How to Fix the White Screen of Death in WordPress

How to Fix the White Screen of Death in WordPress post-1758" class="post-1758 post type-post status-publish format-standard has-post-thumbnail hentry category-wordpress-tutorials">If youve been blinded by the whiteness of your site and found a blank screen staring at you then youve already met the infamous white screen of death in WordPress (aka. WSOD).One minute the site works okay, and the other everything goes blank. (This can also happen when your dashboard isnt loading properly even though the front of the site is actually working.)Today, lets look into what causes the white screen of death in WordPress and how to fix it:The most common causes of the white screen of death in WordPressCause #1: Auto upgrade issuesThe symptoms may mimic those of a misconfigured database presenting you with a white screen with no information at all. Or you may see a warning of a failed update.These occur when theres a connection problem that interrupts your updates or incorrect file permissions, which you need to fix.If you encounter this issue, youll need to do a manual WordPress upgrade.Cause #2: Maintenance mode freezeSometimes WordPress gets stuck at:It means that a .maintenance file, which WordPress automatically installs when it starts updating, hasnt been removed.To do this manually, youll need to log in to your site using an FTP client or via your hosting dashboard (cPanel, Plesk, etc) and delete .maintenance, located in your website root folder.Cause #3: Problems with pluginsThe white screen of death in WordPress is a possible culprit if you attempt to:Modify an active pluginUpdate an old oneInstall a new pluginIn many cases, the plugin that has just been installed or modified could result in a conflict with your current theme or other plugins. Thats why its important to use WordPress products developed using best practices.Try to disable any recently modified or installed plugins and see if your WordPress goes back to normal.In case your dashboard isnt operational at all, you can disable plugins in WordPress using FTP access. A caveat is that youll only be able to do this if you have access to your FTP with the required directory permissions. Most hosting companies provide FTP service. However, if WordPress is installed on a Virtual Private Server or youre with a managed host, you might not have an FTP server.You may need to install an FTP client, such as FileZilla.To disable the plugin:Use an authorized account to sign in to your FTP serverFind your WordPress installation directory and open the folder wp_content/pluginsSelect the folder with the plugins nameRename the folder to a different name you can still recognize e.g. if the folder is called my-bad-plugin name it _my-bad-plugin or my-bad-plugin_disabled. Choose any name provided it doesnt sound like any other plugins name and you can remember it laterThats it! Renaming the folder permanently disables the pluginReopen your browser and see whether your site loads. Use the above steps to disable as many plugins as you need to in order to combat the white screen of death in WordPress.Alternatively, you can disable all of your WordPress plugins simultaneously. Heres how:Disabling all your plugins one by one could take you a longer while. Instead, you can rename the main plugins folder to something else, e.g. from wp_content/plugins to wp_content/plugins_old. This should disable all your plugins simultaneously.Then, create another folder called wp_content/plugins. You can activate each plugin by moving them to the new plugins folder.If your case of the white screen of death in WordPress was caused by a particular plugins modification, disabling the plugin through your FTP server should resolve the problem. As a rule of thumb, test all your modified plugins using a backup site before launching on your main WordPress.Cause #4: Problems with themesJust like the white screen of death caused by plugins above, disabling the theme can resolve any WSOD problems that are theme-related. The following are some common causes and s olutions:a) Problems when installing a new themeNew themes can cause a conflict with existing plugins. In this case, deactivate the newly installed theme, which will cause WordPress to revert to your automatic default theme. Ensure that the default theme hasnt already been deleted. If so, upload it back to your themes folder within wp_content/themes.To disable the theme, follow the same procedure described above for plugins, except this time working with the wp_content/themes folder rather than the plugins folder. Rename the specific themes folder, which automatically deactivates the theme.b) Problems with badly coded themesA major WordPress update oftentimes can drive poorly coded themes out. Poorly-coded or outdated themes will often not work once the latest WordPress update is installed.If you notice that the white screen of death in WordPress appeared immediately / soon after conducting an update, your old theme is mostly likely to be the reason behind it. Deactivating your them e as described above could turn things back to normal.c) Problems with theme modificationWordPress isnt a fan of buggy coding. Its proper working depends on a set of well-built objects operating in harmony. If one of those parts is missing or malfunctions, your WordPress will fail to work, resulting in the WSOD.Themes made by reputable theme shops (shameless plug) and those found in the WordPress.org repository are comprehensively tested for any defects. If your white screen of death in WordPress comes after installing any of such themes, the problem could be a plugin-theme conflict.Modifying or updating themes by hand could cause occurrence of improper coding, which is the heart of most WSOD problems. Try to replace the modified file with an old copy from your backup. Otherwise, you should download and reinstall original theme files.Cause #5: Going above the allowable memory limitThis is a classic indication that your site has grown beyond what your current hosting provider gives y ou. Higher amounts of traffic to your site demand higher memory limits, so you should plan to upgrade accordingly.Start by increasing your PHP memory allocation by adding or editing this line in your wp-config.php file:define('WP_MEMORY_LIMIT', '64M');For shared hosts, a memory limit of 64MB is sufficient. Consult the hosting provider if the problem persists after making this alteration.Cheap web hosting can also come at the expense of quality. Such providers want to ensure that they get as many customers within a single server as they can. Therefore, the resources allocated to every client are very limited, for example RAM. If you cant increase your memory limit, youll need to upgrade to the next plan to stop the white screen of death in WordPress from occurring.In the end, most WordPress users and admins will be faced with the infamous WSOD at one point or another in their lives. This problem wont arise from the WordPress core itself, but with using themes and plugins not coded wi th WordPress best practices in mind, user errors, or hosting limitations.If you dont want to worry all that much about this white screen of death, you should first go for quality WordPress hosting provider. A good company will sort out any potential problems as they arise, ensuring that your downtime is kept at a minimum.Its important to stay positive and remember that theres a solution to every situation that you face.

