5 Reasons Students Should Consider Becoming a CV Writer

5 Reasons Students Should Consider Becoming a CV Writer 5 Reasons Students Should Consider Becoming a CV Writer When you’re trying to find a job, there are few better ways to catch the eye of a prospective employer than a well-written, impressive CV. But for most people, writing their CVs is something that’s only done every few years – if even that frequently. As a result, it’s not surprising that some people simply aren’t that good at it. Oftentimes, savvy job seekers will turn to a professional writer to help them craft the resume. For students, this creates an amazing opportunity to hone their skills, while earning a little extra money, by becoming a CV writer. So, why should you consider this career path? Because: CV Writers Are Always In-Demand As long as employers are hiring, there’s going to be a demand for CV writers. That’s because when it comes to landing a big interview, job seekers need to be able to make themselves stand out. And while they may have a long list of talents and experience, not everyone is going to be a skilled writer. As such, there will always be a need for experienced writers who are able to craft professional-quality CVs. Being Your Own Boss Is Awesome One of the most common reasons that students give for choosing to become a CV writer is the flexibility the job provides. Since it’s a freelance position, CV writers enjoy the ability to be their own bosses – to set their own schedules and only take on the projects that they choose to. Online Presence Is No Problem for You In today’s employment market, simply having a complete resume isn’t always enough to land the perfect job. Applicants are also expected to have a complete online presence which depicts them in a professional manner. As a CV writer, you’ll learn how to not only craft resumes, but also improve profiles on business-focused websites like LinkedIn. Your Eye for Details Is Perfect If writing a powerful resume was as easy as simply listing past jobs and education, there wouldn’t be much of a market for CV writers. Luckily though, the most effective CVs are the ones which are focused on the skills and abilities necessary for the job at hand. By becoming a professional CV writer, you can develop a keen eye for detail that will allow you to create well-written resumes that truly help your clients land the positions that they’re after. Improved CV Writing Skills Equal a Great Job in the Future A job with no practical long-term benefit is just that: a job. But as a CV writer, you’re doing more than just earning a little extra money – you’re also developing important skills that will assist you throughout your entire career. You’re not only helping others find great jobs; you are also developing the written communication skills needed to improve your future employment prospects as well. While just about everyone needs to have a well-written CV, not everyone has the skills, knowledge, and patience necessary to learn how to write them well. For college students, this provides an opportunity to earn some extra money while improving both their writing skills and future employment prospects at the same time. Probably, our professional custom writing service can be useful for  you check it out!

Free Essays on Advertisementing For America

According to â€Å"Body Image & Advertising,† the average woman sees up to six-hundred advertisements every day. Many people have become unaware of advertising’s presence, because it is so banal and ingrained in American’s everyday lives. Not only do people not notice it when something is being marketed towards them, but they don’t understand the drastic affects advertising has on them. But in fact, advertising has a very large and very real affect on consumers. Things are marketed indiscreetly as well as subliminally. These messages are often given through beautiful models telling consumers to buy a certain product. Very few products are advertised using less than perfect women. Unfortunately, this causes much harm for the American society. Both males and females of all ages are distress over the body images seen in advertisements. The purpose of advertising is to market products to as many people as possible. Advertisements are seen in more than just commercials and advertisements; they are also in movies and television shows. Movies and television shows can hold many advertisements. When actors wear a specific brand of clothing or use a brand of cologne in movies, they are usually paid for their advertisement by the companies. The best way to advertise a product is make consumers feel dissatisfied with what they already have and make them want more. Causing people to buy things they otherwise wouldn’t, advertising creates a constant need. Commercials and other forms of advertising give people distorted views of what a healthy body image is. People try to achieve the perfect body, but find themselves lacking when compared to models and actors. This is unattainable because the men and women in advertising, television, and movies are airbrushed to take away discoloration, bumps, wrinkles, and any other blemishes that are unappealing. By showing consumers an unattainable goal, advertisers have set a never... Free Essays on Advertisementing For America Free Essays on Advertisementing For America According to â€Å"Body Image & Advertising,† the average woman sees up to six-hundred advertisements every day. Many people have become unaware of advertising’s presence, because it is so banal and ingrained in American’s everyday lives. Not only do people not notice it when something is being marketed towards them, but they don’t understand the drastic affects advertising has on them. But in fact, advertising has a very large and very real affect on consumers. Things are marketed indiscreetly as well as subliminally. These messages are often given through beautiful models telling consumers to buy a certain product. Very few products are advertised using less than perfect women. Unfortunately, this causes much harm for the American society. Both males and females of all ages are distress over the body images seen in advertisements. The purpose of advertising is to market products to as many people as possible. Advertisements are seen in more than just commercials and advertisements; they are also in movies and television shows. Movies and television shows can hold many advertisements. When actors wear a specific brand of clothing or use a brand of cologne in movies, they are usually paid for their advertisement by the companies. The best way to advertise a product is make consumers feel dissatisfied with what they already have and make them want more. Causing people to buy things they otherwise wouldn’t, advertising creates a constant need. Commercials and other forms of advertising give people distorted views of what a healthy body image is. People try to achieve the perfect body, but find themselves lacking when compared to models and actors. This is unattainable because the men and women in advertising, television, and movies are airbrushed to take away discoloration, bumps, wrinkles, and any other blemishes that are unappealing. By showing consumers an unattainable goal, advertisers have set a never...

Interview paper Essay Example | Topics and Well Written Essays - 750 words - 1

Interview paper - Essay Example The budget that he has allocated is $750. Because of the numerous brands in the market, buying a laptop is a difficult decision for the professor. There are several factors which he considered in making the final decision. First factor that he considered is the weight of the computer. Since he and his kids will most probably bring the computer to school, he was very much concerned with the weight. Furthermore, he foresees that the laptop will be moved from one room in the house to another. The lighter the laptop, the more he was inclined to buy it. Another critical aspect for the professor is the power consumption. Since the users of the laptop are always on the go, he preferred a battery which could last at least for four hours. He realized that if the laptop has additional features, it would also consume more power. Processing power is another factor that the professor looked into. He preferred a Core 2 duo in case his kids would need multimedia programs. He expects that he will also need to do some class presentations that will require multimedia programs. The after sales service and warranty is another feature that the professor viewed as essential. Aside from a local warranty, he would like an international warranty to go with it. As a professor, there are times when he travels to other countries for seminars or trainings. An international warranty will guarantee that if something goes wrong with his computer while he is abroad, his computer can be repaired immediately. Moreover, the longer the warranty on parts and labor the better for him. He recognized the fact that there are some brands which offer extended warranty but with extra cost. Another aspect which the professor considered is the operating system of the laptop. He knew that if he chose the Windows Vista operating system, it will be more expensive because it requires the latest hardware. He was however open to using Linux, Windows XP

