The Marlin Firearms Company marketing profile Essay

The Marlin Firearms Company marketing profile - Essay Example The Company currently sells nine major firearms, has historically produced many different types of firearms, and has evolved its marketing strategies to better reflect the attitudes and beliefs of today's buyers all over the world The various marketing objectives for the company have altered over the course of its existence and currently are reflecting the values of a large group of consumers who want specific products.The Marlin Firearms Company specializes in small arms manufacture and accessories. Originally, consumer appreciation of these products came from their basic differences from other firearms like those produced by large companies like Winchester (Marlin online, "The history of Marlin Firearms"). The machine guns produced by the company in the early 20th century were used en mass by soldiers during the First World War, but now the company has focused its production and marketing to smaller handguns and rifles that are used by homeowners and hunters. Communicative objectiv es for Marlin concerning their products are that these firearms are not, as in the past, for large scale warfare but for protection, collection and hunting expeditions. These are values the company realizes its customers hold highly and by focusing the range of products onto these values, Marlin is known for personal, acceptable manufacture of firearms.Marlin products are promoted on the basis that every customer has his or her own target in mind: whether it is actual target practice, small game, large game, deer, bears or random varmints, Marlin has a shotgun or rifle to get the job done. The premise of this promotional strategy is "Find Your Target" (Brophy 1989), and whether shopping online or speaking with a local dealer, customers can discover which guns suit their needs and skill levels. Along with the guns themselves, Marlin promotes an entire line of accessories such as hats, gun slings, books and knives to accompany the hunting lifestyle. In particular, marketing is focused on Americans who have often grown up with parents or grandparents who hunted, and who want to continue what they view as a traditionally way of life. Marlin markets itself as "America's Favorite Riflemaker" (ibid.), a title that speaks for itself in terms of advertising. There is a large pull in the American market for hunting gear simply so that Americans can embrace this kind of lifestyle; Marlin caters to the existing market by advertising products specific to the purpose consumers have in mind. Promotional Budget The Marlin Firearm Company makes an estimated $28 300 000 annually in profit; it employs more than 575 people and is able to allocate up to 70% of revenue directly to marketing strategies (Manta online and Brophy 1989). This money is divided between the publishing of the sales catalogue, the upkeep of the website and advertising campaigns in many related publications. With the bulk of the budget being spent on various sponsorships in arms-related publications, Marlin spends relatively little on the maintenance on the website that accounts for a large portion of their income. The online catalogue and sales pitches found on the Marlin Firearms website are the most efficient way to advertise and make direct sales to customers who find the company through a simple keyword search. Media Strategies The Marlin Firearms Company has been a big part of the American firearm industry for some time now; despite this foundational image the company ensures that its name persists with constant sponsorship and event collaboration. The production of the company's own catalogue goes a long way to presenting Marlin products to the public,

Annotating Photos Essay Example | Topics and Well Written Essays - 750 words

Annotating Photos - Essay Example The second photograph shows a refining zone with cloud emissions. The area is de-forested and there is no sign of life in the neighborhood. This photo clearly depicts the effects of consumption on the environment and the people since there are no residential houses in the neighborhood. The third photograph shows the shore line which has being lowed with a sub-marine at a distance. The sea shore also appears to be deforested and lifeless and it is quite eminent that the harbor is not well developed due to pollution in the neighborhood. The forth photograph was selected because it clearly depicts a well established and developed oil refinery in the given region. In refining non-renewable sources of energy like fossil fuels, the refinery emits smog which pollutes the environment by forming acid rain. The fifth photograph clearly shows smog being produced from the emission of the production of fossil fuels i.e. oil in oil cylinders. The smog leads to the formation of acid rain which leads to increased temperatures since heat collects in air thus making it thick and intense. The six photographs show automobiles collecting raw materials like sand from the sea shore. Two other private cars are also seen in the region. Automobiles consume non-renewable sources of energy i.e. oil which pollutes the environment consequently leading to global warming. The seventh photograph shows deforested land with ... The eighth photograph shows a raised sea level. Two automobiles i.e. a private van and a ferrying lorry are at work. Consumption of fossil fuels by automobiles and other forms of production and processing leads to raised levels of the atmospheric temperatures makes sea waters to evaporate. The ninth photograph shows a deforested coastal area with heaps of collected raw materials i.e. sand from the sea shore. This sand is to be ferried away for consumption which leads to lowered sea levels consequently leading to de-forestation which increases atmospheric temperatures. The tenth photograph depicts a town dwelling/a city with sky scrappers, monuments, artifacts, trains and other forms of public and private transport. These consume fossil fuels especially oil which lead to pollution thus affecting visibility in the region. The eleventh photograph shows a manufacturing factory at the background with the foreground being left deforested and without any form of life or human dwelling. Use of non-renewable sources of energy lead to emission of smoke which affects visibility and leads to formation of acid rain. Finally, the last photograph shows a production factory i.e. steel works. The environment is deforested and there is no form of life or residential dwelling in the region. The production factory emits smoke which leads to increased temperatures thus global warming which affects the environment adversely. Taking photographs in Alba was not such an easy and pleasant task. The photographer had to withstand adverse heat, smog, poor visibility and unwelcoming sceneries. Most of the land was deserted thus the photographer could seek help or ask any guidance. The photographer realized that the land in Alba was in such a dismal state and the temperatures

