernist notion that architecture should be technologically rational, austere and functional, discuss the ways in which one postmodern architect has developed strategies which overcome these tendencies. Juxtaposition is seen between the characteristics of early 20th century modern architecture and the artistic endeavours of postmodernism that followed. To represent the ‘Less is More’ (R.Venturi, 1966, pg16) notion  the modernist tendencies had adopted, Robert Venturi built a ‘Ghost Structure’ to imply architecture had no longer become an art form and was merely just a ‘spectator’ (Architecturerevived, 2011) in society. This essay will discuss ways in which the architect Robert Venturi adopts methods to overcome these tendencies that architecture has lost meaning and ways in which he attempts to remove himself with any links with the ‘post-modernist’ movement that he is viewed in having. Modern Architects saw their role as ‘reformers,’ (R.Venturi, 1966, pg16) and tended to break with tradition and start anew. Considering it was a new revolutionary movement they tended to ignore potential problems and focused on the new modern advancements available. A modernist tendency was to build individually however Venturi claimed that a ‘building derives meaning from its context’ (Out Of the Ordinary, 2002) and evidently each individual location requires a different form of architectural style to represent this. In Venturi’s book ‘Complexity and Contradiction’ he quotes ‘familiar things seen in unfamiliar context become perceptually new as well as old’ (R.Venturi, 1966, pg43) here he perhaps means in order for art to become worthy of aesthetic appreciation the viewer needs to see it in a different context. For example, Tracy Emin’s unmade bed was placed in an art gallery and was more acceptable and appreciated as ‘art’ rather than being viewed in its original, everyday context. Venturi was focused on the reason behind and the visual perception of architecture, he believed that in applying a ‘medley of styles’ (S.V.Moos, 1987, pg32) opposed to an ‘either/or ‘(R.Venturi, 1966, pg16) mind-set would offer a varied combination of architectural styles. Thus enabling to a successful response to the multitude of tastes society desired, as he was well aware that there were an array of underlying problems of everyday life. Problems that modernist architects tended to ignore due to their concern of the solution not corresponding with what they believed to be their perfect design. Venturi disregards modernist tendencies as he favours a more eclectic style rather than the ‘less is more’ (R.Venturi, 1966, pg16) approach modernism supports. Venturi aims to ensure his buildings have ties with historical architecture thus to draw meaning and value. This was to evoke a sense of  familiarity whilst still staying in context with a more modern environment. Venturi believed in using his knowledge from what he had learned and new had worked in the past, so sought to apply these techniques to his designs. An example of this is Venturi’s State Mosque of Iraq; (Ref 1) finished in 1982. Here Venturi sought to draw from numerous styles and periods, specifically, Art Nouveau. The purpose of incorporating so many previous instances was to provide meaning and depth to architecture once more. Venturi was inspired by the work of Edwin Lutyen’s Capital Buildings in New Delhi as Lutyen had successfully managed to integrate historical themes to look postmodern however with an underlying modernist culture. Post-modernist architects questioned the modernist tendency that form depends on function. Walter Gropius quoted ‘aesthetic image and monumentality of a design are more important than functionalism.’ (Architecturerevived, 2011) However the context of the building was all the more important. Venturi championed this and consequently revived the tendency to ‘change things around’ (Architecturerevived, 2011) to develop and discover a more motivating form. He believed that the simplicity of modernist designs were so minimal that they therefore could easily be manipulated to communicate historic and ornamental tendencies of the past whilst taking advantage of the modern advancements in technology and construction all the while considering the users requirements. An example of this is the Vanna Venturi House, (Ref 2) completed in 1961 which has multiple references to past periods and styles. Firstly the street faà §ade denotes Michelangelo’s Porta Pia in Rome, Alessondra Vittoria’s Villa Barabo at Maser and finally the Nymphaeum at Palladio. Venturi quotes to ‘recognising the complexities and  contradictions’ (S.V.Moos, 1987, pg244) in which this building instils, nevertheless was an ideal way to overcome his statement that ‘less is a bore.’ (R.Venturi, 1966, pg17) Additionally Venturi’s love of distortion over ‘straightforward’ and ‘ambiguous’ over ‘articulation’ (R.Venturi, 1966, pg16) notion is a prime example of how he overcame the modernist tendency of  clean, designed and hence forth the exclusion of design traits. Venturi was similarly intrigued by the parallel of how design in the past related to the hierarchy of upper and lower classes of his t oday and whether or not the aesthetics of said classes could be outlined into categories that reflected the social divisions. More precisely he connected classical modern architecture with that of ancient upper classes such as ruins of palaces and the contrast of how they were erected differently from that of how Venturi describes as ‘ordinary’ peoples buildings. (Learning from Las Vegas, 1972) Everything appears to be in relation to, form, space and social responsibility also implying modern architecture seems to have forgotten the art of steganography in which was not only significantly spanning across four centuries from the 15th to the 19th century but was also how architects learnt to progress, appreciate and respect the aesthetic awareness of form. This can be related back to the Renaissance in which the development of form has been linked to the visual for centuries. Venturi wanted to instil ‘new perceptions of old functions’ (Architecturerevived, 2011). He sought to draw from the past and carefully extract relevant features and characteristics and with the buildings context in the forefront of his mind, apply them. An illustration of is how he exhibited historical examples from Baroque and Egyptian architecture to symbolise frames and overwhelm small window openings. He symbolically implied unconventional messages or problems he thought society needed to address, an  example of this being The Guild House, completed in 1963, (Ref 3) Philadelphia. It displays a system of layers with artistic meaning, organisation and a well thought out design process which represents the importance of historical and architectural discourse. By instilling a gold-plated TV Ariel on top of the building signified what Venturi described as the ‘relevant revolution of today.’ (Architecturerevived, 2011) It communicated the underlying idea that the importance of architecture could potentially be forgotten with the advancement of TV and media. Venturi was concerned that the development of these new technologies were influential on art, ‘a machine for living while practical, is emotionless,’ (Molly Jacques,  2009) and that all reference to historical architecture could be perceived as irrelevant or even worse, lost in the progressing society he found himself in. Therefore the TV Ariel became demonstrative of this, a representation based on the theme of classical architecture. It was also said to represent the buildings inhabitants, by simply stereotyping the occupants, believing they watch too much TV, and alas the symbolic connotation of classical statues in cathedrals. Modern architects had pragmatic views. They believed technological advances allowed for the disregard of all historical periods and movements. Led by the new approach of ‘machines for living’ (The Arts – Le Corbusier, Dominic Gallagher) as Le Corbusier cited, inevitably led to the demise of decorative and aesthetics in favour for more organised and geometrical buildings, in addition to this there was a new enthusiasm for building vertically. Venturi believed that the introduction of this technologically motivated notion advertently simplified architecture so much so it had seen a departure from the ‘experience of life.’ (R.Venturi, 1966, pg17) Consequently becoming focused on what characterised as Realism. Venturi studied people in their everyday life and routines, purposely so as not to exclude designing for social problems and consequently to design for the truth. A somewhat stark contrast to the modernist notion of designing for simplification or t he ‘Less is More’ (R.Venturi, 1966, pg16) idea, as stated by Miles Van De Rohe. This evidently left many social questions unanswered or as Paul Rudolf, a prominent modernist architect quoted ‘all problems can never be solved.’ (R.Venturi, 1966, pg16) Furthermore the development of new materials and constructional technological advances allowed for modernist architects to design freely with focus on spatial forms and geometric proportions. Miles Van De Rohes Pavilion’s illustrate this as they lacked any sort of reference to the past as his desire and purpose was to exploit new technologies to the fullest and have no recognized relation to the past whatsoever. Venturi opposed this as he looked to past historical architecture for inspiration and saw relevance in previous movements and styles. This allowed him to design with meaning and by combing new methods of construction and technology allowed him to develop and erect innovative buildings that reflected historical traits whilst still fitting into a  modern society. A further modernist view was that architecture was about a blend on technology and art, and to inevitably reform some sort of style they believed had become lost in tradition. They admired the emerging new developments, especially in transportation and new materials becoming available. They tried to instil this new, sleek, streamlined look in their buildings. It was almost as if they wanted to draw a line under the past and render a new concept of design to follow with the new advances that were being made in other fields. Nonetheless Venturi held on to his belief that architecture hadn’t become so much as lost but instead had been forgotten. Stating that ‘conventional elements’ (R.Venturi, 1966, pg43) could be applied using the advanced methods the modernists championed, and that some sort of balance could be achieved. It suggests a complete rejection of the past is not relevant in order to move forward in not only a social aspect but also to cater for what appeared to be, a demand for a new architectural style. Venturi was positive in regards to the new materials and construction methods now available and did not deny that they were not beneficial to society in his today and stating ‘conventional elements’ (R.Venturi, 1966, pg43) constructed in ‘unconventional ways’ (R.Venturi, 1966, pg43) supports this. As does his design for the Vanna Venturi House, (Ref 2) constructed in 1961 in which an array of modernist materials were used, such as steel. Yet he chose to mix both development in techniques and materials with historical features to create a design that was visually, functionally and constructed successfully in design. Venturi became interested in the Las Vegas Strip (Ref 4) leading him to write the book ‘learning from Las Vegas’ published in 1972. He came to the conclusion that the city had been built to accommodate for the technologically savvy society. The architectural advertisement method Vegas seemed to have  adopted had all been carefully angled to appeal to the people now driving down the strip. This was an original concept in which to appeal to an audience not necessarily on foot. The architecture almost becomes an advertisement in itself and the landscape inadvertently develops into its notorious messy, chaotic and fast paced form, which also reflected the  traits the city and people in it had undertook. The architecture became a direct contrast to the modernist tendencies as the strip ‘serves culture rather than dictates it.’ (Architecturerevived, 2011) this was perhaps as Vegas was competitive and needed to directly interact with its audience in order to entice them. Venturi was inspired to take aspects of how Las Vegas had so forcefully removed the constraints of which had seemed to be put upon architecture and apply it, however in a not so embellished manner. Venturi states how The Guild House (Ref 3) was built with these intentions as well as having a ‘vernacular’ (Perkowitz, 2002) idea in mind. He went on to exploit every available inch of building space obtainable, by building up six-stories high. An attribute in fact of the modernist conception, however Venturi came to this design conclusion to enable the inhabitants to interact more conveniently with the outside. This was said to be purposely done so as not to break up the prevailing aesthetics of the street, nonetheless still managed to introduce another dimension to it. A fragmented outline of the Southern faà §ade directly contrasts with the smooth surface of the North. This intentionally done so as the building was built for the elderly so rather than isolate, the distorted faà §ade in fact drew the outside in, to allow for maximum interaction in a visual nature. Venturi attempts to imply a Baroque Palazzo style upon the Guild House (Ref 3) by the introduction of white tiles on the lower and upper levels of the building. Which was believed to have ‘symbolic’ and ‘representational’ (S.V.Moos, 1987, pg25) components that merge as a whole which in avertedly was to reflect the architectural connotation of the structure. It was understood that the Guild House (Ref 3) was built on a system of layers. Layers of artistic meaning and organisation, each one symbolising the importance of the historical and architectural discourse. This is reinforced by Venturi testifying ‘knowledge instead of learning’ (R.Venturi, 1966, pg12) supports the fact he draws upon what was effective in the past and relates it to his own compositions. He breaks up the historical foundations and is driven and instils a sense of the past throughout his designs. The modernist notion of designing for what the architect believed society wanted rather than needed impacted primarily upon the poorer societies. Hence forth Venturi was particularly careful when building The Guild House perhaps to show designing  with the context and user in mind can be achieved successfully without social problems having to be ignored or forgotten, again a tendency modern architecture seemed to adopt in fear of losing aesthetic value. Venturi sought to prove you could have both. In reflection it can be said that Venturi is extremely knowledgeable and has an in-depth understanding and appreciation for historical architecture in which he feel shouldn’t be forgotten but instead should be admired and inspire future movements. Despite modernism striping what Venturi believed was the ‘art’ from architecture he fought to overcome these tendencies are drew upon relevant historic features and characterisations and applied them liberally to his design, in accordance to their context. Nevertheless he understood that designing for the user was significant and not to exclude social problems. He undertook the modernist concept of advanced ways to construct and recognised and understood the developing society, yet he chose not to ignore historic references and applied them in a system of layers within his designs to accommodate for the advanced civilization whilst electing to apply asceticism for both a functional and visual experience.

GROWING CALAMITY: AN IN-DEPTH REPORT ON GLOBAL FOOD INSECURITY In The 21st Century Essay

Food prices and the global demand for food have been on the rise in recent years. The catalyst for riots worldwide and food insecurity has caused widespread disturbances in agricultural industries. Food insecurity exists when people do not have adequate physical, social or economic access to food (FAO, United Nations 2009). It is captivating and noteworthy to mention that there is enough food to feed twice the earth’s population yet, food is not being equally distributed. This renders a high percentage of the world’s population poverty-stricken and hungry. Local governments, food rights activists, international trade institutions, and non-governmental organizations are becoming increasingly concerned with food distribution and food sovereignty (Schanbacher, 2010). Neoliberal processes that control  distribution and consumption are dominating policies regarding food production. International trade institution and multinational corporations dominate the entire food chai n, and as a result the global food system has encountered a crisis. The food crisis that persists today is by no means a sudden disaster that has struck the agricultural industry. It is the manifestation of a long-standing crisis in agriculture. Neoliberal global food systems have significantly modified the dynamics of agricultural production and farmers no longer have control over the food they produce and are subjected to volatile markets (Borras, 2009). Data collected by the United Nations Food and Agricultural Organization between 2004 and 2006 shows that the number of undernourished people in the world has been steadily increasing for almost two decades. The report showed that there was little or no progress being made towards World Food Summit targets to reduce hunger and that most of the countries were suffering from undernourishment (FAO, United Nations, 2009). While lesser-developed countries do benefit from some aspects of neoliberal globalization, it must be said that the same processes put marginalized societies at risk; impoverished farmers are no exception. These vulnerable farmers endure diminished technological resources and face stiff competition from capital-intensive foreign producers (Friedman, 2005). For decades the food industry’s hegemonic agents have perpetuated liberalized and unsustainable food systems that have resulted in many countries to falling victim to food insecurity. Such a grave and widespread problem warrants an in-depth exploration, to be carried out within this report. Beginning with a probe into the historical