Human Rights Declaration Essay Example | Topics and Well Written Essays - 1250 words

Human Rights Declaration - Essay Example It will also relate the role of education for community empowerment and of rights advocacy. UN Universal Declaration of Human Rights The United Nation’s Universal Declaration of Human Rights is an embodiment of world’s recognition of all persons’ inalienable rights for liberty, property, justice, and peace (UN, 2012). The instrument is upheld globally and is protected by laws or treaties, as ratified by member states, to make it part of the laws of every countries (UN, 2012). The declaration extols human rights as essential component for national development, social cohesion, world peace and in improving opportunities for international or national growth (UN, 2012). The declaration guarantees human freedom, equality and security to fully enjoy the right to life. It rejects all forms of discrimination and violence while it accords to everyone the right to avail legal remedy, fair trial, and equal treatment under rule of law following the doctrine on the presumptio n of innocence until one is proven by court as guilty (UN, 2012). The declaration further assures people of their right to travel, the right for asylum, to acquire property, to be part of associations, to participate in good governance, as well as, the right to privacy (UN, 2012). The law likewise promote the right for social security, education, and to avail opportunities commensurate to anyone’s educational attainment and skills (UN, 2012). ... Elsewhere in the world, repressive regimes have subjected people to severe human rights violations (HRVs) which oftentimes stripped them of their rights to dignity and life. Some cases would even illustrate how the state resorts to deprive peoples on their right life, peace and security during war, or in the escalation of state-sponsored crimes, and of terrorism. In Uzbekistan, for example, human rights advocates documented violence and torture that were inflicted to prisoners which prompted the United States, European Union and the European Bank for Reconstruction to investigate (Human Rights Watch, 2011).2 The most prominent report on torture was that photo in 2002 of Muzafar Avazov, a religious human rights advocate, who died after he was submerged by his interrogators in boiling water (HRW, 2011, p. 1). His dead body also bore some marks and scars of violence. Such issue has serious implication about how the criminal and justice system works in Uzbekistan (HRW, 2011, p. 2). The c ase was further aggravated with series of indiscriminate killings which victimized a number of innocent civilians in the areas of Andijan (HRW, 2011, p. 2). This motivated UN to intervene and investigate the pervasive human rights problem even within its criminal justice system. UN also openly condemned the incessant use of force and violence against civil society and decided to enforce sanctions for the abuses made. It wielded international pressure to ask Uzbek government to undertake reforms of governance and in its judicial system. Such case like this has positive implications to the Universal Declaration of Human Rights—as an international policy which set global standard in the introduction of governance and for judicial

Would implementing groupware in our organization be more trouble than Essay

Would implementing groupware in our organization be more trouble than it would be worth - Essay Example Today’s work environments are nothing but groups of individuals working together to put together intelligent and complex systems and increased flexibility is one concern they all face in terms of communication of team goals, progress and even support on projects. Enterprise-wide softwares are becoming popular to enable the smooth working between the different groups within the organization, even the branches spread across the globe. Without these intelligent softwares, the work becomes time-consuming, complex and inefficient in relatively bigger projects. Even a small enterprise usually has different groups working on various projects and need to communicate for efficient teamwork. Then there are the different departments that need to share information and monitor the processes of the organization. As Coleman (1993, pp 31) notes House’s observations, â€Å"new enterprises use information technology as a strategic advantage and further exploit faster, better, less expensive access to critical information. And Groupware solutions based upon advanced communications and computing technologies are emerging to make this possible†. Groupware is nothing but a collaborative software used by the teams to â€Å"work on the same application or system† (Tech-FAQ, 2009). Groupware systems are â€Å"classified according to time-space matrix or the 3C model† (Borghoff, Schlichtzer, 2000, pp118). However, the use of this high-end technology depends on the comfort level of the user to efficiently utilize it to the full pote ntial. Given the exposure to various kinds of enterprise-wide softwares for almost every kind of work in the field of information technology, there is little doubt that the employees of a team would find communication using these groupwares difficult. On the contrary, using groupware in organization enables uniformity in process and workflow, improves access to information, speeds-up the business processes, enables uniformity in