The Bauhaus Movement: Characteristics and History

The Bauhaus Movement: Characteristics and History Introduction From the expression Bauhaus we still feel something fresh. In every day speech it is associated with the beginning of the modernism and it is invoking in us association with basic forms (square, triangle and circle), basic colours (red, yellow and blue), furniture from the metal, white architecture and functionalism. History of the small school that Bauhaus was, is a mixture of facts and interpretation from different sources. But Bauhaus was the phoenix that every generation understands differently. For us, Bauhaus is a symbol of rationalization and modernity of lifestyle, where we cannot find any unnecessary comfort. At the same time, it is an enemy for the conservative culture. We can say that Bauhaus has been connected with left wing all the time. For Nazi Germany Bauhaus was culturally Bolshevik, international and Jewish. But Nazis used the modern devices of the Bauhaus very often. Almost all members of the Bauhaus emigrated and lot of Jewish relatives were killed. In German Democratic republic, where the main school (Weimar and Dessau) was established, Bauhaus was denied till sixties. After that, they started to integrate it to their cultural heritage. On other hand, for the Federal Republic of Germany, Bauhaus was the main part of modernism. A Graphic design of Bauhaus acknowledges this historical concept and invites readers to take a fresh look at the facts about typography and advertising and printing workshop at the Bauhaus school. It is for the first time in ninety years after establishment of the most successful art academy of twentieth century, the Graphic design of Bauhaus, which brings together works of graphic design from three different schools of Bauhaus located in Weimar, Dessau and Berlin. The team has brought the numerous treasures of the collections of the masters such as Laszlo Moholy-Nagy, Joost Schmidt and Herbert Bayer. We wish that the readers will enjoy A Graphic design of Bauhaus and they will focus and concentrate on the creativity of the Bauhaus. Historical evolution When the Germany was established in 1871 it experienced change from the agrarian state into industrial. The reform artists of secession from Darmstadt, Munich and Dresden brought to Germany movement of Arts and Crafts from England, which was actually an opposition to industrialization. The new school that was set up in that period was characterised by different workshops, the most famous schools were Art school in Munich and Art and craft school in Weimar set up by Henry van de Velde in 1908. In 1907 Deutcher Werkbund (Union of German art), which conciliated between capitalism and culture was set up in Munich. In 1910, Walter Gropius became a member of Deutcher Werkbund, where he organized an exhibition of industrial works and during that time he gained a lot of experience for leading Bauhaus school. During the war, Gropius was very good leader and during that four-year period he was very quickly promoted to embarkation officer. After the war, in 1919, he continued his discussion with Velde about his succession. When he returned to Saxony, the School of art was closed and the only school that existed there was School of arts and crafts. He wanted to unite both schools and both schools accepted it. This was his first step for the Bauhaus school. Architects, painters, sculptors, we must all return to crafts! For there is no such thing as professional art. There is no essential difference between the artist and the craftsman. The artist is an exalted craftsman. By the grace of Heaven and in rare moments of inspiration which transcend the will, art may unconsciously blossom from the labour of his hand, but a base in handicrafts is essential to every artist. It is there that the original source of creativity lies. Let us therefore create a new guild of craftsmen without the class-distinctions that raise an arrogant barrier between craftsmen and artists! Let us desire, conceive, and create the new building of the future together. It will combine architecture, sculpture, and painting in a single form, and will one day rise towards the heavens from the hands of a million workers as the crystalline symbol of a new and coming faith. Walter Gropius Weimar (1919 1925) Walter Gropius wanted to create an architecture school that will reflect the time after the World War I. In 1919 he published manifesto of Bauhaus, which was focused against academic reform for art school. Main idea of the manifest was co-operation between craftsmen and artists. According to the other universities, Gropius reached back to the old model of craftsmans guilds. At the early age of Bauhaus was founded organization so study that was base of Bauhaus: the successful admissions examination, all students had to attend one year of preparation course called Vorkurs (primary course) a sort of trial semester, where they learned the sense for colours, materials, structures and they developed certain skills. After this preparation they were divided into workshops to earn a certificate of apprenticeship and simultaneously underwent artistic training. Between years 1919 and 1923 Bauhaus was strongly influenced by expressionism. After that, when Gropius talked about the school, he did not want to accept similarity of the De Stijl, the school he was very much against. In 1923, Bauhaus changed the direction and ideas. At that time, they were influenced by functionalism (they co-operated with Neue Sachlichkeit movement). In February 1924, social-democratic government, which has been supportive of Bauhaus, lost the main control in parliament to Nationalists. As the school was dependent on the government grants, and in 1925 Gropius signed less financing than was necessary for the schools budget, at the end of same year Bauhaus had to be closed in Weimar. Dessau (1925 1932) When the Bauhaus had to move out, under the pressure of conservatives and rightists, several cities offered to take it over. But the Bauhaus decided to move to Dessau, because they offered them to build a new school. At that time, school was entering a new era. The lessons officially started on April 1st 1925. The Bauhaus program was changed; what was important at that time, was connection between creativity and industry. In 1927 Walter Gropius called for Hannes Meyer, who became a leader of architecture department. In 1928 when Gropius resigned, Meyer became a director of the Bauhaus. This change was very important for Bauhaus because Meyer introduced the extension of the scientific basis of teaching methods and artworks became more scientific. For teaching the lectures at the school leading experts across the entire field of philosophy, psychology, and physics were invited. Now in the workshops, students began to produce standard products that became available for majority of population. Meyer raised the number of students to 200, what was not very good for school, because it has lost the elite character. Bauhaus had to be accessible to the proletariat. In 1930 Meyer was replaced by new director Mies van der Rohe, who kept the distance from any political stance. He wanted students to be primarily educated technically, artistically and in the crafts, so the education looked back to the Weimar basis. As director of Bauhaus, he had to face to lot of problems, school did not receive public construction contracts, and the city had reduced the its funding. He also had to face to the growing hostility towards Bauhaus in Dessau. Berlin (1932 1933) When the Nazi Party was becoming to the power, many of the members labelled the Bauhaus un-German and they accused the school from the Bolshevik subversive activities. Bauhaus was forced to move to Berlin in 1932, since when it was a private school only, but circumstances forced the director to close the school in April 1933. Political tension As the director of Bauhaus, Mies van der Rohe, had to face a lot of difficulties, which mainly occurred during financial crisis in 1929 and also the enemies to Bauhaus in Dessau. City reduced financial funding dedicated to Bauhaus. Budgets in years 1931 and 1932 were lower than spending appraised by Meyer. The similar public contracts, that Gropius and Meyer received; did not come. The space in Bauhaus building had to cleared for technical school that had more than 1400 students (meanwhile Bauhaus had only around 170 students), so the Bauhaus could use only one floor with seven ateliers. Strong student communistic party also existed at Bauhas. The last issue of their magazine was printed in Berlin in 1932, which was strongly supported by many students. Groups of students orientated to the right also existed there. In 1933, after school was closed, they made a petition for re-opening it. Mies van der Rohe aided also the spiritual sight of Bauhaus with lot of seminars. He invited philosophers such as Helmuth Plessner and Hans Freyer, who taught by anthropologies regularity. Preliminary course One of the most important innovations in teaching at Bauhaus was preliminary course. At the beginning, this course was only one semester long. but later it changed into two semesters and what was important about this course was the fact, that every student had to pass it. After that it had to be decided, if the student is able to study further or not. From 1919, the course was lead by Johannes Itten, who made some specific rules that were irrational, but from the winter semester 1920/21 they were obligatory. As Itten became the big opponent for Gropiuss new orientation for industry and productivity, in 1923 he decided to leave school. After that Gropius made a big revision of preliminary course. From 1924 the courses first semester was lead by Josef Albers and more practical than the second one lead by Laszlo Moholy-Nagy that had more theoretical aspects. Josef Albers lead the course as education of crafts and it was understood as creators education. Moholy-Nagy preliminary course was well known by its three major areas that it was focused on. The first one consisted on learning how to combine elements. The second one was focused on exercises to distinguish composition from construction. And the last one, probably the most famous, was focused on three dimensional study designs. The course was mainly about how to create objects from simple elements and materials. Hannes Meyer, the director of Bauhaus from the year 1928, the necessity of the preliminary course confirmed. From 1930 the course was changed into courses of Gestapsychology (psychology of form), sociology and social economy. In the same year the communistic students asked for (total) discontinuation of the preliminary course. In 1930, director Mies van der Rohe declared the preliminary course as voluntary. He introduced the exam at the end of all semesters, that declared who is able to continue study further or not. According to these exams, the preliminary course lost the meaning of choosing talented students, homogenization of students and education to creativity. But the Mies van der Rohe enlarged the preliminary course for the architects of free drawings without instruments, because he wanted to develop their visual abilities. Albers led this course as well. In 1938, the preliminary course was changed into visual training course that had to prepare students to vision in context. From todays point of view, the preliminary course was missing historical, nature and economic context. Workshops For Walter Gropius, the workshops were the most important part of education in Bauhaus. The first concept was, that after the passing preliminary course, the student should start studying to be an architect. This idea has never changed into reality, because at the time when Gropius was director on Bauhaus, the architect department existed just for one year from 1927 to 1928. So we can say, that during his time, Bauhaus had to reform education system of art and crafts. In Weimar Bauhaus these workshops existed: the ceramics, the weaving, the metal, joinery, the wall painting, the woodcarving and stone sculpture. Besides the workshops, theater group, graphic editions and printing workshop also existed there. In Dessau, some of the workshops were put together into one workshop, or the name had been changed, or it was discontinued. Finally, only seven workshops existed: the metal, joinery, woodcarving, wall painting, the printing and advertising, sculpture and the theatre. The teaching of architecture on Bauhaus existed from the year 1927, when three other workshops were formed. After that, it was easier to get the architecture education: the students needed just one year of experience in of the workshops. Lot of students abandoned Bauhaus with journeyman certificate or diploma and they never studied architecture. It mostly happened during the time when Hannes Mayer was the director of the Bauhaus. Hannes Mayer, as a new director, started with some of the changes. He grouped some of the workshops; he totally discontinued the woodcarving workshops, because the main teacher, Oskar Schlemmer, left the school in 1929. He set up a new workshop for photography, but he wanted to group this workshop with the printing and advertising workshop. So we can say, that during the period when he was in charge, Bauhaus was mainly education institution for designers and architectures. Everything changed when Mies van den Rohe became the director. After that it was possible to study architecture also without passing the preliminary course. At that time, Bauhaus was mainly orientated to the architecture. The biggest problem of workshops at that time was, that on one hand the workshop represented pedagogic principle but on other hand students had to gain some money by their works. From expressionism to constructivism The first years of Bauhaus, 1919 1921, were very expressionistic but Walter Gropius was strongly against De Stijl that was very similar to Bauhaus. In year 1923 Bauhaus was ruled by motto art and technique new unity that was characteristic till 1928. But the big change came in 1922, with the first sign being the change of the logo; expressionistic cachet of Bauhaus with star man from Karl Peter Rohl changed into constructivism head of man designed by Oskar Schlemmer. Expressionism, that was politicized after 1918 such as cathedral of socialism was now out and De Stijl movement became very popular, mainly because of painter and theoretic Theo van Doesburg. From April 1921, Doesburg lived in Weimar and intensively cooperated with Bauhaus. He strongly influenced not only students but also teachers. He talked about De Stijl mostly and he abhorred craft that was studied on Bauhaus and he asked to use modern technologies to create a modern life. He thought that artists shouldnt present their spiritual life or emotions but they should know their responsibility for creating the unity of the world. He did not allow all of the materials and he used just basic colours (red, blue and yellow) combining with no-colours (black, white and grey) but they could be combined in whole, rectangular areas. The creativity was balancing opposite meaning of the expressing tools: black and white, yellow and blue, horizontal with vertical, vacuum and matter. He attributed the creativity of space to the colour, that was popular in wall painting workshop. Doesburg theory was combination of variety of knowledge. Countervailing of opposites had to come to the achievement of true and beauty of universe. It was followed by belief in machines. The change from expressionism to constructivism started by group of Hungarian students. For them constructivism meant: constrictive, utilitarian, rational and international. Not only students changed their style but also teachers e.g. Kandinsky made geometrical their expressionistic art language. Composition of Paul Klee became more rationalistic; stroke of the brush and coating of colours was less personal, technical look. Schlemmer developed the theory of art, where he connected the basic human movements such as standing, swimming and walking with elementary ideas combining the basic ideas of De Stijl and constructivism. When Hungarian painter Laszlo Moholy-Nagy entered to Bauhaus in 1923, he changed his expressionistic past into constructivism art language. Until the year 1928 Bauhaus was influenced by different influence, that was not only from his own teacher but also from outside architects and designer suggestions. Alter Adolph Gropius (* 18. may, 1883, Berlin, German Empire †  5. July, 1969, Boston, USA) He was born into the architect family. He started studies to be an architect in 1903 in Munich and he finished in 1907 in Berlin. He cooperated with Mies van der Rohe, Dietrich, Le Corbusier, Arcks and Adolf Meyer. But his biggest carrier started when he became a director of Grand-Ducal Saxon School of Arts and Crafts in 1919. He transformed whole school into world famous Bauhaus. But under the pressure from conservative party he had to move from Weimar to Dessau in 1924, where he started to teach in more modern way. In Dessau he built the building for school, houses for masters and himself, everything built in a functionalism style. He also built habitation Torten in Dessau, where he created new urban concept, where houses were built in parallel and the main communication was connected to them perpendicular. He left the school in 1928, but he continued working as an architect. Between years 1929 and 1956 he was vice-president of CIAM (Congres International dArchitecture Moderne). In 1934 he had to immigrate to London but then he moved to the USA, where he became a professor at Harvard University, where he modernized education system. He built lot of famous building worldwide such as John. F Kennedy Federal Office Building in Boston; Pan Am Building in New York; University of Bagdad, etc. Ludwig Mies van den Rohe (* 27. march, 1886, Aachen †  19. august, 1969, Chicago) He got his first experience from his father who had his own stone-carving