Influences on TV Idents

Influences on TV Idents Kira Richards Television idents are an important feature of television channels, they are created toentice, remind and provoke a sense offamiliarity for the audience, this is done by making the appeal specifically to the its target audience. Each TV Ident includes the logo of the channel and sometimes may feature a continuity announcer. In this essay I will be discussing how marketing, branding, packaging and re packaging, scheduling and segmentation, have an impact on television idents and why they are important when considering the purposes of idents. TV idents are used to advertise a channel, in recent times television production has progressed at a rapid pace, since the expansion of cable satellite and digital TV. This has led to a growth of television channels , with there now being over 135 channels available to watch. The expansion of the market cooperate has a large importance, as viewers are now offered a larger selection of channels to tune into. It is now even more important to make sure that the aesthetic look and the tone of the channel are instantly recognisable and appealing to its target audience. In order to make sure the viewer tunes into their channel. On average it is said that people only watch the same 6 to 7 channels, the broadcasters of the channel want to be a part of the top 5 choices of channels, for people to choose from. This means that it is important for their ident to help the viewer recognise the channel instantly and know what their channel stands for. Their ident is created to sum up the personality of the channel and helps the viewer to make a choice as to what channel they will choose watch. Channels also try to keep the viewer within their brand of channels , to ensure that the viewer is viewing a show within their network. For example the BBC will tell you what program is coming up on any other BBC channel with this they hope to get the viewer to either stay on the existing channel or help them to find a program that they may have an interest in on the others. As well as keeping the viewer within the network the channel tries to win over the audience to try to entice them to stay on the current channel they may inform viewers of programs that are coming up and break up the scheduling so if the viewer sees that a program that they enjoy is coming up they may just stay on the channel instead of going to the other. Packaging is an important way to appeal to the audiences of the channel each channels TV idents have relevance to the target audience for the channel This can be seen with the BBC channels there a 4 different channels each catering to different target audiences BBC 3 which is aimed at 16-25 year olds contrasts largely to the BBC 4 whos programs target a much more mature audience. Another purpose of television idents is marketing purposes. The creation of Idents are way for TV channel , to show them at the starts and ends of a tv channel and during advert breaks this technique can have more than one use firstly to remind viewers of the channel that they are currently on and to advertise the branding identity that is represented through the ident. This is because the branding and identity, represented through their ident, may appeal to the viewer, and this will therefore result in the viewer most likely returning to the channelto watch other programs because they like the identity of the channel, and will most likelylike the types of programs they air too. During special seasons, events TV idents may repackage there TV idents, this is done to fit in with certain themes. ITV have always changed their ident over the years, most recently there idents have been rebranded to become more up to date to compete with more channels, in the new rebranded idents different footage of everyday life situation is used to try to reflect the channels new wider audience. This differs from its previous design which was more adult orientated. It is important to schedule an ident at certain time so that it is relevant to the time of day and program that will be shown, Segmentation is essential for channels so that they can remind the viewer of the channel that they are currently watching this helps to reinforce the brands identity to the viewer and represent what the channel stands for. The type of ident that is displayed will depend on the time and program that is going to be shown for example if I program was to air pre watershed at around 3.30 pm when a child finishes school they would use an ident that would reflect the type of show this could be for a TV channel such as CITV , alternatively the channel fox uses an ident that features a man pointing a gun this ident has relevance to the show walking dead which airs around 9 pm this would be inappropriate for young viewers due to its adult themes. Part 2- The design of an ident is also important as it is one of the main ways that a company is able to get across the purpose and the message of the ident to the audience , it is also the main representation of the channels identity. The design of the ident reflects how the audience will see them and influence whether a person will watch the channel. In the second part of the the assignment I will considering the design of the idents and the effects that it has on the audience. Channel fours Tokyo themed ident ,suggests that channel 4 is broadcasting shows that are multinational and appeal to a wide audience the ident itself features bright colours and large levitating objects that form into the channel 4 logo when the camera is panning this makes the logo stands and becomes instantly recognisable. This ident lasts for 42 seconds long with a slow to medium tempo the ident lasts long enough for the audience to see the setting environment which is set in the busy streets this is seen during the panning of the camera due to the fact that you can seen by the Japanese writing on the billboards that eventually form the logo. The music composition that is used is slow and calm to match the general mood the ident. The target audience for this ident is adults this can be told by the scheduling of the idents is around 9 pm The ident is an entertainment as the ident seems entertaining and amusing it is very creative compared to the earlier idents. This ident is also information led as it informs the viewer of the programming that will be airing next. The overall purpose of this ident is to advertise channel 4 in a way that is both cleaver and creative so that it establish and reflect the channels identity. The reference to the channel 4 logo gives this channel its identity like most idents do and constantly remind the audience of what channel they are watching to simultaneously advertise their channel. BBC 3 This ident has been created by BBC three, the design of the ident has a trendy and techno theme that appeals to a younger audience and fits the target audience for the channel. The target audience for the channel is 16- 25 year old .The ident is very fast paced similar to the CBBC ident as this much more appealing to a younger audience this is because the channel airs programs that are more appealing relatable to that age group similarly to the previous ident this ident is entertainment led the ident as it supposed to suggest a sense of discovery it links to the comedy, entertainment and factual programming that airs regularly on the channel. This ident was created for the CBBC, and is market for the audience of the channel of the ages 7- 12 years old. The ident appeals to children of that ages due to the bright colours that are used , CBBCs main colour is green this could symbolise the safety and peace that the channel represents which is an appropriate tone for a childrens channel ident. and the fast pace of the ident. In this ident Santa is seen carrying presents he trips over and all of the presents fall out of his hand , we then see Rudolph with â€Å"children’s† in lights across his antlers and the words BBC in his mouth this is due to the fact that BBC stands for the childrens BBC†. This would attract the target audience because its childish and fun which fits in with general programming of the channel. This ident informs the target audience that it is Christmas time and uses the theme of Santa present it.. The screen tempo is used well as the timing the animation moves goes along with the backg round music goes well and there is also extra sound like lights buzzing .This ident is entertainment led as it features different characters and content that children of that age enjoy. Channel 4 original ident The first TV idents for channel 4 was released in the 1980’s. It had a very simple purpose, which is to establish channel 4s corporate identity and to help reflect this on their programming. due to the technology available in the 80 the ident is very basic and isnt very technical. Generally the overall purpose of this ident is is to advertise channel 4 in a simple way so that it can help reflect the channels identity. The music behind the ident is channel 4 signature theme Four Score the ident is very simple compared to the Tokyo themed ident which is much more creative ,during the ident shapes come together to create the four shape this is done in the same way as the Tokyo ident showing that channel 4 has kept a consistent theme throughout the years. This ident is information led due to the fact that it is very simple and basic , it is mainly used to inform the viewer what is coming up.