and contemporary challenges of food insecurity, this paper contends that structural changes at an international level are necessary to improve global access to sustenance. Case studies and multifaceted conceptualizations of the issue culminate in the identification of viable solutions to eradicat e food insecurity forever. HISTORICAL CONTEXT Although food insecurity is not a new phenomenon, the term was only coined in the mid-1970s, following a food crisis in 1972, which lasted for one year (Fulton, 2012). The magnitude of that crisis caused many to remark it, as the advent of food insecurity itself. Although it is often thought that  food insecurity is a result of food scarcity, Friedmann (1982) explains that food insecurity should be conceptualize as â€Å"a structural turning point† in the globe’s food production and distribution. Friedmann considers this first global food crisis to be the initial breakdown of the world’s food economy; which sustained grain surpluses and depressed prices (1982). Fulton also attempts to draw our attention to the heart of the matter by referring to the paradigm shift within the international food security discourse. Fulton (2012) contends that the analytical focus of the issue changed from food supply management, to the assessment of people’s ability to saf ely and consistently access food in a timely manner. In retrospect, the invention of new seed technologies, investments in rural agriculture, modern fertilizers and irrigation, caused many to be surprised by the catastrophe (Timmer, 2010). A variety of complex events, such as the oil crisis, rendered developing nations vulnerable and triggered the 1972 food crises (Friedmann, 1993). While some scholars regard oil’s radical price increases as the key catalyst to the food crisis, others interpret it differently (Fulton, 2012). Timmer for example, suggests that the high food prices led to soaring crude oil prices and that environmental catalysts were at the core of the 1972 food crisis (2010). Timmer goes on to explain that during the dry season in 1972 a severe drought, caused by El Nino, caused rice crops in Indonesia, Thailand and, the Philippines to be drastically reduced (Timmer, 2010). Soon after, domestic prices and demand for rice skyrocketed. To meet domestic demand Tha iland, the world’s leading rice exporter, banned rice export in April 1973. What followed was a nine months standstill in world rice markets. Countries were left to depend on rice imports to fulfill domestic demand for food. Residual effects of El Nino spread far across the globe and had devastating ramifications. In 1972 the world’s grain production decreased by 16 million metric tons (mmt), rice production dropped by14mmt and, wheat production diminished by 8mmt. Cumulatively, the total shortfall in world grain supply amounted to approximately 70 tons and represented an 8% reduction in global food supply. As a result of the shortage of food grains, prices rose. As a means of guranteeing their domestic food supply, oil-rich food-importing nation-states, reacted with an oil embargo against the United States and the former Soviet Union. Following the increase in oil prices, fertilizer  prices also went up. The international community responded to the crisis and the countries in dire straits, by formulating what Friedmann terms a â€Å"temporary, elegant and dangerous† solution (1993). The solution was to offer lavished transnational bank loans, financed by oil-rich nations (Friedmann, 1993). The global food crisis originated due to severe weather conditions that were exacerbated by financial turmoil. Together with the Cold War, these issues aggravated the socio-political and economic conditions which eventually lead to explosive grain prices. CONTEMPORARY CHALLENGES: CASE STUDIES Since the food crisis in the early 1970s, humanity has witnessed a variety of countries declaring food emergencies, such as famine. In the year 2006 alone, twenty-five of the thirty-nine serious food emergencies were caused by the aftermath of violent conflicts, natural hazards or, a combination of the two (Alinovi, 2007). Of these thirty-nine serious food traumas, several of these crises were on-going for years and, in some cases for decades (Alinovi, 2007). The intensity and severity of a nation’s political conflicts dictates the impact that that conflict has on the food security. In certain instances it is impossible for some developing nations to overcome such dismal conditions. Since 1986, at least five African countries have been in a constant state of food insecurity for fifteen years, or more. A country that best embodies this is Somalia. Recent occurrences in the Horn of Africa, where hundreds of thousands of people died due to starvation, have been well publicized an d are well-known by the general public. Without looking at the broader context, the mainstream media was quick to assert that the famine in Somalia was caused by severe drought. While it is correct that the region received the lowest rainfall that it had in sixty years, the famine was compounded by neglect. Two years prior to the famine, Islamist rebels prohibited most aid agencies from working in Somalia and the rebels only rescinded the ban when the food situation there was officially labeled a ‘famine’. Famines are declared when, a third of the child population is acutely malnourished and when two adults or four children per 10,000 people die of hunger each day (Chossudovsky, 2011). Before and during the famine in Somalia, the atmosphere was one of lawlessness, gang warfare and anarchy; all of which  contributed to the famine (Chossudovsky, 2011). It is noteworthy to mention that this was not the first time that conditions were severe in Somalia. In fact, in 1992 t housands of citizens starved to death and far-reaching famines prompted international intervention. When President Siad Barre was overthrown in 1991, Somalia effectively became a failed state and politically driven civil-wars led to impoverishment. United Nations peacekeeping forces were eventually pulled out of the country after two American Black Hawk helicopters were shot