Cicero Essays - Ancient Greek Mathematicians, Hellenistic Philosophy

Cicero Essays - Ancient Greek Mathematicians, Hellenistic Philosophy Cicero Cicero, was truly a man of the state. His writings also show us he was equally a man of philosophical temperament and affluence. Yet at times these two forces within Cicero clash and contradict with the early stoic teachings. Cicero gradually adopted the stoic lifestyle but not altogether entirely, and this is somewhat due to the fact of what it was like to be a roman of the time. The morals of everyday Rome conflicted with some of the stoic ideals that were set by early stoicism. Thus, Cicero changed the face of stoicism by romanizing it; redefining stoicism into the middle phase. Of Cicero it can be said he possessed a bias towards roman life and doctrine. For Cicero every answer lay within Rome itself, from the ideal governing body to the place of divination. Cicero does not offer any alternate answers to roman society, which robs him of being truly a unique and bold political philosopher. This is not to say however some of his doctrines are untrue, just that he is somewhat blinde d by his roman beliefs and assumptions. The assumptions of Cicero can be noticed when one inspects his view of the ideal governing body, which he expresses through Scipio (in the commonwealth). Although Cicero presents very convincing arguments for a Composite government, clearly his view is possibly only due towards his belief in the roman structure of government.1 Cicero was limited to roman borders of experience, and this point was best illustrated by his disagreement with Aristotle's writings on the decay of states. Cicero was unable to think on the level of Aristotle's logic. He quite simply used roman history as a mapping of the paths of the decay of states. In contrast, Aristotle understood the underlying forces and influences that transpired when a state degraded. Cicero quite frankly could not understand the forces which Aristotle so eloquently denoted. For Cicero, history offered the only possible paths of outcomes; the forces and behaviors played little part on the result ing state.2 A further point of philosophical belief which Cicero contradicted the stoic lifestyle, is religion. Roman tradition conflicted greatly with stoic doctrine, and the two philosophies could never truly harmonize with one another. This point brought the distinction between the Greek learned world of intellect, and the traditional religious roman patronage. This observation literally draws a line between the two worlds, that of knowledge and reason opposing that of tradition and sentiment. This illustrated that roman was truly unable to fully accept a Greek philosophy based on knowledge and brotherhood, and a great Roman such as Cicero was similarly unable to accept the stoic doctrine as a whole.3 The philosophy of stoicism originated in Greece, and was based on the order of the universe. Nature to the stoics (universe) was a precisely ordered cosmos. Stoics taught that there was an order behind all the evident confusion of the universe. Mans purpose was to acquire order with in the universe; harmonizing yourself with the universal order. Within this notion of harmonizing lies wisdom, sin resides with resisting the natural order (or nature). The stoics also tell of a rational plan in nature; our role was to live in accord with this plan. The natural order was filled with divinity, and all things possess a divine nature. This natural order was god, and thus the universe was god; the Greek and roman pathos were simply beliefs forged by superstition. The stoics also had a great indifference towards life, in the regard that the natural plan cannot be changed. This attitude made stoic's recluse from fame, and opposed to seeking it. One fundamental belief stoics held was in the universal community of mankind. They held that a political community is nothing more than its laws' borders, since the natural laws are universal imposed; a universal political community existed in which all men share membership. This interpretation is generally regarded as the early st oic stage, which had yet to experience little roman influence. Upon roman adoption, stoicism went through a romanizing period; an altering of the philosophy to better integrate into roman mainstream. The ideal state of Cicero's; For I hold it desirable, first, that there should be a dominant and royal

BUS Assignment 4 Essay Example | Topics and Well Written Essays - 500 words

BUS Assignment 4 - Essay Example I think that managers should alert workers about employee monitoring. The employees need to understand why they are being monitored. They should be aware of the company’s policies and Business Code of Conduct so that they know that the monitoring is within the guidelines of the law. If I were the owner of the company, I will still have the same opinions regarding monitoring of employees. Some form of restraint should still be observed. â€Å"As with most ethical issues, the governing concern should be mutual respect and mutual accountability† (Mujtaba, n.d.). Class discussion 1: Topic B I believe that the degree of variation in the range of earnings across various jobs in our economy is justified because a salary of a person is a product of several factors which I believe he has worked for. These factors include his education, training, experience and luck. No one has a right to question these because I think whatever one is earning now is the result of hard work, somet hing which one has strived for. As an example, I am sure that before Kobe Bryant reached his current rate, he had to undergo a lot of training and sacrifices. It was not an easy path at all so everything he has now, he definitely deserves it.