Marcel Duchamps Influences on Modern Art

Marcel Duchamps Influences on Modern Art Marcel Duchamps Influence on 20th/21st Century Art 1: Introduction The influence of Duchamp’s notion of readymade art has had widespread and profound connotations for the development of art in the 20th and 21st century. Firstly, Duchamp’s art attempted to avoid many of the traditions of art at the time; his use of readymades stigmatised the notion of the artist as a creator. This radical redefinition of the role of artist informed future Conceptual artists in their attempts to relocate the boundaries that would define their role. Duchamp’s role was precisely the opposite role as those artists concerned about formulating an ideal form of subjective expression – Duchamp was more concerned about the political role of the artist and the institutions that serve to create art, rather than of the production of art itself. His readymade work challenges many of these conceptions and institutions by drawing attention to the political and social processes behind the production of art. Secondly, Duchamp’s readymade work also b roadened what could be defined as art. This placed art within a broader philosophical, structural and linguistic field of discourse in which the placement of art was more ephemeral. Ultimately, Duchamp’s project was to untie and disassemble art entirely; this is linked to the postmodern notion that categories and objects do not possess any inherent meaning, but only contain the meanings that we ourselves assign to them. As such, Duchamp’s legacy in both a practical and a theoretical and philosophical sense has served to inform cultural and artistic debate throughout the 20th century, from Jasper Johns, to pop art, performance art and other forms of avant-garde art that challenge the underlying principles behind artistic production. Duchamp’s readymade has left a profound legacy across the board of contemporary art for a number of reasons. Responses to the readymade and the challenge that it poses for a redefined art divorced from the artefact are widespread. Firstly, the elevation of a readymade work of art alters the role of the artist in the production process: Buchloh comments that the extent of Duchamp’s influence on art can be answered by responding to three particular points for discussion. Firstly, he suggests that Duchamp’s influence can be seen in how â€Å"the specific forms of how traditional forms of mark-making can be displaced by an exclusively photographic or textual operation of recording and documentation† (Buskirk Nixon, 205). The impact of this method is to erode and to redefine the role of artist. Whereas we can say that the classical and modernist form of the artist was to present us with a version of reality authenticated by the presence of the artist and the s ubjective aesthetic rules that made that artist â€Å"good† or â€Å"bad†, Duchamp’s readymade work, namely The Fountain, challenges this approach by stressing the role of the artist as a collector and an assembler rather than as a creator. Because it is obvious that Duchamp’s Fountain would not be considered a work of art if it were presented to us in a lavatory, Duchamp highlights and challenges the prejudices inherent to artistic production: namely, the traditional methods for artistic production and for â€Å"mark-making† are redefined and with it, the artist. Of course, this implication has had a profound impact on the development of 20th and 21st century art, from Jasper John’s flags to Warhol’s pop art, and has served to change the material conditions behind the production of art. The mechanistic connotations invoked by Duchamp and his readymade radically challenges and redefines the aesthetic palette available to artists; Duch amp’s influence was to challenge the subjective aesthetic of artistic production – Duchamp’s systemic use of a readymade on the one hand broadens the philosophical and conceptual basis for art production while on the other hand exposing the fallacies of art production in its more traditional sense. Of course, the impacts of this challenge have served to inform critical debate about the role of the artist in art ever since. 2: Readymades In Advance of The Broken Arm, Trebuchet (Trap), Hat Rack, Bicycle Wheel, Bottle Dryer, Air de Paris (400 words) â€Å"The elevation of a common object to the level of a work of art did not consist in merely choosing and signing it. It implied following a set of four rules: de-contextualisation, titling, limiting the frequency of the act and, the most esoteric of all, the necessity of a ‘rendez-vous’ – the meeting of the artist and the object† (Schwarz, 126). Duchamp’s readymade also served to interrogate the principles by which we define objects themselves; because Duchamp’s readymade work inherently interrogates the status of objects by changing their relation to one-another, it can be asserted that Duchamp’s project was to challenge how categories and objects are defined by their intrinsic properties rather than by their relationship to their broader environment. Buchloh points out that Duchamp facilitated the â€Å"radical dismantling of all traditional definitions of objects and categories – the ‘dematerialisation of the work of art,’ as Lucy Lippard called it – and its transfer onto the linguistic, the photographic, and the site-specific operations within which Conceptual art was defined† (Buskirk Nixon, 205). Of course, the linguistic and structural properties of Duchamp’s readymade serves to interrogate and dismantle the traditional role of artist. It also broadens the scope and the context of art itself. However, perhaps more significantly, the nature of Duchamp’s readymade does not allow for a particularly easy redefinition of art’s aesthetic role. For example, if it is asserted that Duchamp’s role was to reposition items of artistic worth and to place them into the political space of a gallery, this highlights the political rather than the aesthetic role of the gallery and the artist in measuring items of subjective worth. In addition, Duchamp’s process of selection is also telling: â€Å"The great problem was the act of selection. I had to pick an object without it impressing me and, as far as possible, without the least intervention of any idea or suggestion of aesthetic pleasure. It was necessary to reduce my personal taste to zero. It is very difficult to select an object that has absolutely no interest for us not only the day we pick it but which never will and which, finally, can never have the possibility of becoming beautiful, pretty, agreeable or ugly† (Paz, 88). Duchamp’s aim, therefore, was to divorce art from its meanings and from the methods of judgement that are usually assigned to it. His desire to locate an object that had absolutely no interest whatsoever highlights both his desire to challenge the centrality of the artistic object, and also helps us to trace his legacy through what can be construed as an attempt to apply Duchamp’s philosophical theory on locating a work of art that can never be â€Å"beautiful, pretty, agreeable or ugly†, and the inevitable failure entrenched within the politics of the readymade: despite Duchamp’s intention to create art that did not have any meaning, the assignation of meaning to Duchamp’s readymades as a series of fetishised objects seemed inevitable and also influenced other Conceptual artists in their project to erode the stability and the legitimacy of the artefact via a number of means: the fetishisation of art in late capitalism, for example, causes art to am ass a capitalistic value regardless of whether the artist him or herself wishes for a value to be attached to it. Trebuchet: a coat rack, which means a â€Å"trap for small birds and is a pun on the phonetically identical ‘trebucher’, meaning to stumble over.† (Schwarz 126-7). Section 3: Duchamp as Rrose Selavy (400 words) Duchamp and the dada movement in general were concerned about elucidating through irony and humour the role of the artist in the production process. Although the concept of the readymade changed this role from that of creator to selector of appropriate works of art, the role and identity of the artist was questioned in a more thoroughly mocking way with his invention of his female alter-ego, Rrose Selavy, whom several works of art were ascribed to. Naumann (2008) suggests that the invention of Rrose Selavy served the grander purposes and preoccupations of Duchamp’s work, whose interests and themes include â€Å"disguise, reflection and signature† (70). Taken generally, the invention of an alter-ego who has as much artistic authority as the artist himself serves to obfuscate, delude and disorient the viewer of the art in itself; the notion of disguise functions as a means of disrupting the traditional role of the artist as singular creator of the work in question. Rrose Selavy also has a performance aspect to it, which, among other things, helps to blur the boundaries between the work of art and the artist himself. Along with this, Duchamp’s alter-ego also has obvious connotations through the paradigm of gender studies. The peculiarities of Rrose Selavy’s role is particularly problematic concerning this. As well as satirising the role of artist, the construction of Rrose Selavy also expressed many of the reservations expressed by Duchamp about the increasingly blurred boundaries between gender. Hopkins (2008) argues that Duchamp’s views were deeply conservative regarding the growing concern over gender equality: â€Å"he was deeply wary of the growing autonomy and mannishness of contemporary ‘liberated’ women. [†¦] The evident preoccupation with gender indeterminacy [†¦] became thematized conclusively in the photographs of his female alter ego Rrose Selavy† (Hopkins, 81). But while Rrose Selavy can be read as a satire of the mannish women who had become increasingly empowered in 1920s France, the role of Selavy could also be seen as a satire of the â€Å"traditional† French aristocratic woman, whose conservative sensibilities are also mocked by Duchamp’s character. This problematic is also supported by the texts that frequently anchored the print representations of Rrose Selavy. Litterature magazine tagged one of his portraits with the following sentence: â€Å"Here is the Domain of Rrose Selavy – how arid it is – how fertile – how joyous – how sad† (from Hopkins 2008, 87), which demonstrates warmth and empathy with Rrose Selavy rather than irony or satire. Hopkins adds that â€Å"The Paris group may well have understood Duchamp to be killing off his old ‘dry’, dusty male persona and being reborn as Rrose (Eros).