down in 1993. Another nation that exemplifies contemporary food insecurity is Sudan. In the case of Sudanese, the major catalyst for the crisis was the conflict between the central government and a rebel group, the Sudan People’s Liberation Army (SPLA) (Alinovi, 2007). When a country endures a civil war, an extraordinary amount of stress is placed on the civilian population. Not only are hospitals, clinics, schools and agriculture services diminished, or closed altogether, trade links and communication networks are disrupted indefinitely (Dodge, 1990). The policies enacted by the Sudanese government are directly related to the level of food insecurity experienced in the country’s Nuba Mountains. The Unregistered Land Act of 1970 resulted in a grab for farming land and displaced peaceful Nuba villagers. In addition to disrupting the Nuba people’s agro-ecology, humanitarian aid in SPLA controlled areas was blocked (Pantuliano, 2007). These measures successfully disrupted the vil lager’s conventional farming systems in favour of large-scale mechanized corporate agriculture (Pantuliano, 2007). These two case studies are prime examples of nations that have suffered from food insecurity due to political conflicts, lawlessness and anarchy. It is clear that given the multidimensional nature of the problem, short-term humanitarian aid will not yield successful results. Consequently, a complex issue such as food insecurity requires multifaceted solutions. EXPLORING FOOD INSECURITY The causes of food insecurity are as unique as the countries that are impacted; therefore conceptualizing the issue requires that it be examined from varying angles. An inability to access adequate and nutritious food inevitably results in malnourishment. This section will examine whether  the Malthusian theory can assist in obtaining a greater understanding of the emergence and persistence of food insecurity. The Malthusian Theory of Population refers to works by Robert Malthus. Malthus’ theory relies on the premise that two fixed factors are the driving forces of human existence: food and passion between the sexes. Further, Malthus contends that unchecked populations grow exponentially, while food supplies increase arithmetically. These differing growth rates are what Malthus believed caused populations to grow faster than their food supply; according to him, this in turn causes food insecurity. Appendix A represents this concept visually. Malthus believed that when a high population is strained due to a lack of food, naturally occurring ‘preventive checks’ keep the population from getting out of control (Drysdale, 1878). Essentially he believed that food insecurity itself was caused these checks (Drysdale, 1878). There are however many critics of the Malthusian Theory. Ester Boserup believed that a small population actually restrains technological innovations and keeps agriculture at subsistence levels. Boserup asserts that major innovations in agriculture only occurred when food insecurity was a factor because it forced large populations to find any means of sustaining its populace. Julian Simon was equally as critical of Malthus and regarded people as resource creators rather than, resource destroyers. Simon believed that population growth has a positive, and not a negative impact on development. Both Boserup and Simon contend that the Malthusian Theory of Population fails to sufficiently explain the causes of food insecurity (Malthus ian Crisis, 2009). Critics go on to highlight another of Robert Malthus’s shortcomings; he did not take into account human ability to intentionally control birth rate. The Malthusian theory states that food insecurity results in population controls such as: food shortages, epidemics, pestilence and plagues. It is therefore possible for humans, given a lack of food, to simply decide to limit their reproduction. Malthusian theory also underestimates the possibility that food can increase at an exponential rate. Scientific advancements in the last few centuries have made the exponential growth of food production a reality (International Society, 2009). Neo-Malthusian theory, despite accepting human being’s ability to control fertility and therefore the population growth rate, still fails to account for the progress being made towards increasing global food supplies  (Acselrad, 2006). Many of the areas that experience food insecurity are in third world countries, which are characterized by very high birth rates. The concern now is to find out why food insecurity continues to exist. If Malthus’ theory has been disproven and there truly is enough food for everyone in the world it is extremely important, now more than ever, to examine other possible causes of continued international food imbalances. EXPLORING FOOD INSECURITY: THE ROLE OF CORPORATIONS While Malthus was correct in his emphasis on technology and the environmental burdens associated with food production, in relation to the effects of food insecurity, he could not have conceptualized the far-reaching impact of large multinational agribusiness corporations. Contemporary industrialized society’s agricultural economies are characterized by the commodification of food products, engineered from the farm to the dinner table (Drabenstott, 1995). This industrialized approach applies principals of economic efficiency to cultivation and, has resulted in a slippery slope of revenue prioritization achieved through the technological alteration of food itself. Biotechnology has enabled the food industry to increase crop yield and revenues through the isolation and incorporation of specific traits from other plants or animals, into food products (Drabenstott, 1995). While Genetically Modified Organisms or GMO foods superficially appear to be reducing shortages, and by extrapo lation food scarcity related deaths; environmental damage caused by intense corporate farming and the high toxicity of GMO foods, actually work to undermine the world’s food security. Intensive farming by agribusinesses degrades the soil and increases the industry’s reliance on chemicals. Fiscally sound, the application of pesticides