Stylistic analysis Coursework Example | Topics and Well Written Essays - 1500 words

Stylistic analysis - Coursework Example In his column for Time Magazine (Krauthammer â€Å"Dignity†), written shortly after the memorial was opened, Krauthammer supported the decision to eschew the desires of many disability advocates and in a prominent sculpture, cover FDR’s wheelchair. Typical of Krauthammer’s writing style, he took the issue and transformed it into a scathing criticism of contemporary politicians’ penchant for self-exposure. This is something Krauthammer does often in his polemic style of writing: he starts out discussing one topic and adeptly switches it to another to effectively make his point, with wit and plenty of logic. A review of his most recent columns, published in The Washington Post and in 200 other newspapers and media outlets, demonstrates this technique. In another of his columns about the FDR memorial, for example, he starts off by talking about the movie â€Å"Pearl Harbor,† which he calls â€Å"an engagingly ramshackle mess of comical improbabilities, 40s clichà ©s and dialogue so corny it must have been (was it?) deliberate† (Krauthammer â€Å"Campaign†). Krauthammer then uses a scene in the movie, which has President Roosevelt uncharacteristically open about his disability, to illustrate how both the movie and the memorial went against Roosevelt’s wishes to conceal his disabilities. It is an effective tool, one made more powerful when the reader remembers that the one using the tool is also a user of a wheelchair, and most likely holds the same opinions about disability as FDR did. While Krauthammer has never gone on the record expressing those opinions, his behavior and dignity would seem to support it. Krauthammer’s disability occurred when he was a first-year medical student at Harvard University, in a diving accident. In spite of this, he graduated with his class in 1975 and went on to a successful medical practice, with a wide range of publications in his field of psychiatry

Instructional Approaches Essay Example | Topics and Well Written Essays - 1500 words

Instructional Approaches - Essay Example The articles selected for analysis reflect different instructional approaches and illustrate different methods and techniques used in social sciences. The article "Literary Studies and Cognitive Science: Toward a New Interdisciplinary" by M. Th. Crane and A. Richardson discuss a new interdisciplinary approach applied to literary studies and social sciences. In this article, a special attention is given to cognitive learning approach and its application. the authors underline that building on earlier theories of learning, researchers working toward interactive technologies perceived limitations in earlier methods. By developing theories that emphasize synthesis and integration of sets of knowledge and skills, researchers hope to address such limitations as an emphasis on components instead of integrated wholes, a closed system that made incorporation of new knowledge difficult, which resulted in essentially passive instruction and labor intensive practice in design and development of instruction. The authors state that the teacher provides modeling of the metacognitive strategies necessary for beginning the task, and, when problems are encountered, assistance is provided by the teacher or group. One learning procedure reflecting this stance, complex dynamic simulations, structures collaborative group work in sharing a complex problem-solving task. This approach is based on theories about the social genesis of learning in which the learner is characterized as being motivated to seek explanations through exploration. The article "Using Piaget's Theory of Cognitive Development to Understand the Construction of Healing Narratives" by C. P. Cook-Cottone analyses instructional approaches and learning theories in terms of the Narrative Process. The Healing Narrative Model is based on the structured approach. It means that one is that learning should be contextual and a process of active application of knowledge toward specific problem-solving goals. Also, the article pays a special attention to experiential (or sensorimotor) level and early relationships (or Preoperational) level. An initial authoring activity in instructional design is a clarification of the learning goal for the instruction and/or curriculum. The specification of the goal(s) will help prescribe the format of the instruction. For example, if the goal is the learning of new information, there are basically possibilities. Second is the general agreement regarding the importance of modeling problem-solving strategies as well as the role of conflict or failure in providing an impetus toward new learning. The research by Harris and Pressley, M. (1991) describes bad illustrates the cognitive strategy instruction:. The authors underline that in contrast to the behaviorist view of the learner as shaped by the environment, cognitivebased researchers are investigating the ways that the learner actively shapes the environment to facilitate learning. His research indicates that the knowledge of novices is organized around the literal aspects of a problem statement, whereas the experts' knowledge is organized around principles and abstractions not apparent in the problem

