Saturday, May 23, 2020

The Effects Of Physical Abuse On Mental Illness - 929 Words

Today, a colossal four hundred and fifty million (and growing) people in the world suffer from some form of mental illness in the world, however, only around one third of them seek any form of help ( World Health Report). This number was probably much lower in 1904, when this story was written, but I imagine it was also much more shameful and frightening to admit that you had a problem and needed help with all of the closer knit neighborhoods and insane asylums that have closed down over the last hundred years. While I read Paul s case, I thought of a number of things, history of physical abuse or trauma that might have made him shy away from physical contact, drug use (even one prescribed for a chronic illness or disease,) and that even a terminal illness had made him misanthropic. Nevertheless, I always came back to mental illness. The few sentences that solidified my belief were: I don’t really believe that smile of his comes altogether from insolence; there s something sort of haunted about it. The boy is not strong for one Thing. There is something wrong with the fellow (Paul s Case, Willa Cather). Paul had dramatic changes in mood from one place to another, anywhere art related or the finer things in life created an intoxicating, manic state; the unremarkable had the opposite effect, he became disdainful and lethargic. Paul s delusions of grandeur, his dramatic mood and personality changes from manic to depressive, and his disposition led me toShow MoreRelatedThe Effects Of Physical Abuse On Mental Illness1414 Words   |  6 Pagesform of mental illness, however, only around one third of them seek any form of help ( World Health Report). This number was probably much lower in 1904, when this story was written, but I imagine it was also far more shameful and frightening to admit that you had a problem and needed help with all of the closely knit neighborhoods and insane asylums that have closed down over the last hundred years. While I read Paul s case, I thought of a number of things, history of physical abuse or traumaRead MoreEssay Health and Social Care Unit 111515 Words   |  7 PagesP1) Describe forms of abuse which may be experienced by adults. Physical Abuse - Is a form of abuse which may be violent towards another person who this person may be vulnerable and might not be able to protect themselves. Examples of this may be; cuts, bruises, and possible broken bones. The long term effects that physical abuse could have are mental illness, scared of people coming near them, loose self-esteem and confidence, and may become vulnerable. Sexual Abuse- This may occur when thereRead MoreHomelessness and Mental Illness1095 Words   |  5 Pagesthis man has a mental illness as well. Homelessness and mental illness are linked. These two happenings have similar beginnings. Homelessness is influenced by drug and alcohol disuse, being homeless at a young age, money problems, and trauma symptoms. Mental illness is caused by many of the same things, but it can also happen at birth. The effects that each entity has on a person are comparable. Rehabilitation is a necessary process if a victim of homelessness and or mental illness wants to rejoinRead MoreDID Essay1460 Words   |  6 Pagesthe general population (NAMI: National Alliance on Mental Illness | NAMI: The National Alliance on Mental Illness,). DID is a serious mental illness that occurs across all ethnic groups and all income levels. It affects women nine times more than men. In addition to experiencing separate identities, individuals living with DID may also experie nce many other symptoms (Dissociative identity disorder - children, causes, DSM, functioning, effects, therapy, adults, drug, n.d.). Retrieving and dealingRead MoreThe Effects Of Domestic Violence On Women1652 Words   |  7 Pagesviolence is present in all regions of the world regardless of race, culture, or religion. It is not uncommon for men to experience spousal abuse. However, in reality abuse done by men towards women is a much more common occurrence. Men often abuse women as a result of negative domestic relationships experienced during childhood, the feeling of inadequacy and mental illness. However, the leading cause for this behaviour is the feeling of inferiority and the need to exert power. Stereotypically, the man inRead MoreHealthcare Concerning Mental Illness Essay1584 Words   |  7 PagesHealthcare Concerning Mental Illness As of now, there is no general consensus that would require states to cover mental health (Cauchi, Landess, Thangasamy 2011). Out of the 49 states that do cover mental illness, there are three main categories that vary considerably; mental health â€Å"parity† or equal coverage laws, minimum mandated mental health benefit laws, and mental health â€Å"mandated offering laws.† Mental illness is as serious a condition as any other health condition. It should be coveredRead MoreEssay Drug Abuse and Mental Health 1194 Words   |  5 PagesSubstance abuse complicates almost every aspect of care for the person with a mental disorder. When drugs enter the brain, they can interrupt the work and actually change how the brain performs its jobs; these changes are what lead to compulsive drug use. Drug abuse plays a major role when concerning mental health. It is very difficult for these individuals to engage in treatment. Diagnosis for a treatment is difficult because it takes time to disengage the interacting effects of substance abuse and theRead MoreMental Illness And Condition That Influences The Brain1654 Words   |  7 Pages1. Define the mental illness. Depression is a mental illness and condition that influences the brain. The mental illness affects an individual’s feelings and thoughts negatively which results in the lowering of one’s mood. 2. Describe the nature of the mental illness. Depression is a real mental condition that affects many people around the world. It affects all ages, social backgrounds and genders. There are many signs and symptoms of depression. Common symptoms of depression are sleepingRead More Treating Concurrent Disorders Essay1700 Words   |  7 Pages Mental health is being aware, accepting yourself, and striking a balance in all aspects of your life like social, spiritual, physical, economical, and mental (Association, 2001). Mental health can be described as our positive interactions with the context and events in our life, and having the ability to cope with life’s stressors. Mental health problems can begin at anytime during your life (CAMH, 2010). In fact anything can make it difficult for an individual’s ability to interact effectivelyRead MoreI Am Writing About The Bill s Mental Health Care Access Act1248 Words   |  5 PagesDeepa Oja and I reside in your district 7. I am writing to support your bill H.R. 1604, Veteran’s Mental Health Care access Act, which you cosponsor. The bill calls for veterans to be eligible for mental health care at non Veterans Affairs (VA) facilities, regardless of when they enrolled in the VA health care system or seek care at a VA facility, or the location of the veteran s residence. Mental illness is very common among men and women who serve in our military. According to American Psychiatric