during the food cultivation process produces greater yield and assures better storage and distribution of the product (Court, 2006). Generally applied aerially using helicopters or airplanes, herbicides such as Atrazine are estrogen disruptors and increase the risk of Parkinson’s disease (Aiyelaagbe, 2011). Herbicides often transported via surface runoff, leeches into the ground where it contaminates distant water sources and, can cause cancer after increased exposure (Aiyelaagbe, 2011). Toxins applied during production are inevitably transferred to the produce and have adverse effects on human populations worldwide. Genetically eng ineered or  modified foods have similar, unpublicized, adverse effect. Global leader in agribusiness ingenuity, Monsanto Corporation’s modified â€Å"Bt† corn was engineered with a bacteria bacillus thuringiensis. This bacterium produces the pesticide Bttoxin aimed at killing insects during production. Appendix B illustrates this process. Monsanto Corporation told the public that the Bttoxin was entirely safe because it would be completely destroyed in the human digestive system; however that was not a true statement. Studies have shown the pesticide to be present in the fetal blood of 80% of pregnant Canadian women tested (Smith, 2013). The full effects of the toxin are still unknown nevertheless preliminary research indicates that ‘Bt’ may cause deformities in unborn children (Smith, 2013). Without speaking to the morality of the subject, technological changes to alter the biological processes of plants and animals for the purposes of increasing crop yield, is actually counter-productive to the goal of sustaining life. Corpo rations such as Monsanto facilitate modern industrial society’s commodification of life sustaining nourishment. In short, the western corporatization of agriculture has left the world with a food system that no longer functions to provide safe, wholesome and nutritious food for all people. SOLUTIONS & CONCLUSIONS Food insecurity can be found in every corner of the globe and is usually caused by drought, famine, natural disasters, war, political instability, economic upheaval and most recently, global warming. Although developed and developing countries alike suffer from varying degrees of the problem, the former suffers less often than the latter. As is the case in the aftermath of Hurricane Katrina in New Orleans, USA; food insecurity can be a short-term problem, that if effectively tackled, can be rectified (Huffingtonpost, 2012). Food insecurity can also spiral into a long-term problem, as is the case in Sudan North Africa where political instability has fostered food insecurity in the region (Mensah, 2013). Food insecurity in most cases is caused by natural disasters (ie. earthquake in Haiti, tsunami in Thailand) where there is little or no warning. Natural disasters destroy infrastructure and food supplies; therefore it is a necessity that nations be ready in the event of any emergency. The first step to take when the problem of food insecurity arises is to evaluate local needs. Need is  determined by the causal factors of the crisis in a particular area. Conducting a comprehensive evaluation, by examining key data on local assets, resources and, livelihood strategies is key to minimizing damage. For example, response teams could be sent out to meet directly with community members to better understand local conditions and create a collaborative plan of action to end food insecurity. The solutions to food insecurity can be classified into two categories: short-term and long-term solutions. Short-term solutions usually precede long-term solutions; and are the first responses to emergency situations. Short-term strategies include the distribution of food, cash and other items to prevent food insecurity in smaller timeframe. An example of this can be observed among the poor in the United States on food stamps and as well as in Haiti. Haiti received food aid and cash gifts from organizations and people around the world after an earthquake struck the island nation. Haiti has had a long history of food insecurity, brought about by political instability and poor governance. Long-term solutions to food insecurity are devised with a more stable future in mind. Technological innovations have proven to be the main source of hope for future food security. Through technological innovation we can and have been able increase crop production to fight food insecurity and build stability internationally. Through sophisticated methods like genetic engineering, scientists have been able to modify the DNA of crops in order to increase agricultural output. ‘’An example [of this] can be observed in the case of an apple; ‘’an apple is about the size of a little pea, it started somewhere in Russia and it was inedible at the time of discovery. The domestication of the plant has resulted in twenty thousand different varieties of the fruit, all originated from one plant species (Despommier, n.d.). This report, above all things, demonstrates that augmented crop yield does absolutely nothing to increase marginalized people’s access to food. Technologically driven agriculture is unsustainable and damages poorer populationsâ€⠄¢ only tool of self-determinism: the land. Genetically modified foods and seeds contain diminished nutritional value and are toxic to human beings. Food insecurity in actuality, directly relates to socio-political issues that exacerbate the neo-liberal dilemma of unfair food distribution. Each country must therefore resist hegemonic policies and take their population’s survival into their own hands. This report  calls for return to subsistence farming. Importing food to meet domestic need, in constantly fluctuating and volatile markets, adds to the problem of unreliable food supplies. Neither entirely correct nor incorrect, Malthus had no way of accounting for globalizations’ impact on absolutely every facet of contemporary life. Unless the international community abandons â€Å"equality† in favor of equity, rampant food insecurity will continue. WORKS CITED Abandon the Cube (2011). Seven Billion†¦ and Counting. Abandon the Cube. Retrieved from http://www.abandonthecube.com/blog/tag/malthusian-crisis/. Acselrad, H. (2006). Neo-Malthusianism: A Narrow Theory Exceeds Its Carrying Capacity. Political Environments, (5). Action Against Hunger. Food Security & Livelihoods. Retrieved from http://www.actionagainsthunger.org/impact/food-security-livelihoods. Alinovi, L., Hemrich, G., & Russo, L. (2007). Addressing food insecurity in fragile states: case studies from the Democratic Republic of the Congo, Somalia and Sudan (No. 07, p. 21). ESA Working Paper. Borras, S. M. (2008). Transnational agrarian movements confronting globalization. M. Edelman & C. Kay (Eds.). Chichester: Wiley-Blackwell. Chossudovsky, M. (2011). Somalia: The Real Causes of Famine. Global Research, 4-17. Despommier, D.