Arte Povera Movements in Modern Art

Arte Povera Movements in Modern Art The movement Arte Povera began in late 1960s the key artists were; Giovanni Anselmo, Jannis Kounellis, Alighiero Boetti, Luciano Fabro, Mario Merz, Marisa Merz, Pier Paolo Calzolari, Giulio Paolini, Giuseppe Penone, Pino Pascali and Michelangelo Pistoletto. Arte Povera translated, means poor art but this does not refer to the quality or types of materials used alone. The artists involved produced sculpture, photography installation and performance. There were also other types of art practice that had an affinity to Arte Povera; Land art, antiform, postminimalism and conceptual art. The artists within this movement were concerned with that point at which art and life, nature and culture, intersect (Christov-Bakargie 1999: 17). Arte Povera found significance within physical forces present in every day life, such as gravity and electricity. Art that merely represented life and acted as a go between art and life was not considered by Arte Povera, experiencing a real life situation was the focus. Along with involving physical forces Arte Povera engaged with aspects of human nature. The objects and materials that the artists used to evoke aspects of human nature stirred the senses allowing the viewer to experience the work. For example Jannis Kounellis wanted the viewer to use their sense of smell he did this by using coffee within his work. The use of texture is applied within Arte Povera, suggesting that the viewer touch the work. The use of text was also popular with Arte Povera, the words were largely handwritten so would come across more personal. In terms of location the artists tend to work indoors however have worked in site-specific places. They have created installations, sculpture, film, and performa nce the artists also worked with ideas of the permanent and temporary. The scale is often determined by the dimensions of the human body, its physical presence and behaviour (Christov-Bakargie 1999: 19) this is demonstrated in Fabros piece in-cubo which consisted of a cloth cube that was big enough for just one person. Kounellis also stated that I cant exceed the height of a man (Bellini 2007: 114). Arte Povera was an outlet for artists at the time to rebel against what they considered an oppressive society both economically and culturally. They believed both these things were trapped within traditions and focused heavily upon consumerism devised to control rather than liberate (Christov-Bakargie 1999: 20). Many other things came under attack at this time such as education, sexuality and religion. The Arte Povera artists questioned all traditional materials, scale, form and concept. A key concept for the artists was to reduce the intellectual control and make the experience more important. Jean-Chrisophe Ammann gave a definition of Arte Povera: Arte Povera designates a kind of art which, in contrast to the technologized world around it, seeks to achieve a poetic statement with the simplest of means. This return to simple materials, revealing laws and processes deriving from the power of the imagination, is an examination of the artists own conduct in an industrialized society [] A way of dropping out which is by no means a denial of society, but which instead asserts a moral claim: the subjectified in its objectified authenticity reflects a natural recollection of environmental phenomena, both universal and individual (Christov-Bakargie 1999: 20). The text Art Povera Notes for a Guerrilla War written by Germano Celant begins by describing a type of art that follows the system First came man, then the system. That is the way it used to be. Now society produces, and man consumes (Celant 1967: 119). This system demands that the art produced by an artist has to follow a certain route; they must conform to the art they have made in the past. The artist makes objects that suit the system, they cannot create an object just for it to be an object they must justify the art and then make it fit for distribution: Turning himself as an artist into a substitute for an assembly line. No longer a stimulator, technician, or specialist of discovery, he becomes a cog in a mechanism. His behaviour is conditioned into never offering more than a correction to the world, perfecting its social structures but never modifying or revolutionizing them (Celant 1967: 119). Marcel Duchamp is mentioned as an opposing example to this type of art, he was never interested in pleasing the system and instead made art that did not follow a linear path. Celant describes that art has two directions one being using existing structures and the other the choice is to make a free art which allows for progression within the work. Celant believes the first choice of using the existing structure is a complex art and the second choice, a free art is a poor art due to it involving unforeseen events and working within the present. Over there a complex art, over here a poor art. Committed to contingency, to events, to the non-historical, to the present (Celant 1967: 119). Arte Povera artists rejected societies system, the artist wanted to be free to grow from the ability to move in any direction with their art to produce art that is unpredictable The artist, who was exploited before, now becomes a guerrilla warrior (Celant, 1967: 119). In a world where the system is well and truly cemented within society Arte Povera exists by not committing itself to any one system. This art is controlled by the practical objective to liberate art. Not to add ideas or art objects in to the world, which could fall in to the system: Hence it does away with categorical positions to focus on gestures that do not add anything to our well-educated perception, that do not oppose themselves to life as art or lead to the creation of separate levels for the ego and the world, but exist as social gestures in and of themselves, as formative and compositive liberations which aim at the identification between man and the world ( Celant, 1967: 119). Celant later wrote another text on Arte Povera in 1969, within this text he reiterates that the artist is renewing events that happen in nature. He compares the artist to an alchemist, having the ability like nature does to create magical things. The artist does not intend to represent these natural processes Like a simple-structured organism, the artist mingles with the environment, he camouflages himself with it (Celant quoted in Christov-Bakargie 1999: 198). Consequently the artist does not aim to change the world or influence it anyway, instead wishes to appreciate natural processes that occur and then experience them through making art. Celant identifies that Arte Povera involves the abolishment of following trends within your work and what you are expected to create as an artist and instead allow the work to organically progress. He abolishes his role as artist, intellectual, painter and sculptor. He learns again to perceive, to feel, to breathe, to walk, to understand, to use himself as a man. Naturally, learning to move or rediscovering ones own existence does not mean playing a new role or making movements, but using oneself as a continuously mouldable material (Celant quoted in Christov-Bakargie1999: 198). In 1968 Marisa Volpi wrote American Art and Italian Art: New directions, within this text she explores what is primary or minimal art. She defines this type of art as devoid of complicated form and absent from traditional aestheticism ( Volpi quoted in Christov-Bakargie 1999: 196). She also writes that these types of artists tend to be sculptors, as they believe that painting is limited in its two dimensionality, which restricts its capabilities of illusionism. Their focus is on involving the viewers in their presence and prompting isolated and particularized sensations, rather than on making them reflect, think and exercise judgement ( Volpi quoted in Christov-Bakargie 1999: 196). Volpi states that the distinctive feature at the time the text was written between European artists and others differed by their intellectual understatements within their art. Volpi describes what the Arte Povera artists produced They work on that perceptual fabric which comes before our logical-historical relations with the world (Volpi quoted in Christov-Bakargie 1999: 196). This quote is expressing similar ideas written by Celant, that Arte Povera is a rejection of producing work that follows a pattern and instead works with human nature as content. She describes many different themes within Arte Povera one being the use of ordinary processes such as filling up, covering up, opening, rolling up, lighting etc (Volpi quoted in Christov-Bakargie 1999: 196). Volpi ends her essay by writing that the Arte Povera artists intended to change the way that art was traditionally perceived. Chapter 2 part 2 This section of the chapter will explore several artists work who were involve within the Arte Povera Movement. Looking back at the question, what is Relational Aesthetics relationship to Arte Povera? Does Arte Povera include social