Monday, May 18, 2020

Don t Judge A Book By Its Cover - 1129 Words

Don’t judge a book by its cover† was a saying during my childhood I heard every day. Growing up I was not the handsome boy you ever seen. I had a double chin, side rolls, and my stomach overlap my waistline. That’s where the name I received, â€Å"fat boy† came from was because of my appearance. That name for some reason made my father and brother laugh till tears come out. As I got older the double, side rolls, and my overlapping stomach started to slim and made me start looking normal size. As I was starting to look human all of sudden these pimples and acne started to appear. Transitioning to this stage of my life which caused my mom to teach me a valuable lesson and that was to â€Å"Don’t judge a book by its cover†. As I was growing up my family and I had what we like to call weekly reunions, which started in 2000 as I was approaching age 4. These reunions consist of playing cards such as poker or blackjack, kids would be outside playing kickball and musical chairs, and the grownups would be competing in a drinking contest. When daylight started shifting to night we would always get together in a big circle and sing songs by James Brown or Charlie Wilson on the karaoke machine. Then in the last 15 minutes our grandparents and great grandparents would tell us life stories, in which these was very motivational and inspiring. As years pass these weekly reunions was starting to become a tradition but these weekly reunions started to become torture for my mom. There is a total ofShow MoreRelatedDon t Judge A Book By Its Cover839 Words   |  4 Pagesout on the media for most people to watch. The media brainwashes many people to think pit bulls are ferocious, uncontrollable, pit fighting animals and they started banning them in some states with the numbers growing. People should not judge a book by its cover. Pitbull’s have good qualities; some people may disagree or agree. Now is the time to agree because of what these dogs provide for the community. Let’s focus on the good qualities of a Pitbull has to offer that is not broadcasted to the mediaRead MoreAnalysis Of Don t Judge A Book By Its Cover ``1001 Words   |  5 PagesDon t judge a book by its cover is a phrase that many adults tell children to have them look on the inside. However, people often judge based on appearance. There is an abundant number of people who are superficial and believe appearance is the true key of life. Social media, magazines, and the fashion industry encourage the general public to idolize and crave beauty. A young girl would disgorge herself in order to look like the models walking the runway, or the famous actress on a magazine. InRead MoreThe Freedom Writers : `` Don t Judge A Book `` Its Cover ``824 Words   |  4 PagesThe Freedom Writers There is a common saying, â€Å"Don’t judge a book by its cover†. This means that there should be no stereotypes or standards placed on anyone or anything before all of the information is known about that individual or item. Stereotyping is most commonly associated with people. There are lots of different assumptions that are made about people based on their looks, and most of the time, those assumptions are not true. The black students in this movie are portrayed as up to no goodRead MoreEssay On DonT Judge A Book By Its Cover1195 Words   |  5 Pagesinitial judgment of me, we wouldn’t have met. If we believe our initial thoughts of others, we won t get to form relationships: family, friends, couples. Judging others is what s stopping us as a society from coming together. I believe in the phrase â€Å"don’t judge a book by its cover,† and if everybody thinks in this too, it will make us a more integrated society. Don’t judge a book by its cover is one of the most clichà © and overused phrases to describe anything that deals with being prejudice.Read MoreKill A Mockingbird By Harper Lee1592 Words   |  7 Pagesis why he is such a known lawyer. Lee also used literary devices and terms to prove her points and better her writing throughout the novel. A few things Lee wants to change for the better are racism and equality, fairness, and not judging a book by it’s cover. Maycomb may be a small town, but as a result, it’s a racial town as well. Since the town is divided, people see racism everyday. That’s why when it came to Tom Robinson’s case, they chose Atticus to represent Tom. Tom Robinson is a black manRead MoreThe Most Important Thing You Remember About A Thesis Statement Essay1040 Words   |  5 Pagesalso giving the reader a new article to read and allow them to give feedback if necessary. This isn t new to me, for I ve done a thesis statement before and received good feedback from fellow classmates. What s different is all of us were focused on once topic and had to come up with our own thesis on that assigned topic. It worked out well. Thesis Statement Number 1: Judging A Book by the Cover People who jump to conclusions without prior knowledge should be aware of people s feelingsRead MoreAnalysis Of The Play 12 Angry Men By Reginald Rose1082 Words   |  5 PagesThe play ‘12 angry men’ by Reginald Rose discusses that we shouldn t judge people on their background, on their style, or on their religion, instead we need to focus on what matters most, what’s on the inside. Literature both teaches and encourages us to question the issue of prejudice in today’s society. Can you honestly say you ve never judged a book by its cover? I m sure that we have all picked a book up, looked at its cover and then put it down because it ‘looks’ unappealing. You may not knowRead MoreShrek Movie Analysis796 Words   |  4 PagesFairy tales don t always follow the same boring pattern; beautiful princess falls in love with her prince charming and they live happily ever after. The movie Shrek, an ogre and beautiful princess fall in love, though this beautiful princess has a secret; her secret is that by day a beautiful princess, and by night an ugly ogre, at least in her eyes. Shrek thought she was beautiful as a human and as an ogre; this hidden message is shown as beauty is in the eye of the beholder. Also in the movieRead MoreFlight Patterns By Sherman Alexie1527 Words   |  7 Pagesknowledge of who they are or what their background is, and this is part of the message Alexie was trying to get across in Flight Patterns. He wants his readers to know that this world isn t perfect, and that it can be seen that it is extremely commonplace in our society for others to judge people they don t even know, when they know for a fact that what they are doing is morally wrong. To illustrate, on page 57 of the Norton Introduction to Literature in Flight Patterns, the narrator construesRead MoreWhat Do You Value A University Education?956 Words   |  4 Pageseducation makes a better citizen and is likely to have a positive influence on society. He doesn t think you have to be educated to be a good person, it just helps. I agree with professor Bayless 100%. An education does not shape you into the person you are, but definitely helps make you a positive influence and a better person. I believe everyone should at least try a University education. You don t know if it’s not for you until you try it. Now a days to get a job you need some type of degree and