shop. In 1905 he moved to Berlin, where he got job by architect and furniture designer Bruno Paul. He designed his first work when he was just 21 years old. He set up his own office in 1912. We can see that he tried to connect architecture with techniques in his work. He was the first one to use flat roof and cubistic material. Between 1930 and 1933 he became director of Bauhaus, but he had to face very complicated situation, so in 1938 he immigrated to the USA. He was famous because of his sentence less is more and his Brno chair is so famous that is still produced nowadays. We can find his buildings worldwide e.g. villa Tugendhat in Brno, Seagram Building in New York, National Gallery in Berlin, etc. Laszlo Moholy-Nagy (July 20, 1895 November 24, 1946), chyba hviezdicka a krizik He was born into Jewish Hungarian family but he changed his German surname into Hungarian surname after his aunt and he added his second name after the city where he grew up. He studied law in Budapest and he met with constructivism in Vienna for the first time. In 1923 he came to Bauhaus where he started to teach preliminary course because Johannes Itten left the school. We can say, that it was the end of his expressionism carrier and as we know, the Bauhaus was well known school, because of versatility of artists and he was no exception. Later at the Bauhaus he focused on photography and typography, but his main passion was preliminary course, where he gave students very complicated tasks to solve. From 1925 to 1928 he cooperated with Herbert Bayer in printing workshop and his responsibility was graphic edition of almost all books printed by Bauhaus. Moholy-Nagy was against the typical photography and he tried to teach his students to see and present world by different perspective and he taught students to use the modernist techniques. He used different techniques such as montage, inversion of light values, double illumination, etc. Officially, the photography was learnt at the Bauhaus since 1929, but at that time, he was not more in school. In 1928 he moved to Berlin and after that he travelled through Europe and finally he moved in 1937 to Chicago where he lived till his death. Hannes Meyer (* 18. November 1889 †  19. July 1954) He was born in Switzerland and practised as an architect in different countries such as Switzerland, Belgium and Germany. Meyers design philosophy is reflected in the following quote: 1. sex life, 2. sleeping habits, 3. pets, 4. gardening, 5. personal hygiene, 6. weather protection, 7. hygiene in the home, 8. car maintenance, 9. cooking, 10. heating, 11. exposure to the sun, 12. services In 1926 he established his own company with his friend and during that time, he produced his two most famous projects for the Geneva League of Nations Building and Basel Petersschule. Unfortunately none was built. In 1927 he came to Bauhaus as a teacher of architecture and only one year later he became to be a director. A lot of changes to the education system came with him, the most important being enlargement of the theoretical scientist base of education. He was a good example of extreme functionalism and he was strongly against art part of architecture. During that time, many good teachers left the school e.g. Herbert Bayer and Macel Breuer. During the holidays in 1930, he had to leave Bauhaus, because of his strict communistic thinking. He moved to Moscow where he formed group Left Column. Consequently, he moved to Switzerland, Mexico and back to Switzerland where he died in 1954. Herbert Bayer (Hagg, Austria, 1900 Santa Bà ¡rbara, United States, 1985), chyba hviezdicka a krizik He was one of the students at the Bauhaus being taught by e.g. Wassily Kandinsky, Laszlo Moholy-Nagy and meno Gropius. After his studying, he was named to be a director of printing and advertising workshop. One of his characters was that he used only sans serif typefaces for almost all of the Bauhaus publications. In 1925 he created his own typeface called Universal today known as Bayer Universal. He left the school in 1928 and he moved to Berlin where he became to be the director for German magazine Vogue. Ten years later, he escaped from Nazi Germany to New York, where made carrier almost in every possible aspect of graphic art. He stayed in the USA till his death and he produced phonetic alphabet for English. It was basically again sans serif typeface but without capital letters. He became one of the most influential graphic designers of the twentieth century. Printing and advertising workshop During seven years of existence, 1925 1932, printing and advertising workshop changed completely. Each director had main role for this workshop. When Walter Gropius was the director of Bauhaus it was a production workshop in a small scale. The main product was advertising. When Hannes Mayer became director of Bauhaus everything changed. Joost Schmidt, the head of the workshop, developed the advertising, but in three-dimensional forms where quality of a graphic design was more important. Meanwhile in De Stijl and constructivism the art was more important than quality. When Schmidt dream became true, to create o professional printing and advertising workshop, everything changed again, new director, Mies van den Rohe, it was again only the teaching workshop and the result was that this workshop was closed before whole Bauhaus was closed. When Bayer became a head of the workshop, he gave it a new purpose by introducing the subject of advertising. The new teaching timetable of 1926 contained a summary of the content of its classes: the methods and construction of advertising and their effective application were to be investigated and, in future planning, standardization and advertising psychology were to be studied. In 1925, this workshop became a obligatory part of preliminary course and the Bauhaus was distinguished from other graphic schools that tried to train student to be a specialist in advertising. In first semester the students supposed to take undertake practical work after that it was combination of theoretical and practical. They studied the differentiation of advertising media and the most important was studying how to use photography and film in advertising. In forth semester they studied the structure and drafting of advertising plans. They had to focus on German industrial format and what was the most important for them, was the catch of the viewers eye. Bayer focused on design of advertising, rather than the placement, meanwhile when Joost Schmidt was head of printing and advertising workshop, he focused on visual rules of design. At the beginning the students had to experiment with geometric forms but it was almost forbidden to use free forms. For him, it was unsuitable to use collages, typeface exercises and photographs but the abstract form was the most important for advertising. Schmidt created a new kinetic model for exhibition according to Moholy-Nagy work. Meanwhile, students got the technique skills for advertising in typesetting and printing. A new workshop for photography directed by Peterhans was opened in 1929, but till that time Schmidt tried to teach students perspective drawing and painting. Between 1928 and 1930 they produced several exhibitions, for example in Berlin and Linz. But their financial situation went wrong and also Mies van der Rohe was very critically to Schmidt workshop so for the next exhibition he wanted to show his doubts about Schmidt. What was even worse was the fact that even the photography students had to distance from Schmidt teaching methods. Following year he was under big pressure and finally in 1932 he collapsed. Typography in Bauhaus In the first year of existence of Bauhaus school in Weimar, typography was not very well developed. There were just two calligraphers at school, Johannes Itten and Lothar Schreyer but for them, it was just expression of artistic meaning and at the beginning practical field of application was missing there. Development of typography started in 1923, when school poster with unique typeset and design was made. Year after that, it was changed to school emblem. The original one, that looked like masons mart, a spread-eagled figure carrying aloft a pyramid, was replaced by the new one designed by Oskar Schlemmer that looked like geometric profile of a head, which could be very simply reproduced. The typical characters for Bauhaus typography were rules and sans serif types, that somehow became a stereotype, but accepting the stereotype was the part of radical reform. In 1921 the Bauhaus master Johannes Itten tried to make reform, where he combine black letter (Fraktur) with heavy Victorian types, where we can see the combination of printers ornaments, dots and squares. He set up one of the first Bauhaus characteristics, which was geometrical feature of the page. The next step for Bauhaus typography was to solve the problems with German alphabet that was quite old according to the new machine age. They decided to write all nouns in German starting with capital letter. A footnote, which appeared on the Bauhaus letterhead designed by Herbert Bayer in 1925, stated the schools attitude uncompromisingly: Towards a simplified way of writing This is the way recommended by reforms of lettering as our future letterform, cf. the book sprache und schrift (speech and letterform) by dr. porstmann, union of German engineers publishers, Berlin 1920. In restricting ourselves to lower-case letters our type loses nothing, but becomes more easily read, more easily learned, substantially more economic Why is there for one sound, for example a, two signs A and a? one sound, one sign, why two alphabets for one word, why double the number of signs, when half would achieve the same? The main character for Bauhaus typography was geometrical base that was base for functionalism. At the Bauhaus, Josef Alberts and Joost Schmidt made a lot of alphabets, but it was Bayer, who was the main typographer there. His well known typeface Universal (1926) consisted of circles and straight lines of a constant thickness on a grid squares. They used upper and lower case, but they never combined them and they always combined them with vibrant colours. But situation has radically changed when Là ¡szlà ³ Moholy-Nagy entered the school in 1923. He introduced the ideas of New Typography. What he wanted, basically, was that the typography had to be communication medium and message should be clear. Since 1923 his influence was visible on advertising campaign for Bauhaus and after that when the Bauhaus moved to Dessau, he became co-editor of Bauhaus typography, where the Bayer was director of printing and advertising workshop. The typical characteristic of that period was that bold sans serif was used for heading and subheading for single words to interrupt the flow of lines. This innovation was technically complicated in metal type. From that time, the typography was very closely connected with corporate identity of school. It was clear, that type prints, the articulation and accentuation of pages through distinct symbols or typographic elements highlighted in colour, and finally direct information in a combination of text and photography were the main characteristics for Bauhaus typography. Herbert Bayer also designed letters that appeared on Bauhaus building in Dessau. He was responsible for all printing material for Bauhaus. Because the workshop was limited to narrow sans-serifs fonts some of them became very similar. He used vertical and horizontal rules and printed it on red and black and this became another stereotype of the Bauhaus. But it was very common for many avant-gardes. His most ambitious work was poster designed for Kandinsky sixteens birthday exhibition. It was printed on orange paper and again he printed it red and black and you can see strong rectangularity. Bauhaus, De Stijl and Vkhutemas Main characteristics of Bauhaus: The main colours that they used are blue, yellow and red and the characteristic shapes were triangle, square and circle. One of the most characteristic features for the Bauhaus was simplicity. The design was very simple in lines and shapes. They used straight lines or gentle, smooth curves. They werent afraid to use shapes. It wasnt so strict as in De Stijl. We can also see repetition of certain layers. They also used a row of identical cylinders of two, three corners that were out from the others to produce very simple but strong effect. Next strong feature was quality. The products they made were light and airy. They used new materials such as steel, aluminium, plastics and glass. Tables and chairs are another strong feature. Often they were focused on design some small pieces where they used materials such as plastics, class, chrome and other metals that could somehow highlight the materials themselves. The materials had to be cleaned by water easily and quick. We should also unde rstand the difference between the functionalism of Craftsman and Bauhaus design. The other typical feature was the Bauhaus material wasnt handcrafted pieces but it was made in mass production. They had to have the industrial look. Main characteristics of De Stijl: Same as in the Bauhaus the main colours for De Stijl were red, yellow and blue and supporting colours we can say that were black, white and grey. Every colour had some meaning for example the yellow meant expansive and vertical. On the other hand the blue one was opposite, soft, retiring and horizontal. The meaning of red was expressed the radiating movement of the life. Combining all three colours you will have green. But for example Analysis of the UK Confectionery Industry: Thorntons Analysis of the UK Confectionery Industry: Thorntons Confectionery Industry In The UK Contributes A Major Amount Of Revenue To The Countrys Economy Chapter 1: Introduction Confectionery industry in the UK contributes a major amount of revenue to the countrys economy. Repeated case studies have revealed that the confectionery industry is ever growing and the demand for creativity and innovation in the products in increasingly demanded by the consumers in the UK market. Alongside, the growth in the confectionery industry has also resulted in the stiff competition among the players in the market with many global competitors like Cadbury and Nestle. The growth of more focused and niche market targeting companies have also grown tremendously in the UK, which includes companies like Thorntons, Ferroro UK ltd, etc. The stiff competition in the market and the increased penetration of the big players into various market segments has further disturbed the position of companies like Thorntons. This report is focused on the analysis of the marketing strategies for Thorntons Plc and provides valuable suggestions for future expansion and strategies to gain competiti ve advantage in the UK chocolate market. The report aims to achieve the following objectives To effectively segment the target market for Thorntons and identify those segment(s) here the company can effectively develop its business. To identify the importance of buyer behaviour and establish that the effective deployment of buyer behaviour would help the company understand its target market in detail so as to gain market share. Provide recommendation for an appropriate short-term promotional campaign in the UK for increasing the awareness on the companys products in the target market. Devise a sales or promotion campaign for the company in order to increase its sales through focusing on establishing the brand of Thorntons in the market as a strong competitor. Present a critical analysis of the advertising strategy mentioned in the case study for Thorntons and device a new advertising strategy that would include a creative media based plan in order to increase the awareness among the customers in the target market Also device a critical structure for the direct marketing plans in order to reach the over 50 years segment of customers in the UK market. Chapter Overview Chapter 1: Introduction This is the current chapter that introduces the reader to the objectives of the report and the flow of the report text. Chapter 2: Market Segmentation and buyer behaviour This chapter first presents an analysis on the market segmentation and identifies those segments that the company should target upon for further market expansion. This is then followed by the overview of the buyer behaviour and the use of buyer behaviour by the company in order to gain competitive advantage in its target market. Chapter 3: Advertising and Promotion This chapter first presents a discussion on a short-term promotional campaign for the company in order to increase the awareness of the products in the existing target market. This is then followed by a detailed overview of the advertising plan incorporating creative plans in the media based advertising in order to promote the products of the company. This is then followed by a critical analysis on the direct marketing strategy for over 50 years segment of customers in the UK in order to effectively reach that segment of the market so as to increase the sales as well as the market share. Chapter 4: Conclusion The objectives of the chapter are reviewed against the research and analysis conducted in the previous chapters and then a conclusion is derived based on the results of the analysis. Chapter 2: Market Segmentation and Buyer Behaviour 2.1: Market Segmentation From the case study of the company it is evident that the major segments in the Chocolate market include Count lines Moulded Bars Boxed Chocolates Seasonal Products and Bagged Self lines It is also evident that the company under debate i.e. Thorntons Plc specialize in the manufacture and sale of Boxed continental chocolates in the UK and global market. Hence the market segment that the company primarily operates is under the sub sector of the Boxed chocolates in the Chocolates industry of the UK. A further segmentation of the Boxed Chocolates market in the UK based on the price and quality is presented below