interactions as part of the practice in the same way as Relational Aesthetics? Considering artist practices and how they use interaction and participation within their art. The artist Michelangelo Pistoletto (2001) said about his work: I am interested in the passage between objects more than in the objects themselves. I am interested in the perceptive faculty, in the sensitisation of the individual. Objects, the state of things, human movements accepted in their conventional appearance, do not contribute in any way to the profound stimulus of man, the full use of his cerebral capacities (Pistoletto quoted in 2001: 7). He is saying here that the object is not the most important part of the object but the channels between objects. He is interested in the interaction of the individual with the work and the awareness the viewer has of the work by way of their senses. Looking at objects in their normal capacity will not motivate people to use their full intellectual abilities. Pistoletto was recognized as a key artist of Arte Povera, his most famous pieces are Mirror Paintings and his series Minus Objects. Mirror Paintings consisted of human scaled images applied to reflective steel. The use of steel and the reflections from the viewers of the work meant the paintings were breaking with traditions of figurative painting. The involvement of the viewer within the art evoked a link between art and life. Minus objects was a series of sculptures that offered psychological and physical experiences (Tate 2001:..). One sculpture Lunch Painting 1965 is a cross between a picnic table and chairs, a painting and a sculpture thus questioning traditions of painting and not creating objects as commodities. In an interview with Paola Noe Can Art still Save Our Souls? 2008 Pistoletto identifies the beginnings of his Mirror Paintings: The figure of a man seemed to come forward, as if alive, in the space of the gallery: but the true protagonist was the relationship of instantaneousness that was created between the spectator, his own reflection and the painted figure, in an ever-present movement that concentrated the past and the figure in itself to such an extent as to cause one to call their very existence into doubt: it was the dimension of time itself (Noe 2008: 64). Pistoletto distinguishes that the central theme of the work is the interactivity between the artwork and the spectator. He explains there are two different types of present the one of the reflections and the time the image was captured, the image captured is also in the past as a memory. Past, present and future are all involved in the piece in different combinations, the future being the continuation of visitors to the gallery. Noe considers Pistolettos Minus Objects foretold Bourriauds theory Relational Aesthetics. Pistoletto responded in agreement suggesting the theory was born from Minus Objects with which I moved from the diversity of objects to the diversity of people (Noe 2008: 67). He states by taking his work outside the gallery it opened up art to a wider audience and to the unconventional. However Bourriaud states that relational art is not a re-interpretation or revival of any art movement. Relational artists do not use social interaction because it is the trend at the time or as an accompaniment to their practice. The social interaction is the subject matter of their work, and also the outcome. Bourriaud contends that previous use of participation in art specifically in the 60s was concerned with the definition of art as its focus and not social interactivity. Bourriaud also comments that art in this period was creating utopian ideas of society unlike Relational Aesthetics that created existing spaces. Giovanni Anselmo is another artist from Arte Povera who worked with nature and phenomena, one example is his use of the physical force, gravity. These things play the part of content as well as material within his work. At the centre of his art which integrates nature, perception and philosophy stands the human being (Werd and Watkins 2005: 106). The human being is an integral part of Anselmos work, as the gallery goer is transformed into a participant. For example his work Invisible 1971 involved a projected light, if anyone came into contact with the light it would then project on to his or her body making the light visible. Anselmos work of the 1960s and 1970s is an exploration of the obvious connection between art and the difficulty of understanding the world around us. In relation to the important aspects of Arte Povera mentioned earlier in this chapter Anselmo tries to break traditions for example having his materials created by someone else removing the workmanship and the traditional idea of processes like stone carving. He makes the experience of the work more important rather than the intellect in the work. Anselmo is re-inventing things within nature and phenomenon whilst keeping the work simple and bridging the gap between art and life however not representing it. Anselmo states he tries to be real, noting how he finds it incredible to be on earth, walking about and lookingit is magic just to be here. And often one forgets that (Anselmo quoted in Werd and Watkins 2005: 112). Anselmo (1969) writes that he does not fix situations but keeps them open, as situations in real life are not fixed; they are in a constant state of change. Because energy exists in all guises and in all situations, to work with energy requires total freedom in choosing and using materials (Anselmo quoted in Christov-Bakargie 1999: 233). Jannis Kounellis was also an artist that was associated with Arte Povera, Kounellis questioned conventions and traditions within art and also made art that cannot be sold. He did this by using live animals within his work, such as parrots, horses and goldfish. When asked what it was that defined Arte Povera Kounellis responded by saying that there was little planning or rigidity involved, Not having any dogmatic paranoia, not starting from a manifesto, the acceptance of contradictions (Bellini 2007: 114). In his work Opposite (1967) Kounellis placed a variety of objects that contrasted within the gallery space, by doing this he created a theatrical environment in which visitors became more than viewers and instead were transformed into actors. Kounellis also created an installation Untitled (12 horses) the use of twelve horses was not just to contest consumer society, but also referenced historical painting and were seen to represent power and energy. The human senses were also impor tant to the Arte Povera artists in Kounelliss case he used smell. Nature as a theme is also included within his work, he often places fire within the work from quite aggressive jets of fire to a more intimate use of fire in candles. In an interview with Marisa Volpi (1968) and Kounellis discuss whether chance is a determinate factor with his work. Kounellis states that When you have a plan, there is the fixed idea of development. When you plan, you eliminate openness. (Kounellis quoted in Christov-Bakargie 1999: 248). Kounellis (1968 a) also reiterates an important aspect within Arte Povera and that is the intention to unite art and life. He demonstrates this unity through the transformation of the gallery into a theatre where real life and fiction merge (Tate). Kounellis (1968 b) explains that art should strive towards authenticity and by using this term he means an art that does not categorize itself within a product or tradition that it doesnt want to shed. He states the work should be defiant towards conventionality the artist then becomes a permanent disturbance (Kounellis quoted in Christov-Bakargie 1999: 248). It is also important however that the viewer also sees the work in this way they must react t o them as signs of otherness and as indications of unconventionality (Kounellis quoted in Christov-Bakargie 1999: 248). In an interview with Andrea Bellini, Kounellis speaks about several topics the first one explored is drama. Drama is a fundamental part in his work and this is because drama is the basis of his culture. Kounellis is asked to explain what drama is and replies, In Italy, wherever there is drama, there is a new perspective; everything new is dramatically new, the rest is not actually new (Bellini 2007: 112). Language is also referred to Kounellis feels the most important gesture he has ever made was when he broke away from the canvas and started to work outside of it, this allowed him realize more this gesture opened a world for me (Bellini 2007: 113). The approaches made by Kounellis and others within the Arte Povera movement have lead to the rethinking of the gallery space or as Kounellis (2007) states by considering intervention within the gallery has changed the rules of the game. For example the piece where he placed a mass of carbon in the corner of a room as a gesture showed a d ifferent way to use the gallery. He strongly believes that the gallery is not a place to purchase artwork. The artist must make work that is socially relevant and make a declaration at the same time.