Tuesday, May 12, 2020

Taking a Look at Organizational Culture - 1362 Words

Organizational culture is a belief that employees share values, beliefs, or perceptions regarding an organization, or a hierarchical society (Tsai, 2011). This is depicted as the qualities, convictions, or observations held by workers inside an association or by an authoritative unit. Since organizations reflect the qualities, convictions and behavioral standards that are utilized by workers, the circumstances that they experience can impact the mentality and conduct of the staff. One perspective through Peasre and Kanyangale (2009) concentrates on consensus, common values, and standards that are seen by the organization as a whole, allowing employees to act in a compelling manner towards others and to translate the significance of the conduct of others in different settings. As an organizational counselor, one must be able to help clients define what the acceptable behaviors are. Furthermore, a counselor must also be able to provide methods of modification to behaviors that will be generalizable to various settings (Hackney and Cormier, 2013). Researchers subscribing to this point of view refer to culture as â€Å"collective programming† or group awareness, and â€Å"shared underlying beliefs† or group values. The consensus point of view focuses on examples, shared characteristics, or the inside of an organization as a dynamic unit. Points of view like this allow for the systematic recognition of coalitions. When coalitions are discovered, they can be reframed to understand theShow MoreRelatedTaking a Look at Organizational Culture767 Words   |  3 PagesOrganizational culture can be defined as ‘a pattern of shared basic assumptions learned by a group as it solved its problems of external adaption and internal integration, which has worked well enough to be considered valid and, therefore, to be taught to new members as the correct way to perceive, think and feel in relation to those problems’ (Schein 2010, p18). Having great organ isational culture is not achievable in just one turn. Implementations of certain factors are required in order to attainRead MoreOrganizational Culture : The Smartest Guys Of The Room1649 Words   |  7 PagesJudge, organizational culture is, â€Å"a system of shared meaning held by members that distinguishes the organization from other organizations† (Robbins 249). A strong organizational culture is one whose organization’s core values are both intensely held and widely shared. After viewing Enron: The Smartest Guys in the Room, it is obvious that Enron had not only an organizational culture that was strong, but one that was extreme and aggressive. This aggressive and strong organizational culture discouragedRead MoreOrganizational Structure Essay1589 Words   |  7 PagesOrganizational Structure Introduction In this paper we will be talking about organizational structure and cultures, and what strategies Ken Dailey will have to consider as he starts building on the team concept in the company. We will also talk about how to keep Green River moving forward in the facility and organizing the planning to make them successful. Organizational Structure Organizational structure is a formal relationship between management and the employees. It is a way to motivateRead MoreOrganizational Structure1183 Words   |  5 PagesStructure Pg. 1 Running Head: ORGANIZATIONAL STRUCTURE Organizational Structure By Marlene Seratt AIU MGT322-0702A-05 Concepts in Organizational Behavior Instructor Lionel de Souza Unit 4 Due: 05/26/2007 Structure Pg. 2 Introduction In this paper we will be talking about organizational structure and cultures, and what strategies Ken Dailey will have to consider as he starts buildingRead MoreHuman Resource Management And How Does It Affect An Organization?1510 Words   |  7 Pagesaffects an organization. One, look at how human resource management influence an organizational performance. Next, I will be sharing information on organizational culture, and then the practices of human resource management in an organization. First, taking a look at how HRM influences organizational performances. According to authors Phillips, J and Gully, S., â€Å"human resource management policies and practices add value to organization and influences organizational performances by either improvingRead MoreLeaders and Organizational Culture1191 Words   |  5 PagesRunning head: Leaders and Organizational Culture. †¢ †¢ †¢ ..; †¢ . Leaders and Organizational Culture Prepared for There are many definitions of organizational culture. The most basic definition is an organization’s shared values, attitudes, beliefs, and assumptions on how members of the organization should behave which gives meaning to how the organization functions. Organizational culture should enhance performance, internal integration, and bring all staff of all levels togetherRead MoreOrganizational Behavior Terminology and Concepts751 Words   |  4 PagesOrganizational Behavior Organizations have been described as groups of people who work interdependently toward some purpose. This definition clearly indicates that organizations are not buildings or pieces of machinery. Organizations are, indeed, people who interact to accomplish shared objectives. The study of organizational behavior (OB) and its affiliated subjects helps us understand what people think, feel and do in organizational settings. For managers and, realistically, all employees, thisRead MoreOrganizational Culture Is The Key Values, Beliefs And Attitudes Shared By The Members Of An Organization1121 Words   |  5 PagesOrganizational Culture: Organizational Culture is the key values, beliefs and attitudes shared by the members of an organization. Organizational culture includes an organization s expectations, experiences, philosophy, and values that hold it together, and is expressed in its self-image, inner workings, interactions with the outside world, and expectations for the future. A key source of organizational culture is usually its founder. It can be sustained by creating and spreading organizational storiesRead More Organizational Behavior Terminology and Concepts Essay729 Words   |  3 Pages Organizational Behavior Organizations have been described as groups of people who work interdependently toward some purpose. This definition clearly indicates that organizations are not buildings or pieces of machinery. Organizations are, indeed, people who interact to accomplish shared objectives. The study of organizational behavior (OB) and its affiliated subjects helps us understand what people think, feel and do in o rganizational settings. For managers and, realistically, all employees, thisRead MoreTaking a Look at Organizational Change1208 Words   |  5 PagesIntroduction Organizational change is a systematic step taken by an organization to make sure changes are taking place smoothly and successfully with lasting benefits. Globalization and innovation of technology result in a constantly evolving business environment. Social media and mobile adaptability have revolutionized business and the effect of this is an ever increasing need for change, and therefore changes management. Technology growth effect has increase information availability and accountability