How are differing attitudes to war expressed in the poetry of WWI :: English Literature

How are differing attitudes to war expressed in the poetry of WWI that you have read? You should compare England to her sons’ with Dulce et Decorum Est. How are differing attitudes to war expressed in the poetry of WWI that you have read? You should compare ‘England to her sons’ with ‘Dulce et Decorum Est’. You may refer to other poems. Remember to consider the influence of historical contents on the poet’s viewpoints. In this poem I am going to compare two poems from World War I. The to poems that I will be comparing are ‘England to her sons’ and ‘Dulce et Decorum Est’. ‘England to her sons’ was written by W.N. Hodgson in 1914, ‘Dulce et decorum est’ was written by Wilfred Owen in 1918. These two poems that I am going to study have very different ideas towards the war. In the poem ‘England to her sons’ the attitude towards the war is very pro-war, however ‘Dulce et Decorum Est’ is very anti-war. ‘England to her sons’ is pro-war because it was written at the beginning of war in 1914 and was trying to get men to enlist for the army. ‘Dulce et Decorum Est’ is anti-war because it was written during the war in 1918 and so the poet will have experienced the war and is trying to tell the public what war is really like. ‘England to her sons’ uses a lot of propaganda, for example, ‘Free in service’, when you are at war you are not free in service, you do what you are told and this is the same with any service, also this poem is telling us how to feel about war. In ‘Dulce et Decorum Est’ no propaganda is used because the poet is trying to portray the real image of war. Each poem has very different themes in ‘England to her sons’ one of the themes is propaganda but in ‘Dulce et Decorum Est’ there is a theme of the lies of propaganda, ‘The old Lie: Dulce et decorum est pro patria mori.’ (Meaning ‘It is sweet and meet to die for your country’) and it is saying that this is all a lie. In ‘England to her sons’ another theme is men to enlist, ‘I hear you thrilling to the trumpet call of war’, people are not thrilled at the news of war and trumpets do not call. The poet is trying to make the start of war a joyous occasion. Also in ‘England to her sons’ another theme is responsibility and duty of war, ‘Steeled to suffer uncomplaining’ but