sampson :: essays research papers

[English] PDREADME.TXT MATROX GRAPHICS INC. 2001.01.18 Matrox PowerDesk for Windows 2000 Revision 5.32.010 Contents ======== - Description of this release - Installation - More information - Notes, problems, and limitations Description of this release =========================== Matrox PowerDesk software includes a display driver and display utilities. With this software, you can take full advantage of your Matrox graphics hardware and you can access additional Matrox display-related features. Installation ============ To install Matrox PowerDesk, start the "setup" program included with it, then follow the on-screen instructions. The setup program will only install software if a Matrox graphics card model supported by the setup program is installed in your computer. More information ================ For more information on Matrox PowerDesk, see the help file included with it. For information specific to your Matrox graphics card, see your Matrox or system manual. Notes, problems, and limitations ================================ - DirectDraw, Direct3D and DirectVideo support The DirectDraw driver we provide is compatible with DirectX 2 (or later) and includes Direct3D support. For our DirectDraw/Direct3D driver to be called, and benefit from hardware acceleration, Microsoft DirectX 2 (or later) MUST be installed, even for programs originally made for DirectX 1. Also, if a recent version of DirectX isn't installed, some Matrox PowerDesk features may not be available. We provide DirectX on the Matrox CD-ROM. The latest DirectX is available from the Microsoft Web site, and is included with many DirectX programs. IMPORTANT: If the DirectX setup program prompts you to replace the existing display drivers, click "No". Otherwise, the setup program installs display drivers which are not as optimized as the Matrox drivers and which do not support PowerDesk software. Note that depending on the origin of your Microsoft DirectX software, it may not include DirectVideo support. For faster playback of Indeo and Cinepak AVI files, you should install Microsoft DirectVideo support. - Matrox bus mastering This driver supports bus mastering. Bus mastering is a feature that allows expansion cards to perform tasks at the same time as your computer's CPU. If you have a fast Pentium computer (faster than 166 MHz), the display performance of most programs is improved when bus mastering is used. To use bus mastering with 3D (Direct3D/OpenGL) programs, your graphics card needs an interrupt request (IRQ). Most computers automatically assign an IRQ to graphics cards, but some do not. If your graphics card hasn't been assigned an IRQ, programs that use Matrox bus mastering may not work properly. For more information, see your Matrox or system manual. - DirectDraw and Automatic Power Management As stated in "Microsoft DirectX Release Notes", September 30,