Wednesday, May 6, 2020

Airports And Airplanes I Was A Dream For Me - 1107 Words

Airports/Airplanes I love traveling. If I could travel my whole life without stopping, I most certainly would. The idea of going to new places, experiencing a new culture, and embarking on unique journeys is beautiful to me and my favorite way to travel is through airplanes. I have always wanted to fly, if I could have any superpower, it would be the power of flight, so naturally airplanes are a dream for me. I love the sensation of taking off as the plane rises to the sky and you commence whatever trip you may be taking. I love being on a flight where it is completely acceptable to only watch movies, eat,and sleep, but I also love the people on planes. Airplanes carry passengers each with their own story and life, the idea that each of the people sitting beside you on a plane has a mind and life of their own, a reason to travel wherever the plane may be going, is just so unbelievably fascinating to me. Not only do I love airplanes, but I love airports just as much. Many people canno t stand even the thought of a busy, cluttered airports, but I like busy. I like messy, crazy, I live for it. Airports give you a view of the city from the stores, restaurants, and shops that sell the city to you, but most of all I like looking at the city. From an airport, you can see the city, the skyline, the beautiful lights or the lack thereof, you can see the places you’ve always dreamed of. Airports and airplanes are one of my great loves in this world and no matter how old I get thatShow MoreRelatedThe First Journey to a New Beginning1292 Words   |  5 Pagesthe screen in front of her, I looked around the waiting lounge. It was the last time I would see it for a very long time. I turned round and for a minute just took one last glance of the place I was leaving behind. My eyes moved from one corner of the airport lounge to the other. From the people scattered around the lounge, to the children running about, to the empty chair behind the information desk before final ly resting my gaze on the tiny teashop in the corner where I had just sat and drank waterRead MoreMy Experience At My Life741 Words   |  3 Pages September 14th, 2011, the last day I have in Manado, Indonesia. My family and friends were in the airport, waiting for me, while I was checking in my luggage. When I went back, all of my friends were standing and smiling at me. I know they were sad, but they tried to cover it with their smile. I gave each one of them a t-shirt that has writing about them, and they gave me the same thing. We talked, laughed, and joked around until it was time for me to go. Tears were falling down on theirRead MoreCommercial Aviation Management824 Words   |  4 Pageslong as I can remember, airplanes, airports and flying, has always fascinated me. During my childhood, we lived on the top floor of a high-rise building located directly on the Pearson Airport’s landing and take off flight path. I use to spend countless hours just gazing the sky watching airplanes. When I was old enough to operate a pc, the MS Flight Simulator was my favorite game that helped me learn and understand the various features of a cockpit and how to takeoff and land a plane. I had decidedRead MoreMy First Airplane Bus For Atlanta Airport871 Words   |  4 Pages Have you ever been on an airplane? Well I have. My First airplane ride was kind of unusual and never will be was a long exciting day and a lot of crazy stuff happened. From getting a ticket registered almost not able to get through the security gate, plane delays, and a big tragedy. It was an early Friday morning it was like 4 something, as my mom and me walked out the door to go to the car, still in a daze from being awaken so early I climbed in the front seat and we were on ourRead MoreThe Day Of My Life968 Words   |  4 Pagesbody. I was finally about to see my father after four long years. I was only six years old when he left. The day of his visit came and went like time in an hourglass. However, I can still recall every single detail pertaining that day and his visit. The atmosphere was filled with joy and excitement. I remember a tall, brown man walking in the house wearing an all-black suit. This style of clothing was very new to us because we’d never seen it before, but it brought a sense of professionalism. I alsoRead MoreMy Experience At An International Airport1600 Words   |  7 Pagesnew town? When I was just four years old, I was thrown into a very busy atmosphere - an airport. Even at such a young age, I have a vivid memory of my first experience travelling. An international airport is such a melting pot. It was a whole new experience for me. I’m from a small town, and I’m used to knowing just about everyone I see. So taking my first stroll through the Norfolk International Airport almost felt like a dream. Who are all these people and where are they going, I would think. AllRead MoreSuperman and Paula Brown’s New Snowsuit862 Words   |  4 Pagesit was first in 1941 the US entered the war. My guess is then, that the story takes place in the winter of 1941. There are a lot of hints that tells us that it is war time, like: Uncle Frank is â€Å"waiting to be drafted† – he is waiting to join the army, the narrator wins a prize for drawing the best civil defense signs and Sheldon pretends to be nazi. I did a research on our narrator Sylvia Plath, and I found out that this story is an episode from her childhood. Out of these information’s I mustRead MoreFernando, A Mexican-American Male Who Was Born In Los Angeles,1084 Words   |  5 PagesFernando, a Mexican-American male who was born in Los Angeles, California. He is 26 years old and currently in an exclusive relationship. Furthermore, he is a senior Mechanical Engineer major in University of California, Irvine. Fernando has been having Acrophobia, a phobia of height, for almost seven years, and every time he participates in any activities which involving climbing or elevating to a high place, he becomes anxious and fearful of the height which results him in incapability of accomplishingRead MoreThe Great Invention of the Airplane1307 Words   |  5 PagesThe airplane is a very normal word today. But it is a new word at least a hundred years. Then I want to talk about airplanes’ history, airplanes’ compani es, personal business, global trade, and the benefit for international students and traveling. In my view, those parts are very important about airplanes has changed people’s lives. A lot of people believe that airplanes bring many benefits to our life. I agree with this idea because airplanes are one of the greatest inventions of the twentieth centuryRead MoreDescriptive Essay About Trip To Cancun1205 Words   |  5 Pagesharder onto the resort. I couldn’t sleep ;the storm kept going on for hours and it wouldn’t stop. I thought it was going to be a peaceful night ; I thought wrong. Three months ago I received a text message from my father explaining that we re going on a trip to Cancun on July 4th . Boy was I excited I never been out of the country before. I couldn t wait to leave and get away from this annoying town and go somewhere peaceful. My dreams are actually coming true. I raced down the hallway to