† (Hopkins, 86-7). Section 4: Duchamp’s use of language, wordplay, puns, paradoxes and humour in his work Fresh Widow, Why Not Sneeze Rrose Selavy, L.H.O.O.Q., Ready Made Rectified (Wanted $2000 Reward) (400 words) Duchamp’s assault on the art establishments and its values was executed in a manner that used a great deal of wordplay, irony and often cryptic allusion to more salacious and scandalous depths. Fresh Widow, for example, features a play on the words for French Window and can be read, as Hopkins comments, as â€Å"a salacious allusion to the sexual availability of bereaved women in Paris after the war†. Other puns assist in denigrating the stature of the traditional artistic canon by anchoring them in a completely different, and somewhat lewder context. This eroticism is exemplified by Duchamp’s famous work, â€Å"L. H. O. O. Q.†. Mundy (2008) suggests that humour and eroticism were key components to this Dada aesthetic, as Duchamp reinvented himself as a woman, disfigured a Mona Lisa with a moustache and printed underneath the letters â€Å"L. H. O. O. Q.† which, in French when pronounced phonetically translates as â€Å"she has a hot arse†. T he intention of this clearly stems from an attempt to intentionally sabotage works treated with reverence by the establishments at the time by using sexual innuendo and wordplay. In addition, the linguistic addition draws attention to what exists outside of Da Vinci’s original framing, perhaps drawing attention to extraneous factors in artistic production and reproduction that cannot be framed as easily. In many respects, the titles of Duchamp’s works have almost as great a significance as the works themselves; Mundy (2008) comments that this focus intentionally blurs the boundaries between traditional points of anchorage in the artistic production process: â€Å"The title-cum-impossible-question of another readymade, Why Not Sneeze Selavy?, posits unfathomable relationships between objective reality and subjective intentionality† (35). Paradox between different elements of the sculpture are brought into question and serve to defy simple, certain interpretation. Duchamp’s famous readymade The Fountain challenges the utilitarian role of the urinal by placing the signature horizontally rather than vertically, thus metamorphosing the work into a piece of art by defying its utilitarian purpose. For de Duve, the challenge of Duchamp’s legacy is, in part, linguistic: â€Å"I went straight for what I think to be the heart of the issue, namely the status of the sentence: ‘this is art.’ It entails no definition or redefinition whatsoever, neither of ‘this,’ nor of ‘art.’ To take a shortcut, I’d say it is the modern formula for the aesthetic judgement† (213). Because Duchamp primarily and explicitly asserts that his fountain is art because it is socially defined as such (by its location, its reception etc.), he places art within an unfamiliar field of discourse – namely that, anything can be seen as art providing it is anchored by the notion that what is being done is art. As su ch, Duchamp’s interrogates and problematizes any objective qualities that may have previously been considered â€Å"artistic† by nature. Of course, this has impacted significantly on conceptual and avant-garde art throughout the 20th century and into the 21st. His work Ready Made Rectified utilises Rrose Selavy by juxtaposing his own portrait with a wanted poster, on the one hand emphasising his role as enfant terrible of the artistic establishment and drawing ironical attention to the fallacious nature of the spectacle in itself. Humour and irony is always used to expose these central paradoxes and to create a detachment between the various angles that are interrogated by these pieces. Mundy (2008) suggests that, for Duchamp, â€Å"humour is always of a tragic nature. Humour signals a total independence of mind and is, essentially, a revolt of the spirit and of the unconscious against the conditioning of life and society. Humour has an endless power to challenge and provoke. It is a factor of opposition, superbly subversive in so far as it establishes a victory of the pleasure principle over the reality principle.† (35). Section 5: Duchamp’s work with Chance Three Standard Stoppages (400 words) Duchamp also interrogates the place of art in society by using chance operations. Three Standard Stoppages provides an example of this strategy, and again serves to undermine and interrogate the role of artist in the production process, as well as interrogating a number of other devices and standards. Firstly, Three Standard Stoppages draws attention to the authority of standardised meters. Judovitz (1995) suggests that, because the work is on the one hand based on standardised measurement, but on the other hand does not produce consistent results, undermines the legitimacy of â€Å"universal† systems of measurement, which has metaphorical connotations for the way in which value judgements are made: â€Å"it demonstrates the recognition that the meter itself as a unit of length is generated through approximation: the straightening out, as it were, of a curved meridian. Duchamp sets the viewer straight by graphically showing that the authority of the meter as a measuring devic e relies upon distortions that he corrects through chance operations† (Judovitz 1995, 48). In addition, the work also interrogates notions of artistic authority: Three Standard Stoppages â€Å"puts into question the voluntaristic and intentional logic that defines the creative act and the identity of the artist. To assume chance as a locus for production is to understand causality itself not as an origin but as a productive event, whose plasticity can redefine the notion of artistic creativity† (Judovitz 1995, 49). The utilisation of chance, therefore, metaphorically serves to emphasise the temporal element of artistic production – the â€Å"traditional† role of the artist as an objective, isolated producer of universal and timeless works is drawn into question by these chance operations. As such, the prior legitimacy of artistic creativity being equated to notions of timelessness are jeopardized. Section 6: Duchamp (or more accurately his alter-ego Rrose Selavy) The Green Box the use of Photomechanical Printing, instead of the usual autographic printing methods (400 words) The use of unusual printing methods in Duchamp’s The Green Box draws significant attention to the traditional methods associated with mechanical reproduction of works of art. The mechanical drawings of The Green Box, combined with the intentionally disruptive printing methods utilised draw attention to the very process of printing and the relationship between mass production techniques and the innately singular nature of hand-made works of art. Judovitz suggests that Duchamp’s use of mechanical drawing does not base itself around physical or scientific principles. Instead, â€Å"they represent a ‘symbolic way of explaining,’ one that privileges the logic of the machine, only to reveal its ironic underpinnings† (Judovitz 1995, 58). Significantly, the use of photomechanical printing further emphasises the problematic nature of these drawings which, on the one hand aesthetically reproduce the visual methods of mechanical drawing, while on the other hand is representative of a more outlandish, pseudoscientific principle that disrupts the legitimacy of the rubric, codes and language used to construct such mechanical, scientific devices. The use of photomechanical technology to construct these prints also draws attention to the more invisible process of production, rather than to the mere surface of the production itself. The legacy of Duchamp’s mixing and matching of various print processes has been widespread, both in terms of its philosophical qualities (questioning the authority of a single method of printing, and of the singular importance of a single work of art) and also its more technical aspects. Of course, this interrogation of the notion of artistic originality can be found in pop art, that reconciled notions of art, commerce and mass production in the generation of works of art that were no more artistically meaningful (meaningful in the traditional sense) than mass produced wallpaper or a newspaper advertisement. Thirkell (2005) comments that â€Å"Duchamp’s questioning of the notion of originality has also had a profound influence on modern print, ultimately triggering the revolution in print expression exemplified by photomechanically driven vehicle of Pop Art.† The Green Box, therefore, in its playfulness with printing processes would prove influential in the emerg ing debate surrounding artistic legitimacy, authority and originality. Section 7: Duchamp’s work in Optics in Motion Rotary Demisphere, Rotaryrelease (400 words) Many of Duchamp’s optical works focussed on optical illusion and the ambiguity of depth perception. His Rotoreliefs in particular create the illusion of depth and draw attention to the role of the artist as a magician or trickster. In addition, many of these works also had erotic connotations, as the voyeuristic proclivities of the viewer of the art are made explicit by overt and metaphorical sexualised content. Mundy (2008) comments that the Rotoreliefs and their disorientating movement echoes that of eroticism: â€Å"the visual sensation of movement back and forth had an erotic undertone† (31). This work in optics was also drawn from Picabia’s optical work, which was more overtly eroticised (Octophone II, for example). This draws attention to the innately subjective nature of sexualised imagery, and suggests that sexual content somehow alters and transfigures the technical quality of art in itself; by suggesting that sexuality is in itself a subjective illusion , Duchamp erodes the boundary that is arbitrarily placed between the art and the consumer of the artistic product. Mundy suggests that â€Å"he took the eroticisation of vision – the power of the corporeal and mental responses to control the interpretation of what is seen – to new heights† (31). This fragmentation of the process of interpretation serves metaphorically to activate the subjective, sensual feelings of the viewer of the art, who interprets the illusion as though is was not illusory. The use of optical illusion questions the boundary between what is â€Å"real† and what is â€Å"illusory†, as the eyes of the viewer effectively trick the viewer into perceiving the illusion as real. Perspective and depth and its illusory nature is made explicit by Duchamp’s works in optics. In Hand Stereoscopy, special glasses are required to give the work a level