(n.d.). The Key to Population Growth and Food Production [Video File]. Retrieved from http://www.businessdictionary.com/videos/?294043623. Dodge, C. P. (1990). Health implications of war in Uganda and Sudan. Social Science & Medicine, 31(6), 691-698. Drabenstott, M. (1995). Agricultural industrialization: Implications for economic development and public policy. Journal of Agricultural and Applied economics, 27, 13-20. Drysdale, C. R. (1878). The population question according to T.R. Malthus and J.S. Mill. London: W. Bell. FAO: Food and Agriculture Organization of the United Nations, for a world without hunger. Friedmann, H. (1982). The Political Economy of Food: The Rise and Fall of the Postwar. Hall, H. (2005). Bt Corn: Is It Worth the Risk?. The Science Creative Quarterly, Issue 2. Retrieved from http://www.scq.ubc.ca/bt-corn-is-it-worth-the-risk/. International Food Order. American Journal of Sociology, 88, 248-286. Friedmann, H. (1993).The Political Economy of Food: A Global Crisis. New Left Review, 197, 29-57. Friedmann, H. (2009). Feeding the empire: The pathologies of globalized agriculture. Socialist register, 41(41). Fulton, M. Food Security: What Does It Mean for Canadian Food and Agricultural Policy? April, 2012. Growing Our Future: Making Sense of National Food Strategies. Lecture conducted from University of Guelph’s Institute for the Advanced Study of Food and Agricultural Policy, Guelph, ON. Mensah, J. (2013). Malthusian theory of Population. Class Presentation. Lecture Conducted from York University, Toronto, ON. Pantuliano, S., Alinovi, L., Hemrich, G., & Russo, L. (2008). Responding to protracted crises: the principled model of NMPACT in Sudan. Beyond relief: food security in protracted crises, 25-63 Schanbacher, W. D. (2010). The politics of food: The global conflict between food security and food sovereignty. Westport, CT: Praeger Security International. Science Daily(2009). One Billion Hungry People: Multiple Causes of Food Insecurity Considered. Retrieved from http://www.sciencedaily.com/releases/2009/06/090625113857.htm Smith, J. M. (2011). GMO toxins in women and fetuses. Expanded Academic ASAP, 16, 1- 12. Timmer, C. P. (2010). Reflections on food crises past. Food policy, 35(1), 1-11. Young, L., Ram, R. S., & Cort, S. G. (1996). Industry Corner: The Pesticide

Rigid pavement design Term Paper Example | Topics and Well Written Essays - 250 words

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Discuss the various ways in which modern investors manage the risk in Essay

Discuss the various ways in which modern investors manage the risk in their portfolios - Essay Example Many of the participants in risk trading take particular points of view, and suffer losses when their points of view are not realized. It may also be that the risks in some of the more complex positions currently being taken are not always well understood by the institutions arranging the deals. In addition, risk control systems in some institutions are so weak that management cannot determine when institutional survival is being jeopardized. There are also aggregate problems, because the failure of one institution can bring about failure of others. Finally, there are presently few sources of aggregate statistics that would permit informed observers to assess exactly what the potential dangers in individual institutions’ positions might be. On the positive side, the percentage of capital at risk in derivatives trading has been estimated at some 10 percent of the total capital of the world’s banks. In addition, individual companies have sustained large losses from derivatives trading without creating serious externalities. For example, when Barings Bank failed in 1995, many of the other banks trading with Barings had become aware of the unusual risks it was taking and had reduced their positions with Barings (J. Rosenhead, J. Mingers, 2001). Basically, the perception of risk is the result of an investors thought processes. Let us say that the investor speculates that a new factory will be able to produce V volume of goods that can be sold for P price. The question is: Where do V and P come from? Some say that V and P spring from the imagination while others maintain that V and P are a result of a deliberate cognitive process of logic and dispassionate judgment. Perhaps these, and other conjectures concerning the thought process of the human mind, are all part of a businessmans assessments of the projected values of price and volume. These values, when properly manipulated with costs,

Death and Gender in Othello Research Paper Example | Topics and Well Written Essays - 2000 words