Perception and Sensation

In psychology we tend to study sensation due to our ways of organizing and responding to the world depend a great deal on the way which our senses filter or select from the stimuli, or information, around us. We come to know our world primarily through our senses, and often what we sense often affect our behaviour. Definition of sensation: Any fundamental experience of events from within or without the body that results from simulation of some receptor system. Sensation is distinguished from perception in that perception requires the interpretation of a sensation.This distinction is somewhat arbitrary(absolute), however, because some perception of a sensation must occur before awareness of that sensation is possible. To put it in a simpler explanation: Although intimately related, sensation and perception play two complementary but different roles in how we interpret our world. Sensation refers to the process of sensing our environment through touch, taste, sight, sound, and smell. T his information is sent to our brains in raw form where perception comes into play. Perception is the way we interpret these sensations and therefore make sense of everything around us.Simple example of sensation and perception are: Sensation: Physical response. Information which is gathered through one of the human five senses, like touching a guitar string and the feeling of the string structure. Perception: Our mental response towards the sensation, like seeing an electric guitar and thinking of rock and roll. So how do sensation and perception work together? When sensation occurs, the sensory organs absorbs energy from a physical stimulus in the environment and then the sensory receptors convert this energy into neural impulses and send them to the brain.And then perception follows via the brain process of organizing the information and translate it into something â€Å"meaningful†. The term â€Å"meaningful† in the above context is how the brain determine whether the information is important and whether it should be focused on. We can determine this by using a process called Psychophysics. Psychophysics can be defined as, the study of how physical stimuli are translated into psychological experience. In psychophysics there are two process that can be done to measure the importance of the information that have been gather, Selective Attention and Perceptual Expectancy.Selective Attention is a process of discriminating between what is important and is irrelevant and is influenced by motivation. For example, students in a lecture class should be focusing on what the lecturer is saying and the overheads that are being presented. When a student who doesn't take the lecture walk by the classroom, the student may be focusing on the people in the room, who is the teacher, etc and not the same thing the student in the class. Perceptual Expectancy is how we perceive the world is a function of our past experience,culture and our biological makeup.For i nstances, as a local Malaysian city dweller, when I look at a highway I expect to see cars, trucks, etc, NOT airplanes. But for someone from the rural area, aboriginal folks perhaps, who have different experiences and history, they might not have any idea what to expect and thus be surprise when they see cars go driving by. A simpler explanation for perceptual expectancy can be describe with the situation when we look at a picture or painting perhaps, we might not have any idea what the message that they are trying to convey.But if someone tells you about it, you might be begin to see things in the picture or painting that you were unable to see before. Here is an experiment to test perceptual expectancy. From the picture given above, can you find the hidden tiger? Anyway, in order to measure these psychophysics events psychologist use threshold. A threshold is a dividing line between what has detectable energy and what does not. For example, no matter how bright X-ray light is, you annot see it or although there are some delicate instruments that mighth be able to sense the light from a match struck on a mountaintop 50 miles away on a dark night, your eyes would not be able to. The amount of energy required to create a noticeable sensation is called absolute threshold. A certain amount of energy is required before you can detect a stimulus hence, the existing energy must fluctuate a certain amount before you can detect a certain change in the a stimulus. This minimum amount of energy fluctuation is known as difference threshold. It can also called the Just Noticeable Difference (JND).Difference threshold also can change depending on the person’s physical condition or motivation or on the qualities of the stimulus being tested. For example, when you pick up a 5kg weight and then a 10kg weight, you can feel a big difference between those two. However if you pick up a 50kg and then 55kg, it is much more difficult to feel the difference. Weber’s Law stated that the larger or the stronger the stimulus, the larger or the change required for an observer to notice a difference. The smallest difference in intensity between two stimuli that can be readily detected is a constant fraction of the original stimulus.Last but not least there is the Signal Detection Theory where the detection of a stimulus involves some decision making process as well as sensory process. Additionally both sensory and decision making process are influenced by many more factors than just intensify. * Noise:- The factors of how much outside interference that exist that might influence the sensory and decision making process. * Criterion:- The level of assurance that you decide must be met before you take action. It involves higher mental processes. You set the criterion based on expectation and consequences of inaccuracy.Most people consider that there are five ways to sense, seeing, hearing, tasting, smelling and touching. In reality, there are any more than just these five but ultimately these five are consider the main or standard senses. VISION. Researchers have studied vision more thoroughly than the other senses. Because people need sight to perform most daily activities, the sense of sight has evolved to be highly sophisticated. Vision, however, would not exist without the presence of light. Light is electromagnetic radiation that travels in the form of waves.Light is emitted from the sun, stars, fire, and light bulbs. Most other objects just reflect light. The usual vision system works on sensing and perceiving light waves. Light waves vary in their length and amplitude: * wave length (also referred to as frequency, since the longer a wave, the less often/quickly it occurs) – affects color perception (ex. , red=approx 700, yellow approx 600) * wave amplitude (this is the size/height of the wave) – affects brightness perception. People experience light as having three features: color,brightness, and saturation.These three types of experiences come from three corresponding characteristics of light waves: * The color or hue of light depends on its wavelength, the distance between the peaks of its waves. * The brightness of light is related to intensity or the amount of light an object emits or reflects. Brightness depends on light wave amplitude, the height of light waves. Brightness is also somewhat influenced by wavelength. Yellow light tends to look brighter than reds or blues. * Saturation or colorfulness depends on light complexity, the range of wavelengths in light. The color of a single wavelength is pure spectral color.Such lights are called fully saturated. Outside a laboratory, light is rarely pure or of a single wavelength. Light is usually a mixture of several different wavelengths. The greater number of spectral colors in a light, the lower the saturation. Light of mixed wavelengths looks duller or paler than pure light. Wavelength ——; Color| Amplitude —— ; Brightness| Complexity ——; SaturationRainbows and LightsWhite light: Completely unsaturated. It is a mixture of all wavelengths of light. The visible spectrum: Includes the colors of the rainbow, which are red, orange, yellow, green, blue, indigo, and violet.Ultraviolet light: The kind of light that causes sunburns. It has a wavelength somewhat shorter than the violet light at the end of the visible spectrum. Infrared radiation: Has a wavelength somewhat longer than the red light at the other end of the visible spectrum. STRUCTURE OF THE EYEThe process of vision cannot be understood without some knowledge about the structure of the eye: * The sclera is the white, elastic outer covering of the eye. * The cornea is the transparent outer bulge in front of the eye through which light waves pass * The iris is the pigmented muscular membrane that control the aperture in the center of the pupil.The iris determines the amount of light that enters the eye. * The iris surround s an opening called the pupil, the dark circular aperture in the center of the iris of the eye that admits light. The pupil can get bigger or smaller to allow different amounts of light through the lens to the back of the eye. In bright light, the pupil contracts to restrict light intake; in dim light, the pupil expands to increase light intake. * The lens is the transparent biconvex structure of the eye behind the iris and pupil that focuses light rays entering through the pupil to form an image on the retina.The lens can adjust its shape to focus light from objects that are near or far away. This process is called accommodation. * Light passing through the cornea, pupil, and lens falls onto the retina at the back of the eye. The retina is the delicate multilayer light sensitive membrane lining the inner eyeball It consists of layers of ganglion cells,bipolar cells and photoreceptor cells called rods and cones. The image that falls on the retina is always upside down. * The ganglio n cells are the nerve cells of the retina, which receive impulses from rods and cones via the bipolar cells and transmit those impulses to the brain. Optic nerve are the bundle of nerve fibers connecting the retina and the brain. * Bipolar cells are the cells that collect and consolidate visual information. A particular bipolar cell is either rod driven or cone driven, meaning that the cell receives information from either groups of rods or groups of cones but never from a minute of the two. Bipolar cells transmit to the ganglion cells a ratio derived from the signals they receive from the photoreceptors and nearby horizontal cells. * Horizontal cells are the retina cells with short dendrites and long axons that extend horizontally, linking rods and cones with other cones.Each of these cells fires according to the average light intensity generated by the photoreceptors in its immediate neighbourhood. Horizontal cells are thought to influence the opposing color color processes(such a s red and green, blue and yellow) are probably responsible, in part for negative afterimages and other opponent-process effects. * Amacrine cells are the large retinal neurons that connect ganglion cells laterally. There are at least 30 different varieties of amacrine cells. Image reflection appears to be one of their many functions. The functions of most amacrine cells are unknown. The center of the retina, the fovea, is where vision is sharpest. This explains why people look directly at an object they want to inspect. This causes the image to fall onto the fovea, where vision is clearest. EYE TROUBLENearsightedness is the inability to clearly see distant objects. Farsightedness is the inability to clearly see close objects. A cataract is a lens that has become opaque, resulting in impaired vision. Blind spot is the region of the retina where the optic nerve attaches and where there are no photoreceptors. The fovea is also a blind spot when something is viewed in very dim light.Rod s and ConesThe retina has millions of photoreceptors called rods and cones. Photoreceptors are specialized cells that respond to light stimuli. There are many more rods than cones. The long, narrow cells, called rods, are highly sensitive to light and allow vision even in dim conditions. There are no rods in the fovea, which is why vision becomes hazy in dim light. However, the area just outside the fovea contains many rods, and these allow peripheral vision. Because rods are so sensitive to light, in dim lighting conditions peripheral vision is sharper than direct vision.Example: People can often see a star in the night sky if they look a little to the side of the star instead of directly at it. Looking to the side utilizes peripheral vision and makes the image of the star fall onto the periphery of the retina, which contains most of the rods. Cones are cone-shaped cells that can distinguish between different wavelengths of light, allowing people to see in color. Cones don’t work well in dim light, however, which is why people have trouble distinguishing colors at night. The fovea has only cones, but as the distance from the fovea increases, the umber of cones decreases. | Feature| Rods| Cones| Shape| Long and narrow| Cone-shaped| Sensitivity to light| High: help people to see in dim light| Low: help people to see in bright light| Help color vision| No| Yes| Present in fovea| No| Yes| Abundant in periphery of retina| Yes| No| Allow peripheral vision| Yes| No| ADAPTATION TO LIGHT Dark adaptation is the process by which receptor cells sensitize to light, allowing clearer vision in dim light. Light adaptation is the process by which receptor cells desensitize to light, allowing clearer vision in bright light. Connection to the Optic NerveRods and cones connect via synapses to bipolar neurons, which then connect to other neurons called ganglion cells. The axons of all the ganglion cells in the retina come together to make up the optic nerve. The optic nerv e connects to the eye at a spot in the retina called the optic disk. The optic disk is also called the blind spot because it has no rods or cones. Any image that falls on the blind spot disappears from view. Transmission of Visual Information Visual information travels from the eye to the brain as follows: * Light reflected from an object hits the retina’s rods and cones. Rods and cones send neural signals to the bipolar cells. * Bipolar cells send signals to the ganglion cells. * Ganglion cells send signals through the optic nerve to the brain. Bipolar and ganglion cells gather and compress information from a large number of rods and cones. The rods and cones that send information to a particular bipolar or ganglion cell make up that cell’s receptive field. Ganglion cell axons from the inner half of each eye cross over to the opposite half of the brain. This means that each half of the brain receives signals from both eyes.Signals from the eyes’ left sides go t o the left side of the brain, and signals from the eyes’ right sides go to the right side of the brain. The diagram below illustrates this process. Visual Processing in the Brain After being processed in the thalamus and different areas of the brain, visual signals eventually reach the primary visual cortex in the occipital lobe of the brain’s cerebrum. In the 1960s, David Hubel and Torsten Wiesel demonstrated that highly specialized cells called feature detectors respond to these visual signals in the primary visual cortex.Feature detectors are neurons that respond to specific features of the environment, such as lines and edges. From the visual cortex, visual signals often travel on to other parts of the brain, where more processing occurs. Cells deeper down the visual processing pathway are even more specialized than those in the visual cortex. Psychologists theorize that perception occurs when a large number of neurons in different parts of the brain activate. Thes e neurons may respond to various features of the perceived object such as edges, angles, shapes, movement, brightness, and texture.Color Vision Objects in the world seem to be brightly colored, but they actually have no color at all. Red cars, green leaves, and blue sweaters certainly exist—but their color is a psychological experience. Objects only produce or reflect light of different wavelengths and amplitudes. Our eyes and brains then convert this light information to experiences of color. Color vision happens because of two different processes, which occur in sequence: * The first process occurs in the retina and is explained by the trichromatic theory. The second process occurs in retinal ganglion cells and in cells in the thalamus and visual cortex. The opponent process theory explains this process. These two theories are explained below. The Trichromatic Theory Thomas Young and Hermann von Helmholtz proposed the trichromatic theory, or Young-Helmholtz theory. This the ory states that the retina contains three types of cones, which respond to light of three different wavelengths, corresponding to red, green, or blue. Activation of these cones in different combinations and to different degrees results in the perception of other colors. Color MixingMixing lights of different colors is called additive color mixing. This process adds wavelengths together and results in more light. Mixing paints, on the other hand, is called subtractive color mixing, a process that removes wavelengths so that there is less light. If red, orange, yellow, green, blue, indigo, and violet light were mixed, the result would be white light. If the same color paints were mixed together, the result would be a dark, muddy color. The trichromatic theory also accounts for color blindness, a hereditary condition that affects a person’s ability to distinguish between colors.Most color-blind people are dichromats, which means they are sensitive to only two of the three wavele ngths of light. Dichromats are usually insensitive either to red or green, but sometimes they cannot see blue. The Opponent Process Theory Ewald Hering proposed the opponent process theory. According to this theory, the visual system has receptors that react in opposite ways to three pairs of colors. The three pairs of colors are red versus green, blue versus yellow, and black versus white. Some receptors are activated by wavelengths corresponding to red light and are turned off by wavelengths corresponding to green light.Other receptors are activated by yellow light and turned off by blue light. Still others respond oppositely to black and white. Opponent process theory explains why most people perceive four primary colors: red, green, blue, and yellow. If trichromatic theory alone fully explained color vision, people would perceive only three primary colors, and all other colors would be combinations of these three colors. However, most people think of yellow as primary rather tha n as a mixture of colors. Opponent process theory also accounts for complementary or negative afterimages.Afterimages are colors perceived after other, complementary colors are removed. Example: If Jack stares at a picture of a red square, wavelengths corresponding to red will activate the matching receptors in his visual system. For the sake of simplicity, these matching receptors can be referred to as red receptors. Anything that makes red receptors increase firing will be seen as red, so Jack will see the square as red. Anything that decreases the firing of red receptors will be seen as green. If Jack stares at the square for a while, the red receptors will get tired out and start to fire less.Then if he looks at a blank white sheet of paper, he will see a green square. The decreased firing of the red receptors produces an experience of a green afterimage. Form Perception The ability to see separate objects or forms is essential to daily functioning. Suppose a girl sees a couple in the distance with their arms around each