of depth, and also equates the use of colour and the use of depth: Judovitz comments that â€Å"these dots of pigment are the projection of the perspectival (mathematical) principles underlying optics† (138-9). In addition, the drawing together of depth illusions and colour serves to blur and make explicit the relationship between these technical attributes of the artistic product itself: as Duchamp himself suggests, â€Å"perspective resembles color† (Sanouillet Peterson 1973, 87). Section 8: Duchamp’s work influencing artists:Cornell: Duchamp’s work With Hidden Noise influenced Cornell’s Untitled (Rattle and Music Box); Cornell’s Cabinet of Natural History (Object) (one of the bottles containing shards of glass and labelled Methode de M. Duchamp) alludes to Duchamp’s work The Large Glass. Box Assemblages have become the process for Cornell’s entire oeuvre. (400 words) The legacy of Duchamp’s work has been significant, as many artists serve to draw attention (either explicit attention or implicit, coded reference) to the themes and codes of Duchamp’s disruptive oeuvre. Perhaps the most explicit reference to Duchamp’s legacy can be found in the work of Cornell, whose works drew directly from Duchamp and utilised much of his iconography. In particular, his Untitled works, such as Mona Lisa, Rattle and Music Box serve to use imagery popularised by Duchamp; in the former piece, the Mona Lisa in placed in a significantly different context, perhaps drawing more attention to Duchamp’s Mona Lisa of L. H. O. O. Q. than it does the original. The repetition of this imagery also draws attention to the mechanical processes of production that Duchamp used to interrogate the notion of the artist as a producer of singular works of art. Cornell’s use of readymade works can also be traced back directly to the influence of Duchamp. His Cabinet of Natural History, for example, is an assemblage of various found pieces of art placed in a glass cabinet. Apothecary bottles, maps and photographs are recontextualised in a manner thematically similar to Duchamp. In addition, Duchamp is also referenced directly, as if to interrogate further the concept of artistic authority and originality: Kosinski (2006) notes that â€Å"one bottle, containing shards of glass and labelled ‘Methode de M. Duchomp’ alludes to Duchamp’s key work, the Large Glass while playfully toying with the correct pronunciation of his French name† (39). The significance of Duchamp to Cornell is made explicit by the direct reference he makes to Duchamp’s legacy. In addition, his use of economy and meticulous, scientific rigour echoes the attention to detail of Duchamp’s scientific works. Thirdly, Cornell uses li nguistic anchorage, wordplay and the discrepancy between speech and writing (via the use of puns and misspellings) in a manner that echoes Duchamp’s work that places classical works of antiquity within a surprising new context. Section 9: Duchamp’s work influencing artists: Johns: Johns work Device makes reference to diagrams and sketches found in Duchamp’s Green Box. Johns acknowledged the powerful provocation of the readymade in his work Thoughts on Duchamps, published in1969 in Art in America. (400 words) Duchamp’s aesthetic statements on the role of artist was explored in an aesthetic sense by artists such as Jasper Johns, whose use of flags and collage sought to redefine what was considered as authentic art, Duchamp’s legacy also permeates into more conceptual fields. Buchloh comments that â€Å"the legacy of Duchamp was transformed from its first level of reception in the work of Jasper Johns to the second level in Morris – what one might call the semiological, or the structural / linguistic axis† (205). The effect of Duchamp on Jasper Johns is, by Johns own admission, significant. Again, Johns utilises Duchamp’s iconography and reformulates classical imagery in a manner that echoes Duchamp’s original idea to redefine the role of the Mona Lisa. For example, in Johns ambitious work The Seasons, explicit attention is drawn to the figure of the Mona Lisa in the first of the four paintings. Kosinski comments that irony is utilised in a manner t hat resembles the work of Duchamp himself: â€Å"The shadow in each panel of The Seasons is Johns himself, melancholic perhaps and surely self referential, although it is executed after a drawing of his cast shadow that was executed by someone else. This game of ironic distance is surely rooted in Duchamp’s play with shadow portraits† (32). This drawing of attention away from the subject and onto peripheral objects surrounding the subject draws immediately from Duchamp’s attempts to raise speculation about the single classical subject of painting. In addition, the dual authorship of these pieces raises questions about artistic integrity in a manner similar to Duchamp. Section 10: Duchamp’s work influencing artists: Rauschenberg: Duchamp’s influence is present in Rauschenberg’s boxes. He was influenced by With Hidden Noise for his work Music Box (Elemental Sculpture). (400 words) Thirdly, Duchamp’s legacy is explicitly referenced in the works of Rauschenberg, which look at the different ways in which the relationship between artistic modes of production and the increasingly fraught and disturbed relationship between artist and viewer. Rauschenberg’s Music Box (Elemental Sculpture), for instance, bears significant resemblance to Duchamp’s readymade With Hidden Noise, which demands the viewer to activate the piece in order for it to make a sound. The challenge that this poses for the viewer is similar to that of Rauschenberg: â€Å"Unwieldy, the box demands the physical engagement of the spectator-turned-performer, and the central issue is not the mysterious hidden object, but rather the potential sound itself, and the implied demands on the viewer to wrestle with the cumbersome crate† (Kosinski 2006, 19). The boxes that demand the attent ion of the viewer, and disturb the cherished role and piece of the artistic piece disturbs and challenges the traditionally voyeuristic relationship between the artist and the work in question. In addition, Rauschenberg’s boxes are more expansive in their approach to the role of art in the society that surrounds them; in a manner similar to Duchamp’s readymades, Rauschenberg takes directly from the society that surrounds it rather than approaching the production of art in a purely â€Å"creative† sense. Of course, this draws significantly upon the thematic content of Duchamp’s legacy, and draws explicit attention to the paradoxes and the frustrations that both artists had with the traditionally impotent role of art regarding the broader society that served to pigeonhole it. Rauschenberg’s process, while drawing upon Duchamp’s legacy, serves to reappropriate many of its central motifs and preoccupations in a manner that distinguishes it from the work of Cornell and Johns. While both Cornell and Rauschenberg utilised boxes in a manner that drew upon the work of Duchamp to frame its preoccupations, the nature and the content of these boxes were very different in their overall thematic context: â€Å"Cornell’s boxes are highly refined and rich in their variety of cultural allusion.† Kosinski (2006, 44) comments: â€Å"Rauschenberg’s early boxes, though small, are cruder, atavistic and dangerous rather than delightful† (44). As such Rauschenberg can be seen as taking a specific element of Duchamp’s thematic approach to readymade art and pushing it to its logical conclusion; his work is more confrontation than Cornell, who sought to beautify and protect his modified readymades by placing them in a more aestheti cally pleasing context, surrounding them in glass, etc. Rauschenberg’s work, by contrast, offers a more directly political assault on the establishment ethics at the time, drawing more upon Duchamp’s concept of the readymade as â€Å"junk from life† (Kosinski 2006, 46). Section 11: Duchamp’s work influencing artists: Robert Morris: Morris’s work Mirrored Cubes is influenced by Duchamp’s Green Box. Morris’s Three Rulers was influenced by Duchamp’s Three Stoppages. (400 words) The work of Robert Morris is also framed significantly by the central paradoxes opened up by dada and by Duchamp in particular. It’s attention, according to Benjamin Buchlow, is secondary to the primary reception in the artists described above. Here, the response to Duchamp’s work is based on â€Å"what one might call the semiological, or the structural / linguistic axis† (Buskirk and Nixon, 205). By this, Buchlow suggests that Morris’s Cardfile piece in particular draws attention to these categories of meaning regarding the tension between artistic subjectivity and anonymity. The development of Conceptual art in America, which is epitomised by Morris’s problematic work which draws attention to notions of artistic validity and of the tension between this structural and linguistic axis, is heavily indebted to the particular tensions opened up by Duchamp and his technical works which oriented itself around an exploration of the role of subjectivity in the artist. While this is drawn attention to, it is significant to note that the problematic surrounding artistic subjectivity in a given artistic piece continues to remain prevalent even in Morris’s deeply deconstructive and polymorphous work. Alberro comments that â€Å"Behind the Duchamp / Morris legacy I always see the figure of the artist; the artist / agent is always there. It’s there in both Duchamp and Morris, even in the Cardfile where he’s trying to remove it† (209). Thus, the drawing of attention to the purely linguistic sphere in Morris’s work equates to Duchamps utilisation of processes of artistic production that were traditionally outside of the traditional camp of visual, plastic art production. Like the readymades, Morris’s Cardfile is conceptual as it draws explicit attention to its own inherent aesthetic meaninglessness. It does not connote anything by itself; rather, it is defined by its context as an exhibition piece. I n addition, its purely linguistic role serves to disturb the previous aesthetic determinants of giving a piece artistic value as such. The role of artist in Duchamp’s readymade has been transfigured in a radical way into a political and social figure – namely, he is not defined by the artwork that he / she produces, but is defined by his / her position within the political space offered – this is explored by conceptual artists such as Robert Morris and in performance art where the artist does not decide to entrench himself in the dogmas of an accepted aesthetic tradition, and does not distance himself fro