Superflat Free Essays

Bijutsu Fine art Kindai Bijutsu Modern art Manga Manga are comics and print cartoons, in Japanese and conforming to the style developed in Japan in the late 20th century. Otaku Known as a mass media product presenting Japanese Culture, anime, has gained an increasing exposure and acceptance overseas during the 1990s.The term otaku, which was coined in 1982 and came into popular usage by 1989, is usually translated as ‘geek’ or ‘aficionado,’ and refers to a group of people who ‘take refuge in a world of fantasy, drinking in the images supplied by the modern media – usually from television, magazines and comic books, but also computer images or video games’ (Baral 1999: 22). We will write a custom essay sample on Superflat or any similar topic only for you Order Now The etymology of â€Å"otaku† was drawn upon the work of Volker Grassmuck in his seminal otaku-studies article: I’m alone, but not lonely†: Japanese Otaku-Kids colonize the Realm of Information and Media, A Tale of Sex and Crime from a faraway Place. Superflat art â€Å"The world of the future might be like Japan is today – Superflat. Society, customs, art, culture: all are extremely two-dimensional. It is particularly apparent in the arts that this sensibility has been flowing steadily beneath the surface of Japanese history †¦ [Superflat] is an original concept that links the past with the present and the future. † (Murakami, 2000: 9)Superflat is a concept and theory of art created by the contemporary Japanese artist, Takashi Murakami. The Superflat (2000) exhibition in Tokyo marked the launch of this new aesthetic which took contemporary Japanese art and identity into a globalised milieu of critical thought. The exhibition, which was curated by Murakami and subsequently travelled to the United States, featured the work of a range of established and emerging artists drawn from art and commercial genres in Japan. As an essential part of Murakami’s political strategy, Superflat was always designed to travel globally.An elaborate, bilingual catalogue Super Flat (Murakami, 2000), which included Murakami’s manifesto, A Theory of Super Flat Japanese Art, accompanied the exhibition. In this manifesto Murakami affirmed that the Superflat exhibitions were created to provide a cultural-historical context for the new form of art that he was proposing, and which was specifically exported for Western audiences. Superflat art, as a cultural text, is intricately enmeshed in the tensions between the location and rep resentation of local/global cultural identities.These identities, while proffering resistance through the assertion of difference, are also formed as part of the processes of globalization rather than in strict opposition to it (Robertson, 1995). In producing Superflat for Western art markets and Japanese art worlds, Murakami addresses existing discursive knowledge of Japanese art, history and popular culture, while simultaneously presenting a new variant of those identities. In this way, Superflat is part of the politics of commodification and expression of cultural difference generated in global consumption.Murakami’s Superflat concept identifies a new aesthetic emerging from the creative expressions produced in Japanese contemporary art, anime (Japanese animation), manga (graphic novels), video games, fashion and graphic design. Superflat is presented as a challenge to the institutions and practices of bijutsu (fine art), which Murakami argues are an incomplete import of Western concepts. Murakami is specifically referring to the modern institutions of kindai bijutsu (modern art) that were adopted during the Meiji period (1868–1912) as part of Japan’s process of modernization and Westernization.To Mur akami, the innovation and originality of post-1945 forms of commercial culture represent a continuation of the innovations of the Edo (1600–1867) visual culture. Murakami problematically argues that Edo culture represents a more ‘original’ cultural tradition, because it was a time of restricted foreign contact. At the same time, Murakami self-consciously uses Western art markets and the popular appeal of Japanese consumer culture to propose the Superflat alternative. That is, Murakami utilizes the Western popular imaginings of Japanese culture as a hyper-consumeristic, postmodern layhouse (Morley Robins, 1995: 147–173) in constructing Superflat. SUPERFLATNESS: GLOBALIZING STRATEGIES IN ART MARKET As the interaction between social groups has become increasingly globalized, the meaning-making and expressivities associated with ‘art’ have also become progressively more engaged through national and transnational gradients (Papastergiadis Artspace, 2003). In particular, the formation of identity and expressive modes in a national genealogy becomes problematic within a globalizing cultural sphere.Many artists struggle to find the binary position of balancing East and West cultures, while Takashi Murakami, contemporary Japanese artist, with his theory of Superflat art, worke d out his way in this dilemma. He provides a useful case study of the strategies artists can employ to negotiate cultural and artistic identities ‘in between’ this binary. This paper investigates the Superflat concept and analyses Murakami’s art works to expose the tensions and dialogues regarding cultural identity and commodification that are produced by their global circulation. The first section maps Murakami’s strategy in constructing Superflat and contextualizes this in relation to discourses of Japanese national-cultural identity. The second section applies this theorization by analyzing the visual codes of Murakami’s figure sculpture My Lonesome Cowboy. This figure sculpture is part of a series in which Murakami combined the aesthetic codes and markers of otaku culture, particularly the prominence of anime and manga characters, with various art historical references.This piece demonstrates the multifarious local/global codes and cultures that Superflat art engages. Global Flows and the Soy Sauce Strategy Globalization creates spaces in which mobile elements interact with both positive and negative effects. Three key issues emerge in contemporary theorizations of globalization that are relevant to this discussion: firstly, the problem of how to retain the concept of local/national cultural particularity and to concurrently recognize the onv ergences and overlaps between cultures in a global context (Robertson, 1995); secondly, how to recognize the value in cultural difference as a tool of critical (oppositional) agency (Fisher, 2003) and acknowledge that difference can also become a commodity in the global market place (Hall, 1991); and thirdly, to acknowledge the dominance of Western cultural, political and economic imperatives in globalization (Hardt Negri, 2000), but also to recognize that it cannot be reduced to this condition (Held et al. , 1999). Consequently, concerns and celebrations are generated by the increasing fragmentation of national and cultural identities (MorleyRobins, 1995). In response to this process of deterritorializing identity, impulses arise to reclaim local and national identities in a form of resistance (Hall, 1995). This resistance is complicated because it is formed in relation to the transnational imaginings of the Self and the Other, stimulated by the constant circulation of people and mediated images through globalizations (Appadurai, 1996).These are irresolvable struggles and they demonstrate how globalization contributes to rather than eliminates incommensurability (Ang, 2003). Thus, while cultural identities can become territorialized and demarcated, for instance as ‘Japanese’, they are also challenged by the processes of deterritorialization activated through interaction and exchange. The meaning of ‘Japanese’ is therefore open to re-articulation by both global and loca l forces allowing new strategic identities to emerge.These processes are evident in Murakami’s â€Å"soy sauce strategy†. Murakami demarcates the identity of Superflat as Japanese by proposing it as an affirmation of a Pop Art aesthetic that is â€Å"born from Japan† and distinct from Western art: a type of post-Pop (Murakami, 2005: 152–153). Murakami asserts Superflat as an example of the current influence of Japanese culture globally and as a model for a future aesthetic, thereby identifying the ‘Otherness’ of Superflat in a positive way.Even though Murakami acknowledges that this sensibility emerges from the transformations arising from the influences of Western culture, he simultaneously reaffirms the originality of Superflat as a Japanese sensibility. This is what he refers to as his â€Å"soy sauce† strategy. Japanese contemporary art has a long history of trying to hide the soy sauce. Perhaps they will strengthen the flavor to please the foreign palette, or perhaps they’ll simply throw the soy sauce out the window and unconditionally embrace the tastes of French or Italian cuisine, becoming the Westerners whose model of contemporary art they follow .. .I see the need to create a universal taste – a common tongue – without cheating myself and my Japanese core †¦ I continue to blend seasonings †¦ I may have mixed in the universal forms and presentations of French, Italian, Chinese, or other ethnic cuisines – and I am vigilant in my search for their best points – but the central axis of my creation is stable †¦ at its core, my standard of ‘beauty’ is one cultivated by the Japan that has been my home since my birth in 1962. (Kaikaikiki Co.Ltd Museum of Contemporary Art Tokyo, 2001: 130) This essential Japanese identity of Superflat is reinforced by the ways in which Murakami connects (visually and ideologically) the kawaii (cute) forms of anime and manga with the playful aesthetic of Edo period artists and the two-dimensional formal properties of Japanese screen painting. This foundation is then used to propose Superflat as an alternate lineage of Japanese visual culture, one that breaks away from the canon of kindai bijutsu and Western art history. Edo functions in Superflat as the determinant of its cultural authenticity – that is, as the DNA of Superflat (Murakami, 2000: 25). Edo is presented as the site of Japan’s cultural tradition and subsequently as a symbol of its Japaneseness. This is a convention from modern Japanese discourses in which Edo becomes the repository of nostalgic yearnings for a pre-modern, traditional Japan (Ivy, 1995).In the late 1980s and early 1990s this was extended to become part of the debates on Japan’s (post)modernity; postmodern cultural expressions in Japan were considered to be a revival of Edo concepts and practices and thus particularly ‘indigenous’ to Japan (Karatani, 1997). However, as Gluck (1998) points out, the definition of authentic and traditional Japanese expression in relation to a fixed point of origin in Edo culture has been heavily challenged. Therefore, Murakami’s use of Edo to mark the culturally authentic transmission of the Superflat a esthetic should be treated with caution.At the same time, Murakami has emphasized that he is not presenting Superflat as the definitive interpretation of Japanese art nor does he claim a unified identity for Japan: Unfortunately, I can never give ‘Japan’ a fixed shape. I cannot meet my real ‘self’. Nor can I discern what ‘art’ really is †¦ I thought I could solve the problem by lining up a series of images in a powerful procession that words could not clarify. (Murakami, 2000: 9) Even this position can be critiqued.Murakami self-consciously demonstrates his awareness of the historical interaction between Japan and the West and stresses the hybrid history of Superflat. However, he also tends to celebrate Japan’s skill in assimilating and domesticating foreign influences, echoing other discourses on Japan’s hybridity as a national-cultural trait (Tobin, 1992), which paradoxically reconstructs Japan’s hybridity as an essential identity. Murakami’s intention to create an epistemological context for Superflat is explicitly part of his aim to sell work in international art markets: First, gain recognition on site (New York). Furthermore, adjust the flavoring to meet the needs of the venue. 2 With this recognition as my parachute, I will make my landing back in Japan. Slightly adjust the flavorings until they are Japanese. Or perhaps entirely modify the works to meet Japanese tastes. 3 Back overseas, into the fray. This time, I will make a presentation that doesn’t shy away from my true soy sauce nature, but is understandable to my audience. (Kaikaikiki Co. Ltd Museum of Contemporary Art Tokyo, 2001:131)The impulse in Superflat towards the affirmation of a national-cultural aesthetic can be considered as a form of self-Orientalism: an identity formation that is constructed in relation to the Western Oriental gaze (Said, 1995). While self-Orientalism has been considered (although not specifically in relation to Superflat) as an empowered strategy, because it appropriates the West’s gaze of Japan and re-packages it for the same audience (Mitchell, 2000), others have considered it collusive to Orientalism and a continuation of the Japan/West binary construction (Iwabuchi, 1994).This self-Oriental identity is complicated by a number of factors. First, Superflat does echo conventional discursive constructions of a Japan/West binary, which obscures the connections and power relations in this structure. In particular, Superflat can also be interpreted as being part of the discourses on Japanese identity, particularly the emergence of nihonjinron and postmodernism post-1970s in relation to Japan’s economic and technological influences (Befu, 2001). There was a tendency in both these strains of discourse to emphasize Japan’s national identity as unique and different from the West and the East.Secondly, while Murakami acknowledges the Western influences on the Superflat aesthetic, his simultaneous transposing of this hybrid identity into a reinforcement of a Japanese identity, characterized by cultural assimilation and hybridization, reinforces a unified national-cultural identity. This identity is supported by the references between Superflat and already existing discursive constructions of Japanese culture as post-modern and the interpretation of the two-dimensional properties of Japanese art, which will be discussed later in the paper.Thirdly, Superflat is also part of ongoing trade relations and cross-fertilizations of visual culture forms between Japan and the West particularly since the late nineteenth century. These include the adoption of bijutsu in the Meiji period, the popular consumption of Japanese visual cult ure in the West (in late nineteenth century Japonisme and since the 1990s with the consumption of anime and manga), and the post-1945 influx of commercial culture from the United States and its subsequent impact on the development of the anime and manga industries (Kinsella, 2000).In some ways, the self-Orientalism of Superflat can be interpreted as a post-colonial defensive reaction. Superflat is presented by Murakami as a localized expression of cultural uniqueness resisting the global hegemony of Western art and transcending the imported colonialist history of bijutsu by presenting â€Å"icons of excessive otherness† (Matsui, 2001: 48). This resistance, in turn, strategically uses identity as a commodity in Western art markets.By explicitly emphasizing the differences of Superflat, and Superflat as Japanese, Murakami becomes open to criticism that he is merely providing a futuristic Orientalist spectacle for Western audiences (Shimada, 2002: 188–189). Furthermore, the ever-present danger with this position is that the centrality of the United States and Europe is re-asserted rather than challenged. Murakami explicitly reinforces this centrality through his statements regarding the importance of his profile in New York, London and Paris (Kelmachter, 2002: 76).Murakami’s strategy of merging artistic expression and the commercial imperatives of Orientalism also echoes the export art of the late nineteenth century in which new works were created for foreign markets, according to the dictates of those markets (Conant, 1991: 82–84). Export objects were deliberately constructed to appeal to the taste for Japonisme that was fashionable in Europe and the United States at the time. Murakami’s affirmation of Superflat as a Japanese-made model for the future also reiterates the recent rhetoric on Japan’s global cultural power in relation to the export of anime and manga (McGray, 2002). These discourses emphasize the symbolic (and subsequent economic) capital of the Japaneseness of anime and manga texts and they deliberately emphasize the commodity potentials of self- Orientalism. Murakami draws attention to these politics in the Superflat exhibition Coloriage (Coloring) at the Foundation Cartier by referring to it as â€Å"post-Japonisme† (Kelmachter, 2002: 103–104), thereby both connecting with the past market in Japanese art and suggesting a new contemporary context for the consumption of Superflat art.However, to reduce Superflat to a collusive Orientalism, or to see it as just a commodification of identity in a pejorative sense, misinterprets the dynamics in play. Murakami is both proffering resistance as well as marketing his work strategically. Firstly, Murakami articulates his identity through the exhibition structures of the West as well as through conventional signifiers of Japanese aesthetics in order to establish his profile and to sell his work.Yet he also acknowledges the ambivalences of his own position and the playfulness of this global soy sauce flavoring: In the worldview that holds delicate flavoring as the only concept of ‘beauty’ with any value, heavy flavouring is taboo, and too much stimulation is definitely problematic.. . In order to create something that is understandable both to the West and Japan, what is needed is an ambivalent flavor and presentation †¦ . (Kaikaikiki Co. Ltd Museum of Contemporary Art Tokyo, 2001: 131)Furthermore, dominant scholarly arguments on the popular consumption of anime and manga outside Japan hold that these forms express plural cultural identities and, as Allison (2000) shows, are detached from specific representations of space and place. This suggests that the consumption of Superflat, like that of anime and manga, is not simply based on a desire for reflected images of Japaneseness as a cultural Other; rather, it offers audiences a flexibility of alternate identities, free from specific geo-cultural connections.It can also be argued that a critical factor in the reception of Murakami’s works in the United States and Europe has been the familiarity of the Superflat aesthetic to anime and manga as part of a common rather than Orientalised visual vocabulary. Superflat echoes the paradox of affirming the non-nationality of texts, while also presenting them as expressions of national-cultural identity. However, there is another way to explain this contradiction of Superflat between the affirmation of non-national and specific cultural identities.The critical theorist Yoda Tomiko (2000) presents contemporary anime forms as a useful example of a coterminous fluidity between local codes that are interchangeable and coexistent with non-local elements. Elements in the text can be swapped around and adapted for different audiences, and these elements are simultaneously collated with non-specific elements drawn from a wide variety of sources; therefore, the overall form remains transportable as well as expressing cultural proximity.While this process of adaptation is not new, what Yoda indicates is that it is increasingly becoming a normative process within the logic of postmodern consumer society. The local identity expressed in Superflat utilizes the connections with Edo and anime and manga culture to articulate its cultural specificity and yet it also expresses a postmodern fluidity and self-reflexivity that enables it to be globally circulated. The following section demonstrates the multifarious local/global codes and cultures in Murakami’s figure sculpture My Lonesome Cowboy. Superflat IdentityTakashi Murakami may have been the happiest at Sotheby’s Auction on May 14th. My Lonesome Cowboy, his larger-than-life sculpture of a boy waving an ejaculate lasso, brought in $15. 