Consumer Traits and Behavior Paper

The practice of making a purchase or the influence of purchasing habits consists of several unseen processes. Most of these processes consist of consumer traits, social, psychological, decision, and behavior processes, which are in need of research. Organized study has gathered several theories and reasons concerning how, and why consumer traits and behavior have influence concerning the purchasing process. The consumer psychologist propose that each purchase made by consumers are in a number of ways influenced by components, such as cultural influences, psychological, and social processes, internal, and external factors. Consumers of today are demonstrating a desire for fresh products and services. Because of these desires, doors of opportunity are opened for consumers, marketing providers, and businesses to approve or disapprove new concepts. Organizations will need to conduct nationwide research concerning the consumer’s behavior, and his or her decision- making processes. The research will support a variety of roles and ideas for product development. A successful marketer understands the numerous causes, motivation, and influences of consumer purchasing. A psychological process occurs in the minds of individuals, and usually affects the individuals’ behavior. Concerning this topic, psychological process determines the consumer’s behavior. The team member will discuss three psychological processes, and three social processes. The team member will begin with psychological processes. Motivation: The internal force that encourages the consumer to take certain actions, Memory: Consumers use this process to store, acquire, retain, and retrieve information sometimes later. Perception: by perception, consumers interpret, and organize sensations that affect him or her, and important to his or her lives. A social process occurs in an individuals’ life or surroundings. An individuals’ social life may affect his or her patterns of behavior and interactions. Social influence processes include: Family and role influences: How individuals are raised and family roles often determine how he or she responds to the environment. Opinion leaders: Individuals are usually affected by those who influenced his or her life. Culture: Individuals may acquire similar or different interests, or likes. The importance of understanding consumer motivation will help businesses to develop marketing strategies that work. Businesses can communicate with his or her customer in ways that highlight his or her most valuable attributes. A successful business relies upon its capability to draw and keep customers, eager to buy goods and services at costs that will profit the business. Consumer perception explains how consumers and probable consumers view other companies, and his or her goods and service. Consumer perception becomes significant for a business because it can influence the customer’s behavior, which eventually affects the businesses profits. A variety of businesses spend huge quantities of capital to persuade customer awareness. Consumer perception can most times determine success or failure for a business. An example of this consists of an individual who own his or her restaurant, and the restaurant has a reputation for serving good food. The general perception would indicate that everyone should eat at this particular restaurant because it serves the best foods in town. This perception could boost revenue for the restaurant, but on the other hand if consumers had a negative perception about the restaurant, it could hinder profits. Consumer memory allows consumers to remember and identify information for future use. Therefore, memory plays an important role concerning the decision- making process of consumers, by moving his or her awareness and remembrance of marketing information. Consumers used information stored in his or her memory knowingly and unknowingly when making decisions. These decisions range from what brand and flavor of soda to drink or what manufacture, and type of car to purchase. By understanding these important processes marketers can better prepare to market new product and services to consumers.

Digital Dating: Desperation or Necessity?

In this essay I will examine the articles, Digital Dating: Desperation or Necessity? Written by Christine Hassler, a former Hollywood Agent, and the author of the book called Twenty-Something, Twenty-Everything. This article talks about social networks, their impact on both of our social and love life. It tries to convince us to try to experience all the benefits that online dating provides us. Technology has implemented itself in almost every aspect of our daily lives, and the new big thing we have currently is the rave of online dating. Computers are day in day out coming out with new dating websites, and people are buying into the whole idea of it being a last resort and only option left. Of course it is so much easier to sit on a computer and explain detailed information about yourself and come up with matches or results, but where was this decades ago when there was no such thing as the internet. Before computers this means that men and women actually had to go out in public and communicate back and forth to find their life partners. Nonetheless, I don’t consider the online dating strategy to be an effective or good idea in the first place because there are too many problems and negative effects that can come from it more so than positive ones. I think people should be very careful. Meeting strangers face to face in social situations is good so long as you size them up, look at their body language and how they interact with others. See their friends as this will tell you a lot about them. Before considering them a romantic possibility it is better to get to know them first as friends and find out what they are really like.