Uses and Consequences of the Self Fulfilling Prophecy Essay -- Educati

Uses and Consequences of the Self Fulfilling Prophecy Abstract The Self Fulfilling Prophecy is a concept that should be quite familiar in the classroom, yet is still a mystery to many teachers today. Learning to properly use this idea will ultimately result in higher student scores directly, and on a higher level, will cause students to model the expectations of the teacher and expect much of themselves. This will set students up for highly successful autonomous learning. However, ignorance or improper use of the SFP does not stimulate learning, but may inhibit accomplishment. Teachers must strive to achieve a better understanding of this â€Å"Pygmalion Effect† to create a powerful learning environment. Uses and Consequences of the Self Fulfilling Prophecy The concept of the self-fulfilling-prophecy, renowned as the Pygmalion Effect, is known throughout the education world, but its principles can often be confused, misused, or ignored altogether (Tauber, 1998). If handled wisely, the self-fulfilling-prophecy (SFP) can be a teacher’s most potent tool in constructing success in his/her students. To the same ends, though, it can be an overwhelming suppressor to potentially great talent. Therefore, teachers must strive to find a better understanding of the SFP, shed their inhibiting methods of stereotyping, and begin to use SFP to produce positive effects for all their students, setting them on the road to autonomous learning. Before teachers can do anything to utilize the idea of SFP, they must truly understand it. Study of the topic combined with reflection on personal experience will hone their understanding. Standard research will give teachers a powerful theoretical base from which they can move. Backgro... ...t is due. When it is properly used, it presides over all other areas of education, because the students will find within themselves the motivation to strive to achieve anything set before them. Works Cited: Tauber, Robert T. (1998). Good or Bad, What Teachers Expect from Students They Generally Get! Washington, D.C.: ERIC Clearinghouse on Teaching and Teacher Education. (ERIC Document Reproduction Service No. ED 426 985) The Pygmalion Effect. Retrieved April 4, 2002 from the World Wide Web: http://www.caritas-corkeryhouse.com/art18.htm Rhem, James (1999). Pygmalion in the Classroom. Retrieved April 4, 2002 from the World Wide Web: http://www.ntlf.com/html/pi/9902/pygm_1.htm Churchward, Budd (1986). 11 Techniques for Better Classroom Discipline. Retrieved April 2, 2002 from the World Wide Web: http://www.honorlevel.com/techniques.html