2 million — quintupling the artist’s previous record at auction. Just like what Alexandra Munro has written, â€Å"Murakami does not merely appropriate the manga and anime based worlds of otaku subculture; he operates within them. His lushly bright, mutant characters, all of which have names, act coveted by convenience store consumers as much as they are sought after by intern ational art community. Murakami’s works always act in the multiple spaces in and between Japan and the West, referencing there intertwined relations. My Lonesome Cowboy can be linked to a number of familiar aesthetic forms from both Western and Japanese art history, thus it is a field of knowledge operating both within and between the social, cultural and aesthetic conditions of East and West. My Lonesome Cowboy is characterized by a large lasso of ejaculate reminiscent of Jackson Pollock’s splash paintings in the late 1940s.The confident masturbatory pose of the figure can be interpreted as a parodic and sexualized reference to the phallo-centric ideology of Western Modernism, in which the autonomy and expressive subjectivity (as well as the masculinity) of artists such as Pollock was celebrated. The title itself, My Lonesome Cowboy, also references the heroism and romanticism of the iconic image of the cowboy, which was celebrated in relation to the New York Abstract Expressionist painters , and was parodied in the homo-erotica of Andy Warhol’s film Lonesome Cowboys (1969).The stream of ejaculation fluid is both an exaggerated and grotesque parody of otaku (hard-core anime and manga fans) imaginings and masturbatory activities and a parody of the ‘unique’ stroke of the brush of the artist. The overt and ironic decorativeness of the fiberglass splash subverts the modernist ideology of the unique mark of the artist’s hand as an expression of interior subjectivity in a manner that is reminiscent of Roy Lichtenstein’s series of screen-prints, Brushstrokes, created in the mid to late 1960s. These references are then combined with recognizable Japanese aesthetic markers. For example, the Dragon Ball Z character Goku is the model for the head of the cowboy; the splash of ejaculate is also reminiscent of the static dynamism of Hokusai’s ukiyo-e print View of Mount Fuji through High Waves off Kanagawa (ca. 1829–1833). The standing pose of the figure with the power and energy concentrated in the hips thrust forward, accentuated by the expulsion of liquid from the penis, is something that has also been specifically linked to the style of character pose developed in anime (Kaikaikiki Co.Ltd Museum of Contemporary Art Tokyo, 2001: 96). This is contrasted to the Western comic hero pose in which the concentration of power and muscular strength is emphasized in the pectoral muscles (96). The sense of dynamism between stasis and movement in My Lonesome Cowboy can also be linked to various forms of compositional structures in Japanese screen-paintings and anime. One of the key features of early Japanese television animation is an aesthetic based on the frozen pose, in which a figure can leap in the air and freeze the pose, unfixed from gravity.Part of the rationality behind the frozen moment in animation was a response to budget constraints and efficient production processes; by freezing the frame and allowing the dialogue to continue fewer frames of animated movement were needed for the narrative (Lamarre, 2002: 335). As a stylistic tendency, the technique of freezing the action in animation relies on selecting the most dramatic or aesthetic moment to freeze, creating a dramatic pause before the action (2002: 335–336).Therefore, what is evident is that Murakami simultaneously articulates Japanese and Western aesthetic markers in My Lonesome Cowboy. While these references can be individually demarcated and identified, there is also an interchangeable flexibility that is addressed. More specifically, what this means is that the splash of semen can simultaneously reference Pollock, Lichtenstein, Hokusai and Kanada. Thus, it becomes a fluid and slippery signifier. This can be explained as one of the reasons for the global prominence and popularity of Superflat and Murakami.Furthermore, the art historical and popular cultural references would be considered relatively conventional markers for audiences conversant with these texts. Many of the Japanese works in the Superflat catalogue are held in Western collections, including Hokusai’s Great Wave. Murakami’s works are therefore characterized by a particular inter-determinacy, which enables him to manipulate the Japanese identity of the works while also utilizing the familiarity of the visual references for Western audiences. This trategy is further complicated by the overlapping historical aesthetic relationship between Japan and the West. First, the concept of Superflatness, as an aesthetic of two-dimensionality, reinforces the Western image of Japan as a culture of surface. The development of the flat surface, which has been interpreted by Clement Greenberg as the underpinning a esthetic realization of Western modern painting, was influenced by Japanese art, particularly ukiyo-e prints, in the nineteenth century (Evett, 1982: ix–x). In particular, an aesthetic of two-dimensionality was identified as a distinctive feature of Japanese art in late nineteenth century Europe (1982: 30). 13 In contrast to the Western discursive construct of Japanese art as inherently two-dimensional, Western practices of linear perspective by this time had already influenced Japanese art. 14 Secondly, because anime and manga are increasingly familiar to consumers outside of Japan, particularly since their export in the 1990s, they have become part of the database of visual aesthetics of artists and fans outside of Japan (Craig, 2000: 7).The complex visual cultural relationships between Japan, United States and European art are more politically intertwined than these explicit and obvious references imply because they are influenced by ideologies and constructions of national identity. The image of Japan as a culture of surface continued into the twentieth century and was translated from the mid-1980s into the confirmation of Japan†™s post modernity: Japan as a culture of surface was now celebrated (Barthes, 1982; Field, 1997) and it was constructed (arguably) as the epitome of post-modernity (Miyoshi and Harootunian). 5 This was contrasted to Western modernist discourse of the surface as a manifestation of interior subjectivity. Postmodernism presented a challenge to this concept of originality and interior/exterior distinctions through theories of simulacrum, pastiche and the collapsing of surface/depth models as developed by Baudrillard (1983), Jameson (1991), and Virilio (1991). Even the discourses that emphasized Japan’s creative skill in domesticating foreign imports (Tobin, 1992) as a contrast to the earlier pejorative concept of mimicry reinforced the image of Japan as an appropriator of different styles or surfaces.While the distinction between surface and depth is not absent in Japan, the duality between surface and depth in Western modern epistemology (and even in subsequent discourses that challenge it) is not necessarily expressed using those dichotomous terms in Japanese culture; rather, the surface is considered to be meaningful and creative. For example, the art historian Tsuji Nobuo (2002: 18) identifies the decorative surface as providing a link between the ordinary and everyday sphere and the extraordinary metaphysical realm.In this way, the decorative surface does not ‘lack’ meaning but is active as an intermediary expression and aesthetic. Hendry (1993) also identifies the importance of ‘wrapping’ in Japanes e culture, in which the external layers, whether they be clothing, architecture or gifts, form the critical meaning structure. Wrapping operates as a method of accumulating ‘layers of meaning’ that are not normally present in the unwrapped object (1993: 17). This process inverts the Western philosophical privileging of the core (the object inside the wrapping) as the primary site of meaning and the external wrapping as obscuring the object. In fact Hendry argues that the meaning of the enclosed object and the layers of wrapping are conceptually embedded in each other and cannot be separated (1993: 17). While flatness and the emphasis on surface quality and decoration in Superflat art can thus be considered an exploitation of the Western construct of Japan as a culture of surface aesthetics, it can also be interpreted as an assertion of the creative value of the surface in Japanese culture. In this latter interpretation Superflatness becomes a unique aesthetic form that articulates multiple and active spaces, not the erasure or reduction of meaning.The concept of active flatness and continual transformation is a useful approach to understanding the Superflat aesthetic. It is difficult to differentiate a singular point of origin or a stable and unified subject in the multiple cultural identities embedded in My Lonesome Cowboy. Such is the shared history and cross-fertilization of aesthetic forms that these multiple layers of references and aesthetic histories of Japan and the United States/Europe present a significant complexity to the explicit identification of these references as Japanese or Western.Furthermore, to presume that they will even be decoded as signifying geo-cultural aesthetic territories is equally problematic. It is evident that Murakami’s explicitly playful references act as heterogeneous and malleable signifiers of identity, and thus can be readily interpreted as a postmodern expression of multiplicity. Furthermore, the inter-textual references to Japanese art history, Western art history, and imagined constructions of Japanese identity, play to the knowingness of audiences. The Westernization of Superflat and its Japaneseness articulate two forms that can be accessed by Murakami from his database of codes. How to cite Superflat, Papers