other. If she perceived them as a four-legged, two-armed, two-headed person, she’d probably be quite disturbed. People can make sense of the world because the visual system makes sensible interpretations of the information the eyes pick up.Gestalt psychology, a school of thought that arose in Germany in the early twentieth century, explored how people organize visual information into patterns and forms. Gestalt psychologists noted that the perceived whole is sometimes more than the sum of its parts. An example of this is the phi phenomenon, or stroboscopic movement, which is an illusion of movement that happens when a series of images is presented very quickly, one after another. Example: The phi phenomenon is what gives figures and objects in movies the illusion of movement.In reality, a movie is a series of still images presented in rapid succession. Gestalt Principles Gestalt psychologists described several principles people use to make sense of what they see. These principles include figure and ground, proximity, closure, similarity, continuity, and simplicity: * Figure and ground: One of the main ways people organize visual information is to divide what they see into figure and ground. Figure is what stands out, and ground is the background in which the figure stands. People may see an object as figure if it appears larger or brighter relative to the background.They may also see an object as figure if it differs noticeably from the background or if it moves against a static environment. * Proximity: When objects lie close together, people tend to perceive the objects as a group. For example, in the graphic below, people would probably see these six figures as two groups of three. * Closure: People tend to interpret familiar, incomplete forms as complete by filling in gaps. People can easily recognize the following figure as the letter k in spite of the gaps. * Similarity: People tend to group similar obje cts together.In the next figure, people could probably distinguish the letter T because similar dots are seen as a group. * Continuity: When people see interrupted lines and patterns, they tend to perceive them as being continuous by filling in gaps. The next figure is seen as a circle superimposed on a continuous line rather than two lines connected to a circle. * Simplicity: People tend to perceive forms as simple, symmetrical figures rather than as irregular ones. This figure is generally seen as one triangle superimposed on another rather than a triangle with an angular piece attached to it. Depth PerceptionTo figure out the location of an object, people must be able to estimate their distance from that object. Two types of cues help them to do this: binocular cues and monocular cues. Binocular Cues Binocular cues are cues that require both eyes. These types of cues help people to estimate the distance of nearby objects. There are two kinds of binocular cues: retinal disparity a nd convergence. * Retinal disparity marks the difference between two images. Because the eyes lie a couple of inches apart, their retinas pick up slightly different images of objects. Retinal disparity increases as the eyes get closer to an object.The brain uses retinal disparity to estimate the distance between the viewer and the object being viewed. * Convergence is when the eyes turn inward to look at an object close up. The closer the object, the more the eye muscles tense to turn the eyes inward. Information sent from the eye muscles to the brain helps to determine the distance to the object. Monocular Cues Monocular cues are cues that require only one eye. Several different types of monocular cues help us to estimate the distance of objects: interposition, motion parallax, relative size and clarity, texture gradient, linear perspective, and light and shadow. Interposition: When one object is blocking part of another object, the viewer sees the blocked object as being farther a way. * Motion parallax or relative motion: When the viewer is moving, stationary objects appear to move in different directions and at different speeds depending on their location. Relatively close objects appear to move backward. The closer the object, the faster it appears to move. Distant objects appear to move forward. The further away the object, the slower it appears to move. * Relative size: People see objects that make a smaller image on the retina as farther away. Relative clarity: Objects that appear sharp, clear, and detailed are seen as closer than more hazy objects. * Texture gradient: Smaller objects that are more thickly clustered appear farther away than objects that are spread out in space. * Linear perspective: Parallel lines that converge appear far away. The more the lines converge, the greater the perceived distance. * Light and shadow: Patterns of light and shadow make objects appear three-dimensional, even though images of objects on the retina are two-dimensi onal. Creating PerspectiveArtists use monocular cues to give a three-dimensional appearance to two-dimensional pictures. For instance, if an artist wanted to paint a landscape scene with a straight highway on it, she would show the edges of the highway as two parallel lines gradually coming together to indicate that the highway continues into the distance. If she wanted to paint cars on the highway, she would paint bigger cars if she wanted them to seem closer and smaller cars if she wanted them to seem farther away. Perceptual Constancy Another important ability that helps people make sense of the world is perceptual constancy.Perceptual constancy is the ability to recognize that an object remains the same even when it produces different images on the retina. Example: When a man watches his wife walk away from him, her image on his retina gets smaller and smaller, but he doesn’t assume she’s shrinking. When a woman holds a book in front of her face, its image is a rec tangle. However, when she puts it down on the table, its image is a trapezoid. Yet she knows it’s the same book. Although perceptual constancy relates to other senses as well, visual constancy is the most studied phenomenon.Different kinds of visual constancies relate to shape, color, size, brightness, and location. * Shape constancy: Objects appear to have the same shape even though they make differently shaped retinal images, depending on the viewing angle. * Size constancy: Objects appear to be the same size even though their images get larger or smaller as their distance decreases or increases. Size constancy depends to some extent on familiarity with the object. For example, it is common knowledge that people don’t shrink. Size constancy also depends on perceived distance.Perceived size and perceived distance are strongly related, and each influences the other. * Brightness constancy: People see objects as having the same brightness even when they reflect differen t amounts of light as lighting conditions change. * Color constancy: Different wavelengths of light are reflected from objects under different lighting conditions. Outdoors, objects reflect more light in the blue range of wavelengths, and indoors, objects reflect more light in the yellow range of wavelengths. Despite this, people see objects as having the same color whether they are outdoors or indoors because of two factors.One factor is that the eyes adapt quickly to different lighting conditions. The other is that the brain interprets the color of an object relative to the colors of nearby objects. In effect, the brain cancels out the extra blueness outdoors and the extra yellowness indoors. * Location constancy: Stationary objects don’t appear to move even though their images on the retina shift as the viewer moves around. Visual Illusions The brain uses Gestalt principles, depth perception cues, and perceptual constancies to make hypotheses about the world. However, the brain sometimes misinterprets information from the senses and makes incorrect hypotheses.The result is an optical illusion. An illusion is a misinterpretation of a sensory stimulus. Illusions can occur in other senses, but most research has been done on visual illusions. In the famous Muller-Lyer illusion shown here, the vertical line on the right looks longer than the line on the left, even though the two lines are actually the same length. This illusion is probably due to misinterpretation of depth perception cues. Because of the attached diagonal lines, the vertical line on the left looks like the near edge of a building, and the vertical line on the right looks like the far edge of a room.The brain uses distance cues to estimate size. The retinal images of both lines are the same size, but since one appears nearer, the brain assumes that it must be smaller. Perceptual Set The Muller-Lyer illusion doesn’t fool everyone equally. Researchers have found that people who live i n cities experience a stronger illusion than people who live in forests. In other words, city-dwelling people see the lines as more different in size. This could be because buildings and rooms surround city dwellers, which prepares them to see the lines as inside and outside edges of buildings.The difference in the strength of the illusion could also be due to variations in the amount of experience people have with making three-dimensional interpretations of two-dimensional drawings. Cultural differences in the tendency to see illusions illustrate the importance of perceptual set. Perceptual set is the readiness to see objects in a particular way based on expectations, experiences, emotions, and assumptions. Perceptual set influences our everyday perceptions and how we perceive reversible figures, which are ambiguous drawings that can be interpreted in more than one way.For example, people might see a vase or two faces in this famous figure, depending on what they’re led to e xpect. Selective Attention Reversible figures also illustrate the concept of selective attention, the ability to focus on some bits of sensory information and ignore others. When people focus on the white part of the figure, they see a vase, and when they focus on the black part of it, they see two faces. To use the language of Gestalt psychology, people can choose to make the vase figure and the face ground or vice versa.Selective attention allows people to carry on day-to-day activities without being overwhelmed by sensory information. Reading a book would be impossible if the reader paid attention to not only the words on the page but also all the things in his peripheral vision, all the sounds around him, all the smells in the air, all the information his brain gets about his body position, air pressure, temperature, and so on. He wouldn’t get very far with the book. Context Effects Another factor that influences perception is the context of the perceiver. People’s immediate surroundings create expectations that make them see in particular ways.Example: The figure below can be seen either as a sequence of letters, A B C, or a sequence of numbers, 12 13 14, depending on whether it is scanned across or down. HEARING Hearing, or audition, depends on the presence of sound waves, which travel much more slowly than light waves. Sound waves are changes in pressure generated by vibrating molecules. The physical characteristics of sound waves influence the three psychological features of sound: loudness, pitch, and timbre. * Loudness depends on the amplitude, or height, of sound waves. The greater the amplitude, the louder the sound perceived. Amplitude is measured in decibels.The absolute threshold of human hearing is defined as 0 decibels. Loudness doubles with every 10-decibel increase in amplitude. A Whisper to a Scream The loudness of normal human conversation is about sixty decibels. A whisper is about twenty decibels. A shout right into someone ’s ear is about 115 decibels. Being exposed to sounds that are over 120 decibels, even for brief periods, can damage the auditory system. * Pitch, though influenced by amplitude, depends most on the frequency of sound waves. Frequency is the number of times per second a sound wave cycles from the highest to the lowest point.The higher the frequency, the higher the pitch. Frequency is measured in hertz, or cycles per second. Frequency also affects loudness, with higher-pitched sounds being perceived as louder. Amplitude and frequency of sound waves interact to produce the experiences of loudness and pitch. What’s Audible? Humans can hear sounds that are between 20 and 20,000 hertz. * Timbre, or the particular quality of a sound, depends on thecomplexity of a sound wave. A pure tone has sound waves of only one frequency. Most sound waves are a mixture of different frequencies. The Structure of the EarKnowing the basic structure of the ear is essential to understanding ho w hearing works. The ear has three basic parts: the outer ear, the middle ear, and the inner ear. The visible part of the ear is the pinna, which collects sound waves and passes them along the auditory canal to a membrane called the eardrum. When sound waves hit the eardrum, it vibrates. The eardrum transmits the vibration to three bones, or ossicles, in the middle ear, which are called the hammer, the anvil, and the stirrup. The diagram of the ear shows how they got these names: they actually look like a hammer, an anvil, and a stirrup.In response to the vibration, these ossicles move one after another. Their function is to amplify the sound vibrations. From the ossicles, vibrations move through a membrane called the oval window to the cochlea of the inner ear. The cochlea is a coiled, fluid-filled tunnel. Inside the cochlea are receptors called cilia or hair cells that are embedded in the basilar membrane. The basilar membrane runs along the whole length of the coiled cochlea. Vib rations that reach the inner ear cause the fluid in the cochlea to move in waves. These waves in turn make the hair cells move.The movement triggers impulses in neurons that connect with the hair cells. The axons of these neurons come together to form the auditory nerve, which sends impulses from the ear to the brain. In the brain, the thalamus and the auditory cortex, which is in the temporal lobe of the cerebrum, receive auditory information. Pitch Perception Two theories explain how people distinguish the pitch of different sounds: place theory and frequency theory. Place theory explains how people discriminate high-pitched sounds that have a frequency greater than 5000 Hz.Place theory states that sound waves of different frequencies trigger receptors at different places on the basilar membrane. The brain figures out the pitch of the sound by detecting the position of the hair cells that sent the neural signal. Frequency theory explains how people discriminate low-pitched sounds that have a frequency below 1000 Hz. According to frequency theory, sound waves of different frequencies make the whole basilar membrane vibrate at different rates and therefore cause neural impulses to be sent at different rates.Pitch is determined by how fast neural signals move along to the brain. The detection of moderately pitched sounds, with a frequency between 1000 and 5000 Hz, is explained by both place theory and frequency theory. To discriminate among these sounds, the brain uses a code based both on where the neural impulses originated and how quickly neural impulses move. Locating Sounds In the same way that people use two eyes to perceive depth, people use two ears to locate the origin of sounds. The left ear receives sound waves coming from the left slightly faster than the right ear does.The signal received by the left ear may also be a little more intense than that received in the right ear, because the signal has to go around the head to enter the right ear. Locati ng a sound is difficult if both ears receive a signal of exactly the same intensity at exactly the same time, as when a sound originates from directly in front, directly behind, or directly above. Turning the head or cocking it to one side can help circumvent this difficulty. TASTE AND SMELL. Taste and smell are chemical senses. As light waves stimulate vision and sound waves stimulate sound, chemicals stimulate taste and smell. TASTETaste, or gustation, happens when chemicals stimulate receptors in the tongue and throat, on the inside of the cheeks, and on the roof of the mouth. These receptors are inside taste buds, which in turn are inside little bumps on the skin called papillae. Taste receptors have a short life span and are replaced about every ten days. For a long time, researchers believed in the existence of four tastes: salty, sweet, sour, and bitter. Recently, researchers have suggested the presence of a fifth taste called umami. The spice monosodium glutamate (MSG) has a n umami taste, as do many protein-rich foods. Taste is also strongly influenced by smell.SMELL Smell, or olfaction, happens when chemicals in the air enter the nose during the breathing process. Smell receptors lie in the top of the nasal passage. They send impulses along the olfactory nerve to the olfactory bulb at the base of the brain. Researchers theorize that there are a great many types of olfactory receptors. People perceive particular smells when different combinations of receptors are stimulated. Remembrance of Smells Past The sense of smell is closely connected with memory. Most people have had the experience of smelling something, maybe a certain perfume or spice, and suddenly experiencing a strong emotional memory.Researchers don’t know exactly why this happens, but they theorize that smell and memory trigger each other because they are processed in neighboring regions of the brain. POSITION MOVEMENT AND BALANCE Kinesthesis is the sense of the position and movemen t of body parts. Through kinesthesis, people know where all the parts of their bodies are and how they are moving. Receptors for kinesthesis are located in the muscles, joints, and tendons. The sense of balance or equilibrium provides information about where the body exists in space.The sense of balance tells people whether they are standing up, falling in an elevator, or riding a roller coaster. The sensory system involved in balance is called the vestibular system. The main structures in the vestibular system are three fluid-filled tubes calledsemicircular canals, which are located in the inner ear. As the head moves, the fluid in the semicircular canals moves too, stimulating receptors called hair cells, which then send impulses to the brain. TOUCH he sense of touch is really a collection of several senses, encompassing pressure, pain, cold, and warmth.The senses of itch and tickle are related to pressure, and burn injuries are related to pain. Touch receptors are stimulated by m echanical, chemical, and thermal energy. Pressure seems to be the only kind of touch sense that has specific receptors. The Gate-Control Theory of Pain Researchers don’t completely understand the mechanics of pain, although they do know that processes in the injured part of the body and processes in the brain both play a role. In the 1960s, Ronald Melzack and Patrick Wall proposed an important theory about pain called the gate-control theory of pain.Gate-control theorystates that pain signals traveling from the body to the brain must go through a gate in the spinal cord. If the gate is closed, pain signals can’t reach the brain. The gate isn’t a physical structure like a fence gate, but rather a pattern of neural activity that either stops pain signals or allows them to pass. Signals from the brain can open or shut the gate. For example, focusing on pain tends to increase it, whereas ignoring the pain tends to decrease it. Other signals from the skin senses can also close the gate. This process explains why massage, ice, and heat relieve pain.