Natural disasters are often not natural Essay

Natural disasters are often not natural disasters, but are in fact human disasters. Discuss this statement in relation to seismic events. The word ‘natural’ indicates that humans have not caused the disaster. However, human activity can certainly interfere with nature, which in turn may either cause a natural disaster or make its effects much worse. Earthquakes can affect people in many different ways in countries all over the world. They are a product of intense seismic activity where plates are interacting, at a destructive of transform faults, particularly leading to a build up of tension below the Earths surface. When this tension is released the buildings, bridges, pipes etc which lie in the line of the seismic waves can often not withstand the force and strain of the earthquakes and can potentially harm people. However is it the people’s fault that the earthquake occurred in the first place? Earthquakes induced by human activity have been documented in a few locations in the YSA, Japan and Canada. The cause was injection of fluids into deep wells for waste disposal and secondary recovery of oil, and the use of reservoirs for water supplies. Most of these earthquakes however were minor. The largest and most widely known resulted from fluid injection at the Rocky Mountain Arsenal near Denver, Colorado. For decades scientists have been researching induced seismicity, or how human activity can cause earthquakes. Such a link gained attention in the early 1960s when hundreds of quakes were recorded in Colorado after the Army began injecting fluid into a disposal well. There are many ways human activity can trigger earthquakes. In the 1930s for example, the construction of Hoover Dam in Arizona unleashed a burst of seismic activity in the vicinity that reached a magnitude of 5 on the Richter scale. Geothermal- energy projects have been known to make the ground shake. This process involves pumping pressurised water a mile into the Earth, then sucking up the heated liquid to make steam and drive turbines to generate electricity. A dam cannot cause an earthquake by itself. The risk factors, specifically unstable fault lines, have to be there already. With the right conditions in place, though, a dam can trigger the event earlier than would have happened naturally, and perhaps even increase its magnitude. ‘Human engineering has been triggering earthquakes for more than half a century’ says Leonardo Seeber, professor at Lamont-  Doherty Earth Observatory, and manmade quakes may be more common than acknowledged. However Dr. Seeber says that ‘distinguishing natural from triggered earthquakes is generally difficult’ he said ‘Agents triggering the earthquake often refuse to admit responsibility and make it difficult to obtain the data that could prove it’. Even a smell stress increase can cause a fault to fail, Dr Seeber said: humans tend to do it in two ways. One is by changing the load on the crust, typically with artificial lakes, which increase the load, and with quarries and oil fields, which decrease the load. The other ways is increasing the pressure of the interstitial fluid. This isn’t to say that all earthquakes are caused by humans. They are typically natural occurrences. They’re most often caused by the shifting of plates of rock under the surface od the earth. These plates move along fault lines, which are places where the otherwise solid rock of Earth’s crust has cracked. When the plates slide against each other, or away from each other, the Earth vibrates violently. Less often, earthquakes are caused by natural occurrences like volcanic eruptions. But vibrations felt at the surface of the Earth can also result from Earth-shaking, manmade events like underground bomb testing and mine collapses. In conclusion, my view is for the most part, the accumulating stress that creates the stress build up until it’s great enough to overcome that friction, at which point seismic energy is released violently as the blocks catch up on decade’s worth of motion in just a few seconds is much too large for human activities to make a difference. We can, however, affect the friction that locks up the fault. Hydraulic fracturing, where fluids are pumped into the ground at extremely high pressures to crack rocks that release natural gas and oil, has been shown to do just that in certain situations. Increasing the fluid pressure inside the fault partially de-stabilises the friction-lock, lowering the stress threshold necessary to trigger an earthquake just enough for one to occur. Despite the obvious negative effects that humans have on prematurely causing an earthquake, the natural factors of the earthquake are fundamentally the reason they occur because without these then the earthquake wouldn’t happen. Human impacts speed up and may make the earthquake worse however they are in fact natural disasters with human elements thrown into the equation.  ­Ã‚ ­Ã‚ ­Ã‚ ­Ã‚ ­Ã‚ ­Ã‚ ­Ã‚ ­Ã‚ ­Ã‚ ­Ã‚ ­Ã‚ ­Ã‚ ­Ã‚ ­Ã‚ ­Ã‚ ­Ã‚ ­Ã‚ ­Ã‚ ­Ã‚ ­

Japanese Law essays

Japanese Law essays The Japanese legal system: An overview of a Unique System According to Shinto legend two gods, Izanagi and Izanami, which were brother and sister, dipped a spear into the ocean and drops from the spear formed the island of Onokorojima. Izanagi and Izanami then fell to earth and married. Izanami then gave birth to the islands of Japan and a couple more gods. Jimmu Tenno the first emperor of Japan was given the right to rule by his grandfather, Ninigi, son of the fire God, Amaterasu. Japanese claim they can trace the imperial genealogy all the way to Jimmu Tenno and the gods. Many Americans would believe this to be nonsense or myth. This idea means as much to the Japanese who practice Shinto as the idea of Jesus Christ does too many Christians. The Japanese have a very long history and culture that coincides with that lengthy history. The mere fact that the Japanese culture and history is much different than Americans is not sufficient reason to consider them illegitimate. The legal system of Japan is also very legitimate considering the hi story of the Japanese government and its changes since the 1600s. The law in Japan completes its objective through the values that the Japanese have learned throughout their long history. Keeping this in mind, I will consider Japanese law and its history, its source of justification, governmental institutions involved, its players, and how the public perceives the law in Japan. The Japanese are very different from Americans, and many wonder why and how? Culture is the answer that is most commonly used. The legal system in Japan cannot be looked at without taking into consideration its people and culture. The Japanese have a very distinct culture. The Japanese have a group culture, and the influence of family, friends, neighbors, and fellow employees act as powerful constraints on individual behavior. This influence is a byproduct of Confucianism. Loyalty to the stat...