Death and Gender in Othello - Research Paper Example Desdemona dies, because of lies and jealousy, as well as racial and gender discrimination. Iago misrepresents many people, so that he can advance his own interests and to take revenge against Cassio and Othello. Othello promotes Cassio instead of Iago, which angers the latter who thinks he is more deserving than Cassio. Iago, with revenge in mind, manipulates people's vulnerabilities or weaknesses, making him â€Å"perhaps Shakespeare’s consummate villain† (Foster 2). Iago is â€Å"evil† enough to not even have any motivation of hating and killing Othello. Foster believes that not being promoted is only the tipping point of Iago's hatred for Iago. Foster argues: â€Å"It is Othello’s candor, openness, and spontaneous, generous love that Iago finds offensive† (2). Suggesting that Othello only seduced his wife indicates Iago's corrupted soul. Iago treats people as victims or tools, and in many ways, he is the â€Å"classical Renaissance atheist,† who is cunning and beyond morality, as he finds it rewarding to darken that which is pure (Foster 2). He knows that his actions can endanger him too, but he trusts in his wits to save him (Foster 2). Iago thinks that his main purpose in life is to be the darkness to people's goodness. And Othello, with his racial and cultural difference, is the perfect target for the dark-spirited Iago. Iago specifically lies about Othello, Cassio, and Desdemona, because he has a corrupted nature with hatred and bitterness in his heart. Iago initially misrepresents Othello to Brabantio, a Venetian senator and Desdemona's father. Iago uses racism to encourage Brabantio to kill Othello. He tells Desdemona's father that Othello seduced her daughter, as if it is impossible for a white woman to love a Moor. Iago gives Brabantio a strong racist image: â€Å"Even now, now, very now, an old black ram/Is topping your white ewe...† (Shakespeare Act 1, Scene 1). Iago uses pathos to evoke an emotional response from Brabantio. Iago also connives with Roderigo, who wants to steal Desdemona from Othello. Iago, however, is a double spy and he warns Othello of Brabantio's forthcoming allegations and actions. This warning, nevertheless, is Iago's way of reinforcing Othello's trust in him, so that he can further damage the latter. Iago also lies to Roderigo that he is loyal to him. Roderigo only wants Desdemona and since he knows that Iago hates Othello, he has an ally. Roderigo also sends gifts to Desdemona to woo her, but Iago keeps these gifts for himself. Iago appears to be helping Roderigo to win Desdemona's heart, but he only lures him into his web of lies. In this web, the main goal is to kill all those who have â€Å"mistreated† him- Othello and Cassio. Since Othello loves Desdemona, she must also suffer too. Iago also misrepresents Cassio to Othello. Iago even uses his wife, Emily, to use Desdemona's handkerchief as the visual proof of her infidelity. Desdemona accident ally drops her handkerchief that Othello gave to her. Emilia picks it up, and Iago uses that to engender doubt in Othello's mind. When Othello asks Iago for evidence that Desdemona is no longer faithful to him, Iago says that he slept in Cassio’s room and heard Cassio mention sweet words about Desdemona. He says that he had seen Cassio using Desdemona's handkerchief too. Rage consumes Othello, who vows to kill Cassio. He

Carl Ernsts, Mona Siddiquis and Quran book review Essay - 1

Carl Ernsts, Mona Siddiquis and Quran book review - Essay Example ority of the Muslims, for example, the Taliban of Afghanistan and Pakistan believe that it is mandatory to fight in the name of God and kill the disbelievers. In doing so, they believe they would enter the heaven once they perish from the world. This essay will investigate the ways some of the non-Muslims and Muslims misunderstand the Quran and act upon the Holy verses. The aim of the essay is to understand the meaning of the word ‘Jihad’ and to see how Islam has been defamed in the name of the ‘Holy War.’ There are two main reasons that Islam is considered a religion that promotes terrorism. Firstly, when non-Muslims read the verses of Quran they completely ignore the fact that Quran was not only a book of guidance for people living in the past or to the people it was revealed but it is a book belonging to the people who lived in the past, are living in the present and also for the future generation to come. Secondly, some people follow the Quran word by word in a very literal sense. The Quran uses metaphors, and though it is the word of God, not every word is to be taken literally. The word Jihad is babbling not only for the non-Muslims but also for some Muslims who use and follow it in the wrong sense. The Holy Quran says â€Å"Not equal are those believers who stay behind in their homes while the believers exert in the cause of God with their wealth and life. God has kept a higher rank for those who exert in the name of God† (Quran 4:95). The believers of the book hugely misunderstand this verse. There is a misconception between some groups of people what exertion refers to. Though it is believed that it refers to Jihad, the meaning of Jihad tends to vary greatly among believers. Some of the better-known scholars of Islam like Abdullah Yousuf and Muhammad Asaddefine Jihad as a struggle or fight made to achieve justice. Jihad is a struggle made against oppression even if it means to risk one’s life. While there is some extremist groups that define

Memory and Attention and Intelligence Research Paper

Memory and Attention and Intelligence - Research Paper Example A breakdown of the assembly process of memory and lack of attention power are found as people get older. When people begin to age, their memory power becomes weaker and this condition can be directly attributed to the faltering of synapses. In addition, some parts of the brain like hippocampus which are very crucial to effective memory are highly vulnerable to aging. Moreover, as people get older, their brain shrinks itself and becomes less efficient. Similarly, cultural differences can influence the power of memory and attention to a great extent. For instance, individuals from western cultures concentrate more on object based and self relevant events whereas individuals from eastern cultures focuses more on contextual details and similarities. Culture and attention also maintains a similar connection. To be specific, culture influences attention which in turn impacts other cognitive and social processes. Studies have proven that gender differences may also influence human memory an d power of attention. Scholars opine that males have a better short term memory than females while females have a better long term memory than males. Researchers opine that males stand one step ahead of females in the case of power of attention.