Aging Population Effects on Health Care Essay

Health care is a fast evolving field with advancements of technology and treatment options growing every day. The delivery of care has grown and often shifts direction over the years to accommodate changing population demographics and needs of patients. Many factors play a part in the role of health care and medical treatment, one of those factors being population demographic changes. When the demographics of a population change it can cause adverse effects on the surrounding area in many ways, such as access to care, types of treatment needed to care for the population and the need for health care employees. In a particular population where the demographic is aging the dynamic and need for care begins to affect the health care system in a variety of ways. All health care entities involved play a role in ensuring the challenges and the needs of the population change are met. As the population demographic ages the impact on the delivery of care will be significantly altered, such as t he organization of care and how it is delivered, treatment options, long-term care, and health care coverage will all be affected in different ways. According to the Administration on Aging of the Department of Health and Human Services, approximately 13% of the people living in the United States are elderly as of 2011, which average to about 40 million people. The Department of Health and Human Services estimates that by the year 2030 this number will expand to 72 million making up for 20% of the population in the United States (Campbell, 2013). Another factor that affects the aging population demographic is the rapid rate of retiring Baby-Boomers, with almost 10,000 entering retirement every day over the next 16 years this number will continue to grow (Campbell, 2013). The increasing amount of people aging in the United States as well as all over the world means the focus of health care will shift from acute care to the treatment of serious chronic diseases and assisted living skilled and non-skilled medical care will be in high demand. The aging population also results in the growth and demand for an increase in health care services impacting the health care market in a way that increases cost for all health care entities, such as the individual patient, the federal government, individual states, hospitals, physicians, etc. Other impacts of the health care system will be the increase need for health care employees with  specific skill sets along with the need for additional health care settings to attend to the elderly population. When population demographics change such as aging, many health care related challenges begin to rise and must be addressed and overcome quickly to ensure the quality of care is not impacted. Some of these challenges in an aging population are the need for in-home medical care and assisted living, such as hospice care, skilled nursing facilities and other long-term medical care settings. The challenge these bring to the health care system as well as the aging population are the high financial cost of in-home support and increased difficulties recruiting the proper trained employees (Potter, 2010). Another challenge this specific population change is faced with is the increased cost of health care coverage. Most retirees and elderly population turn to the federal government health plan known as Medicare for his or her individual health care coverage, with the majority of the Baby-Boomer population turning 65 years old at a rapid pace, more and more Americans are qualifying for Medicare coverage. In recent years the cost of Medicare has raised, mainly impart to the increased cost of prescription medications and the consumption of the elderly population (Potter, 2010). With decreasing long-term care options and increasing health care cost the elderly population is faced with many challenges within the health care system. Ultimately the current state of the health care system in the United States must address the concern of the aging population and adapt to the needs of the elderly. In the current era of advanced technology, more and more elderly people are connected to the internet and have a wide variety of receiving health care information. As the health care market moves into a more diverse and technology driven state it is important to market these wellness programs as well as changes in health care coverage that will ultimately effect the aging population. Another way to address the challenges of the aging population is ensuring that individual patients receive the most up to date information regarding his or her health care coverage and diagnosis information. Individual patients, communities and society as a whole can bring together the focus on the aging population health care needs by promoting wellness programs and providing the support to health care facilities needed to face the aging popu lation’s challenges.