Epistemology: Scientific Method and Knowledge Essay

Epistemology can be difficult to understand and maybe even harder to say. The short answer is that epistemology is the theory of knowledge. Perhaps that is too short of an answer, allow me expand. Epistemology is the branch of philosophy that deals with questions concerning the nature, scope, and sources of knowledge. Even these concepts can be foreign to the common public. The nature of knowledge is basically the qualities that constitute knowledge. One would find this answer by asking â€Å"What is knowledge? † The scope of knowledge sets the limits on what is knowledge and is a belief, hypothesis, or guess. A person must prove knowledge. Suppose I generated a completely random number and I asked you what number I was thinking of. If you stated the correct number, does that mean you knew what I was thinking? The source of knowledge covers how we attain our knowledge. Now that we have established a basic understanding of epistemology, we can cover a few of the major schools of thought. When you think about a persons reasoning process, some people divide a persons thoughts into rational and irrational. If you are one of these people, you would use a deductive method of reasoning. You would also be considered a rationalist. As a rationalist, you believe that you can know things for certain even if you have never experienced it yourself. If you wanted to know which object would hit the ground first, when given two objects with different masses, you could take what you know about physics and figure it out without ever having to actually perform the experiment. There is another group that uses deductive reasoning but argue â€Å"all ideas trace ultimately back to experiences, such as perceptions and emotions. â€Å"(IEP, par. 2) These are the empiricists. These individuals claimed that if we didn’t have any experiences, we would have nothing to base our ideas off of. Taking a look back at the example above, you can see that we must know something about gravity. Our ideas on gravity stemmed from the observations of people like Newton. You can now see, through a little bit of deductive reasoning, how they believe everything is inductive. Immanuel Kant was a German philosopher who attempted to combine rationalism and empiricism. It is called the â€Å"form and matter† epistemology. (Quine par 5) The idea is that you need to take into account your experiences and use deductive reasoning. Quine uses a metaphor involving the statue of Abraham Lincoln. Quine says â€Å"A statue can have a form such as Abraham Lincoln and a matter such as marble; you need both a form and a matter to have a statue. So in knowledge you need a form, which are categories of the mind, and matter which are the data of sensations. † What I understand of this is that you cannot experience everything in life so you must use deductive reasoning, but you must experience some things to have a basis for your knowledge. Skepticism is just as it sounds, to doubt. You may be familiar with the statement â€Å"I think, therefore I am† but may not know what it means, who stated it, and why it was ever said, and how it relates to skepticism. Descartes was looking for a way to prove truths by disproving everything else. He used two conjectures, the dream conjecture and the evil demon conjecture. The dream conjecture utilized the fact that the truth could be a figment of the imagination. The evil demon conjecture posed the idea that a malevolent force was distorting reality. Descartes used these two as tools. If a truth could pass these two filters, then indeed it was the truth. What he discovered was that a person could doubt everything except one truth: â€Å"I think, therefore I am† Here’s how it passed the test. A person must exist to be able to think. To doubt something requires thought. So the act of doubting your own existence proves that you exist. This was a great discovery but Descartes was troubled with other questions. Descartes found it difficult to make the mind-body connection. That is, the mind is immaterial and the body is physical, how can something immaterial move something that is material. Parallelism was proposed as a solution. Simply put, the mind does not move the arm, the act of willing the arm to move only appears to make the arm move. Two events happen in parallel, the act of willing the arm to move and the arm actually moving. How does it just so happen that these to events happen at precisely the same time? Occasionalism, a variant of parallelism, was offered. A person wills their arm to move and on that occasion a divine power causes the arm to move. Many theories have been set forth, some a little harder to grasp or understand than the others. From the examples above you may begin to understand what epistemology is. You can grasp parts from the short stories above that help explain the nature, scope, and sources of knowledge. Depending on your  position, all of this information presented could not even be true. You may not really be reading this. You may not even exist, do you doubt it? Works Cited http://pantheon. yale. edu http://www. london-oratory. org/philosophy W. V. O. Quine. Epistemology. 23 Mar 2004 The Internet Encyclopedia of Philosophy. Continental Rationalism. 23 Mar 2004 Chapter 6-Philosophy-The Rise of Modern Metaphysics and Epistemology Chapter 7-Philosophy-The Eighteenth and Nineteenth Centuries Epistemology-University of Phoenix Faculty Material.