Rogers essays

Rogers essays Drawing from our experiances with formal education , we have come to agree with Rogers to some degree, but also disagree with some of the points that he made concerning freedom in the classroom. There are many components of the theory that would be helpful to the learning process of the student. Rogers believed that the student should be faced with a real problem that holds some meaning and relevance for him/her. (Rogers According to Rogers, teachers are very responsible in the creation of the students inner freedom. Teachers must have many qualities that will allow for self actualization. First, the teacher has to gain confidence in his/her students so that the he/she can allow for freedom in the classroom without feeling that the situation would get out of control. Second, the teacher must be real. (Rogers s thoughts and opinions, even if they are not perfect. And last, the teacher must show empathy towards the students fellings. Each of these components allow for inner freedom, helping the student to believe in him/herself. Although we believe that these components do have their place in the classroom, we began to lose confidence in the thoery when looking at the last two facilitating components of inner freedom. According to Rogers, there is no need for any type of structure in the classroom. His theory did not include room for lesson plans, organized lectures, homework assignments, tests, or grades. All students should be allowed freedom in the classroom, but only to a certain extent. ...

Best Candidate to be U.S. President Essay Example | Topics and Well Written Essays - 2250 words

Best Candidate to be U.S. President - Essay Example The US presidential elections have called upon the people to elect a futurist and visionary leader. These elections are very important for the people of the United States as well as the rest of the world. This is due to the fact that people are living amidst great danger and challenges, which have proved to be of greater complexity than the problems of the past. At present, there are weapons of mass destruction, which can eradicate a nation’s people in one go. Terrorism has become globalized, and is increasing tremendously, due to the sophistication of communications and weapons. Democracy has been degraded, across the world, by some rogue nations, which also sponsor terrorism. A number of new health hazards are anticipated, as a result of the increase in global warming, which could lead to the outbreak of new diseases (Council on Foreign Affairs). These threats and risks cannot be addressed by the present leadership. What is required is a totally new vision, in respect of leadership, which is beyond Bush and his cronies at the White House. The need of the hour is visionary leadership that is based on the past experiences. It should not be bound by outdated and obsolete thinking. This was evident in the aftermath of the 9/11 attacks on the US. The Bush administration responded by adopting traditional thinking. This thinking was confined to the conventional thinking of the past; and this inept government viewed terrorism as a state – oriented problem rather than a problem with international ramifications. Consequently, the Bush administration adopted military solutions rather than initiating international action. This conventional thinking led the US to wage a war against Iraq, which resulted in international opprobrium and hostility toward the US. The new visionary leadership has to perforce end this ethically unjustifi ed war and thereby pacify the comity of nations. The war in Iraq has to be ended in a responsible

Russian Marketplace Essay Example | Topics and Well Written Essays - 1750 words

Russian Marketplace - Essay Example The positive side to the bakery/coffee market is it is a growing market in Russia. For an American keen on establishing bakery/coffee outlet in Russia, the difficulties may not be more than what you may encounter in any other growing economy. The distribution system in Russia does not appear to be well-organized and there are queues to make most purchases. The trend is changing with budding entrepreneurs coming up with marketing skills that, given the political nod, could easily upset the lethargic traditional system (Smilor, Ray; 2002). There are encouraging signs for anyone in America considering an entry into the bakery/coffee market in Russia. There is enormous potential for growth in this market. The annual per capita consumption of coffee in Russia is 500 gm as compared to 12 kg in neighbouring Scandinavian countries (Nestl to start coffee processing in Russia, 2004). Statistics are not available for bakery items which comprise large range of products comprising cakes, bread, biscuits, and other savouries. However, there is the eagerness to taste new assortment of baked items. There are also trade fairs and exhibitions for bakery items. So it should not be difficult for American entrepreneurs to participate in these fairs and exhibitions and glean information for starting bakery outlets in cities like Moscow and St. Petersburg to begin with (Event Profile, 2010) This does not mean that starting a bakery in Russia is a cakewalk. There are going to be difficulties and obstacles in the form of competition as well as other unknown problems. The iron curtain may not exist any longer. However, Russia is still going through teething problems and the transition to a free market is experiencing a pull between traditional radicals and budding entrepreneurs (Smilor, Ray; 2002). You got to stick to the budding entrepreneurs. While on the subject of bakeries, it is pertinent to make mention of Fazer's successful operations in Russia. "Fazer is one of Russia's leading bakery companies. During the past three years, Fazer's bakery operations in Russia have grown at an average rate of ca 40 per cent annually, and today they constitute 14 per cent of the Group's turnover. Fazer has during the past ten years invested ca 130 M in its operations in Russia and the Group's four bakeries in Russia employ 3 500 people. Fazer is a leading contract catering company in the Nordic and the Baltic countries, offering customers delicious food and tailor-made service solutions. The company operates in the Nordic countries, Estonia, Latvia and Russia." (Fazer's