Poetry Rhythm And Metre †Part 2

Poetry Rhythm And Metre – Part 2 Poetry Rhythm And Metre – Part 2 Poetry Rhythm And Metre – Part 2 By Simon Kewin Our previous post looked at the basics of poetry rhythm and metre (or, in the US, meter). This post goes into further detail on the common rhythms employed by poets, and it covers some of the terminology used to describe and discuss them. Not all poetry pays close attention to metre, but a great deal does and a poet should always be aware of what the various terms mean. As we saw in the previous post, rhythm in spoken English is a product of patterns of stressed and unstressed syllables. So, for example, the word poem is a stressed syllable followed by an unstressed syllable. You could write it PO-em to highlight this. Poets refer to this particular pattern as a trochee (a word originating from the Greek, as with much poetic terminology). It’s an example of what is called a â€Å"metrical foot†, which is just another way of describing a pattern of stressed and unstressed syllables. Other examples of trochees would be â€Å"Monday†, â€Å"fire†, â€Å"water† and â€Å"speaker†. Of course, it’s always possible to pronounce these words so that they aren’t trochees (they aren’t â€Å"trochaic†) – you might, for example, say Mon-DAY rather than MON-day in an exclamation. If you did say â€Å"Monday† with the emphasis on the second syllable, then you would be using an iamb rather than a trochee. An iamb is an unstressed syllable followed by a stressed syllable. Other examples of iambs are â€Å"around†, â€Å"infect†, â€Å"decide† and â€Å"trapeze†. Between them, trochees and iambs make up a great deal of English poetry. There are two other metrical feet consisting of two syllables : the spondee (stressed-stressed, such as â€Å"heartbreak†) and the pyrrhic (unstressed-unstressed, such as â€Å"and the†). It’s rare for a poem to contain a lot of spondees or pyrrhics – they are generally used sparingly to break up a regular pattern of iambs etc. It’s also worth knowing about some three syllable feet : the anapest (unstressed-unstressed-stressed e.g. â€Å"to the moon†), the dactyl (stressed-unstressed-unstressed, e.g. â€Å"poetry†) and the amphibrach (unstressed-stressed-unstressed, e.g. â€Å"undying†). All of these terms are often used in combination with a word indicating how many of them there are in each line of a poem. This gives us a complete description of a poem’s metre. So, for example, if each line consists of five iambs, such as those from Gray’s Elegy Written in a Country Church-Yard reproduced in the first post, we would describe this as â€Å"iambic pentameter†. The word pentameter means, simply, that there are five metrical feet to the line. Other numbers of feet have similar terms: trimeter for three, tetrameter for four, hexameter for six and so forth. So, if your poem generally has four trochees to the line, you would say its metre is trochaic tetrameter. If you write poetry, metre is an additional dimension to your work you should be thinking about. Sometimes, as you write a particular poem, it will naturally start to fall into a particular rhythm scheme. Sometimes it is a conscious decision. Its always up to you whether you want to stay with a chosen metre and how strictly you want to adhere to it. Different metres will have different effects on the sound of your poem. It pays to experiment. For example, does your poem demand a fast-moving rhythm or something more sombre? Do you want to stick to a predictable, confident metre or write something less clear-cut, more full of uncertainties and pauses? The answer will always depend on the individual poem. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Fiction Writing category, check our popular posts, or choose a related post below:60 Synonyms for â€Å"Walk†Is There a Reason â€Å"the Reason Why† Is Considered Wrong?May Have vs. Might Have

Answering questions Assignment Example | Topics and Well Written Essays - 250 words

Answering questions - Assignment Example 2. Using the collapse of the subprime mortgage market in the U.S., describe the components of good management and how regulation can contribute to prudent lending or encourage excessive risk taking. (What forms of discrimination are to be encouraged.) The subprime mortgage crisis in the U.S. has revealed various imperfections in the financial system. This collapse happened when most of the borrowers over-reached their demand for big homes and a number of borrowers availed the loan offers without having a suitable understanding to the implications of terms and results in an environment of declining real estate prices and increasing interest rates. Regulations can play a very significant role in ensuring stability in finance system by covering the safety and reliability of depository institutions and by maintaining a capital adequacy. In other words, a suitable regulated housing finance system is less vulnerable to institution failure. The less vulnerability may increase the confidence of investors in the system thereby, encouraging them to take risks. Moreover, the regulations and law should intend to reduce discriminations in house financing. For example, in the mortgage crisis institutions traded and resold the subprime mortgages in the secondary securitization market which made it hard for the regulators and homeowners to follow the predatory lenders.

Brave Software Companys Main Rivals Assignment Example | Topics and Well Written Essays - 1750 words

Brave Software Companys Main Rivals - Assignment Example Also, most of these firms were founded long before Brave Software Company came into being. Therefore, their brands are better positioned in the market than Brave Software Company’s brands. Also, most of the Brave Software Company’s competitors have a bigger workforce than that of the Brave Software Company. Nevertheless, Brave Software Company’s competitors have weaknesses too. Most of these firms have been perceived as being less ‘technologically conscious’. Also, these competitors charge a relatively higher price on the software-based products and rely more on the traditional methods of advertising to reach out to their customers in the market. This is a plan aimed at reaching out to a particular segment of the market by developing a unique product that is more appealing to the customers (Simons, 2000). Different firms may, therefore, produce a similar item but they cannot sell exactly the same product in the market. Each of these firms has to package, price and even quantify the product in such a way that it looks different from the similar products on the market. In this case, Brave Software Company has embarked on a low-price strategy. Following the fact that most of the other companies in the industry charge a relatively high price on the software-based products, Brave Software Company has embarked on producing similar products at relatively lower prices. Further, these products have been developed in a way that they target a specific market and not the entire market. The company has also capitalized on specific advertising mechanisms to reach out to the specific group of customers in the market. Further, the company ha s a strong brand positioning statement. Having been established in the year 2010, Brave Software Company has worked towards providing the best software solutions to its respective customers. The company also aspires to grow beyond the geographical borders of the international market.