Controlled Airspace In The United States Essay Example For Students

Controlled Airspace In The United States Essay The value of controlled airspace in the United States is for the safety of all commercial and general aviation flights. Utter chaos reigns in skies without controlled airspace. With thousands of airplanes in the skies every day carrying hundred of thousand of people the necessity of a means of controlling them becomes relevant. The (FAA) Federal Aviation Administration is the regulative department of the United States Government that controls the skies in the U.S. The FAA divided the airspace into different categories, all of which have different regulations and limits on both horizontal and vertical airspace restrictions. They are broken down into basically three distinct airspaces: Class B, Class C, and Class D. Class B airspace is controlled airspace that extends upward from the ground surface to a specified altitude of 10,000 msl (mean sea level). All aircraft that operate in this airspace are subject to regulations set forth by the FAA. Some of the requirements for the pilot to operate in Class B airspace are: the pilot must at the minimum hold a private pilot certificate, and a current medical certificate. The aircrafts operating in Class B airspace must have at least three pieces of equipment; the first is a two-way radio for communication. The second piece of equipment, a transponder, tracks the aircrafts position. The third piece of equipment is a VOR (vertical omni range), which directs the pilots position. Also, in order to operate in Class B airspace a person must obtain a clearance for ATC (Air Traffic Control). The speed limit in Class B airspace is restricted to 200 knots. Throughout the country, metropolitan airports designate Class C airspace with a set of rings, extending from the surface of the earth to an altitude of 4,000 feet above the airport elevation and a radius of 5nm (nautical miles) from the center of the airport. This area is known as a primary Class C airport. There is an outer ring that extends out 10 nm from the airport and above the surface from 1,200 feet to 4,000 feet. This area is used for transitioning to and from the airport. The operating rules in the Class C are similar to that of the Class B. The pilot is required to hold at least a private pilot license and a valid medical certificate and to be classified as current. Current requirement entails having completed at least three takeoffs and landings in the same type of aircraft. The pilot must also complete a biannual flight review with a certified fight instructor. The aircraft must be equipped with a two-way in order to communicate with ATC, which is required prior to enteri ng the airspace. The aircraft needs to have a transponder with altitude encoding in order for ATC to track them in the air. The VOR is also required for navigation in and around this airspace. Flights at or below 2,500 feet within 4 nm of the airport must not exceed 200 knots. This speed restriction helps to alleviate the noise caused by large aircraft over densely populated areas. A pilot is required to have aboard the aircraft a sectional chart that depicts the airspace and transition areas. The next airspace is the Class D. This area is generally the airspace above an airport, from ground level to 2,500 feet and outward for 4 nm. The Class D airspace is considered part of the airport itself. A pilot is required to hold the same license, have a valid medical certification as the Class C and they must adhere to the same current classification requirements. A pilot must already be in communication with ATC and be cleared before entering the Class D airspace. Once the pilot is cleare d he is transferred to the airport tower, which handles all the traffic within that airspace. No matter whether the aircraft is on the ground or in the air, the local tower is responsible for guiding them safely within its boundaries. The speed is limited to 200 knots within this airspace as well. .u74b608abe18492ce683787a4e311dc7b , .u74b608abe18492ce683787a4e311dc7b .postImageUrl , .u74b608abe18492ce683787a4e311dc7b .centered-text-area { min-height: 80px; position: relative; } .u74b608abe18492ce683787a4e311dc7b , .u74b608abe18492ce683787a4e311dc7b:hover , .u74b608abe18492ce683787a4e311dc7b:visited , .u74b608abe18492ce683787a4e311dc7b:active { border:0!important; } .u74b608abe18492ce683787a4e311dc7b .clearfix:after { content: ""; display: table; clear: both; } .u74b608abe18492ce683787a4e311dc7b { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u74b608abe18492ce683787a4e311dc7b:active , .u74b608abe18492ce683787a4e311dc7b:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u74b608abe18492ce683787a4e311dc7b .centered-text-area { width: 100%; position: relative ; } .u74b608abe18492ce683787a4e311dc7b .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u74b608abe18492ce683787a4e311dc7b .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u74b608abe18492ce683787a4e311dc7b .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(; position: absolute; right: 0; top: 0; } .u74b608abe18492ce683787a4e311dc7b:hover .ctaButton { background-color: #34495E!important; } .u74b608abe18492ce683787a4e311dc7b .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u74b608abe18492ce683787a4e311dc7b .u74b608abe18492ce683787a4e311dc7b-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u74b608abe18492ce683787a4e311dc7b:after { content: ""; display: block; clear: both; } READ: America In Gilded Age EssayThe airspace categories are a valuable asset to the United States transportation system and has been designed to protect the public and ensure the safety of the thousands of aircraft that

Friday, May 1, 2020

The Guy in the Glass free essay sample

â€Å"The feller whose verdict counts most in your life, is the guy staring back from the glass.† The Guy in the Glass, a poem by Dave Wimbrow, tells the most important life lesson; if you have cheated yourself, your life really does not mean anything. I had this poem read to me right before my last J.R. Tucker football game. The head coach told us, â€Å"You guys are going to remember this game for the rest of your life. If you cheat yourself, the people in the bleachers will not know or care, but you are going to have to live with this.† Cheating yourself can affect other areas in life as well. It might be easy to grab a homework assignment from a friend and copy it before the teacher walks in. It might be easy to leave weightlifting early, when everyone else does. I choose not to do this though. We will write a custom essay sample on The Guy in the Glass or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page I will take a zero on an assignment if I have not done it because one grade is not going to ruin my high school career. However, if I got used to just copying other people’s work, it would result in more serious consequences, such as getting fired from a job or getting kicked out of college. I choose to stay the extra half an hour in the gym, so I can finish my weightlifting and know that I am just as even as the other guy across the line of scrimmage. Just as another part of the poem says,â€Å" Your final reward will be heartaches and tears, if you’ve cheated the guy in the glass,† nobody but me will be to blame. I will be the only one upset if I do not do my work or am not playing to the best of my ability. The poem is on the door to my bedroom. It is nothing special, just a piece of paper with a thumbtack in it, but this poem motivates me to do my best. Each day I read the poem so I will be ready for anything that comes during the day.