9 Things Ambitious Women Can Do To Empower Themselves Today

9 Things Ambitious Women Can Do To Empower Themselves Today There is a lot of professional advice for women out there in the Internet stratosphere. While of course women should work toward  career advancement, there are additional ways you can  empower yourself outside of the workplace, and they are all relatively simple to execute. 1. Have brunch at a local woman-owned restaurant.Not only will you be supporting a local business, you’ll also be supporting a female entrepreneur, while getting your brunch on.2. Contact your local senator.Let your voice be heard. Let your representative know that you  support gender equality, equal pay, reproductive rights,  and other women’s issues. When it comes down to it, you’ll have made a much bigger impact than if you would have just stayed silent. If you’re not familiar with who your representatives are, visit Congress.gov  and find out! Don’t underestimate your power to speak up.3. Don’t forget to exercise.Remember, your health should be a priority. Wh ether it’s walking, jogging, or lifting weights, make sure to exercise a few times a week. Your body will thank you for it and you will notice a gradual increase in your confidence.4. Call one of your girlfriends.Call one of your friends and discuss hot button issues like women’s equality, the gender pay gap, and reproductive rights. Bounce ideas off of each other to see what you can do to make a difference.5. Watch a feminist movie or documentary.What better way to empower yourself than by learning something new? Netflix has plenty of feminist documentaries you can check out.6. Shop at businesses owned by women.As mentioned in #1, shopping at a woman-owned business helps support female entrepreneurs. Not only will their business be more successful, but their success can inspire other women to follow their example.7. Find a book to read.Reading books will sharpen your mind and inspire you- it’s a win-win.8. Treat yourself.Give yourself a spa day, relax indoors, or take a nap. Indulge in your guilty pleasures and treat yourself. You deserve it!9. Cook  up a storm.If you enjoy cooking, cook one of your favorite recipes or find one you like on Pinterest! Cook a delicious meal that will energize and fuel you. A healthy body is a healthy mind.

Biography of W.E.B. Du Bois, Activist and Scholar

Biography of W.E.B. Du Bois, Activist and Scholar W.E.B. Du Bois (William Edward Burghardt; February 23, 1868–August 27, 1963) was a pivotal sociologist, historian, educator, and sociopolitical activist who argued for immediate racial equality for African-Americans. His emergence as a black leader paralleled the rise of the  Jim Crow laws of the South and the Progressive Era. He was a co-founder of the NAACP (National Association for the Advancement of Colored People) and has been called the Father of Social Science and the Father of Pan-Africanism. Fast Facts: W.E.B. Du Bois Known For:  Editor, writer, political activist for racial equality, co-founder of the NAACP, often called the Father of Social Science and the Father of Pan-AfricanismBorn:  February 23, 1868 in Great Barrington, MassachusettsParents: Alfred and Mary Silvina Du BoisDied:  August 27, 1963 in Accra, GhanaEducation: Fisk University, Harvard University (first African American to earn a doctorate degree from Harvard University)Published Works: The Philadelphia Negro,  The Souls of Black Folk, The Negro, The Gift of Black Folk,  Black Reconstruction,  The Color of Democracy, The CrisisAwards and Honors: Spingarn Medal, Lenin Peace Prize  Spouse(s): Nina Gomer, Lola Shirley Graham, JuniorChildren: Burghardt, Yolande, stepson, David Graham Du BoisNotable Quote: â€Å"Now is the accepted time, not tomorrow, not some more convenient season. It is today that our best work can be done and not some future day or future year. It is today that we fit ourselves for the greater usefuln ess of tomorrow. Today is the seed time, now are the hours of work, and tomorrow comes the harvest and the playtime.† Early Life and Education Du Bois was born in Great Barrington, Massachusetts, on February 23, 1868. The Du Bois family was one of the few black families living in the predominantly white town. In high school, Du Bois was already focussing on racial inequality. At age 15, he became the local correspondent for the  New York Globe  and gave lectures and wrote editorials, spreading his ideas that  black people needed to politicize themselves. Du Bois attended an integrated school where he excelled. Upon his graduation from high school, members of his community awarded Du Bois with a scholarship to attend Fisk University. While at Fisk, Du Bois experience of racism and poverty was markedly different from his life in Great Barrington. Du Bois, consequently, decided to dedicate his life to ending racism and uplifting black Americans. In 1888, Du Bois graduated from Fisk and was accepted to Harvard University where he earned a master’s degree, a doctorate, and a fellowship to study for two years at the University of Berlin in Germany. He was the first black American to earn a doctorate from Harvard University. Academic Teaching Career Du Bois followed his first teaching job at Wilberforce University with a fellowship at the University of Pennsylvania to conduct a research project in Philadelphia’s seventh ward slums. Researching racism as a  social system, he was determined to learn as much as he could in an attempt to find the â€Å"cure† for prejudice and discrimination. His investigation, statistical measurements, and  sociological interpretation  of this endeavor were published as  The Philadelphia Negro. This was the first time such a scientific approach to studying social phenomenon was undertaken, which is why Du Bois is often called the Father of Social Science. Du Bois next taught at Atlanta University, where he remained for 13 years. At Atlanta University, he  studied and wrote  about morality, urbanization, business and education, the church, and crime as it affected black society. His main goal was to encourage and help social reform. Opposition to Booker T. Washington Initially, Du Bois agreed with the philosophy of Booker T. Washington, the preeminent leader of African-Americans during the Progressive Era. Washingtons activism and life work were all aimed to help black Americans become skilled in industrial and vocational trades so they could open businesses, assimilate into American society as engaged citizens, and become self-reliant. Du Bois, however, came to greatly disagree with Washingtons incremental, compromising approach and he outlined his arguments in his collection of essays, The Souls of Black Folk, published in 1903. In these essays, Du Bois argued that white Americans needed to take responsibility for their contributions to the problem of racial inequality. He delineated the flaws he saw in Washington’s argument, but nevertheless, he also agreed that black Americans must take better advantage of educational opportunities to uplift their race as they simultaneously fought racism directly. In The Souls of Black Folk he elaborated on his concept of double-consciousness: It is a peculiar sensation, this double-consciousness, this sense of always looking at ones self through the eyes of others, of measuring ones soul by the tape of a world that looks on in amused contempt and pity. One ever feels his twoness- an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder. Organizing for Racial Equality In July 1905, Du Bois organized the Niagara Movement with William Monroe Trotter. Niagara Movement took a more militant approach to fighting racial inequality. Its chapters throughout the United States fought local acts of discrimination and the national organization published a newspaper, Voice of the Negro. The Niagara Movement dismantled in 1909 and Du Bois, along with several other members, joined with white Americans to establish the NAACP. Du Bois was appointed director of research. In 1910, he left Atlanta University to work full-time as the publications director at the NAACP, where he served as the editor of their magazine The Crisis from 1910 to 1934. In addition to urging black American readers to become socially and politically active, the hugely successful publication later showcased literature and visual art of the Harlem Renaissance. Break With the NAACP By the 1930s, the NAACP had become increasingly institutionalized while Du Bois had become more radical. Because of these differences with the NAACP, he left the magazine and organization in 1934 and returned to teaching at Atlanta University. Du Bois was one of a number of African American leaders investigated by the FBI, which claimed that in 1942 his writings indicated he was a socialist. At the time, Du Bois was chairman of the Peace Information Center and was one of the signers of the Stockholm Peace Pledge, which opposed the use of nuclear weapons. Racial Upliftment Throughout Du Bois’ career, he worked tirelessly to end racial inequality. Through his membership in the American Negro Academy, Du Bois developed the idea of the â€Å"Talented Tenth,† arguing that educated African-Americans could lead the fight for racial equality in the United States. Du Bois’ ideas about the importance of education would be present again during the Harlem Renaissance. During this flowering of black literary, visual, and musical art, Du Bois argued that racial equality could be gained through the arts. Using his influence during his time as editor of The Crisis, Du Bois promoted the work of many African-American visual artists and writers. Pan-Africanism Du Bois concern for racial equality was not limited to the United States. He was an activist for equality for people of African descent throughout the world. As a leader of the Pan-African movement, Du Bois organized conferences for the Pan-African Congress, including its first in 1919. Leaders from Africa and the Americas assembled to discuss racism and oppression- issues that people of African descent faced all over the world. In 1961, Du Bois moved to Ghana and renounced his U.S. citizenship. Death Over the course of his two years in Ghana, Du Bois health deteriorated. He died there on August 27, 1963, at age 95.  Du Bois was given a state funeral in Accra, Ghana. Legacy Du Bois was a central leader in the fight for racial upliftment and equality in the 20th century. In the world of academia, he is considered to be one of the founders of modern sociology. His body of work  inspired the creation of a critical journal of black politics, culture, and society called  Souls. His legacy is honored annually by  the American Sociological Association  with an award for a career of distinguished scholarship given in his name. Sources Appiah, Anthony, and Henry Louis Gates, editors. Africana: The Encyclopedia of the African and African American Experience. Oxford University Press, 2005  Du Bois, W.E.B. (William Edward Burghardt). Autobiography of W.E.B. DuBois: a soliloquy on viewing my life from the last decade of its first century. International Publishers, 1968.Lewis, David Levering. W.E.B. Du Bois: Biography of a Race 1868–1919. Henry Holt and Company, 1993