Digital Fortress Chapter 107-109

Chapter 107 Susan had no idea how much time had passed. A burning in her throat pulled her to her senses. Disoriented, she studied her surroundings. She was on a carpet behind a desk. The only light in the room was a strange orange flickering. The air smelled of burning plastic. The room she was standing in was not really a room at all; it was a devastated shell. The curtains were on fire, and the Plexiglas walls were smoldering. Then she remembered it all. David. In a rising panic, she pulled herself to her feet. The air felt caustic in her windpipe. She stumbled to the doorway looking for away out. As she crossed the threshold, her leg swung out over an abyss; she grabbed the door frame just in time. The catwalk had disappeared. Fifty feet below was a twisted collapse of steaming metal. Susan scanned the Crypto floor in horror. It was a sea of fire. The melted remains of three million silicon chips had erupted from TRANSLTR like lava. Thick, acrid smoke billowed upward. Susan knew the smell. Silicon smoke. Deadly poison. Retreating into the remains of Strathmore's office, she began to feel faint. Her throat burned. The entire place was filled with a fiery light. Crypto was dying. So will I, she thought. For a moment, she considered the only possible exit-Strathmore's elevator. But she knew it was useless; the electronics never would have survived the blast. But as Susan made her way through the thickening smoke, she recalled Hale's words. The elevator runs on power from the main building! I've seen the schematics! Susan knew that was true. She also knew the entire shaft was encased in reinforced concrete. The fumes swirled all around her. She stumbled through the smoke toward the elevator door. But when she got there, she saw that the elevator's call button was dark. Susan jabbed fruitlessly at the darkened panel, then she fell to her knees and pounded on the door. She stopped almost instantly. Something was whirring behind the doors. Startled, she looked up. It sounded like the carriage was right there! Susan stabbed at the button again. Again, a whirring behind the doors. Suddenly she saw it. The call button was not dead-it had just been covered with black soot. It now glowed faintly beneath her smudged fingerprints. There's power! With a surge of hope, she punched at the button. Over and over, something behind the doors engaged. She could hear the ventilation fan in the elevator car. The carriage is here! Why won't the damn doors open? Through the smoke she spied the tiny secondary keypad-lettered buttons, A through Z. In a wave of despair, Susan remembered. The password. The smoke was starting to curl in through the melted window frames. Again she banged on the elevator doors. They refused to open. The password! she thought. Strathmore never told me the password! Silicon smoke was now filling the office. Choking, Susan fell against the elevator in defeat. The ventilation fan was running just a few feet away. She lay there, dazed, gulping for air. She closed her eyes, but again David's voice woke her. Escape, Susan! Open the door! Escape! She opened her eyes expecting to see his face, those wild green eyes, that playful smile. But the letters A-Z came into focus. The password†¦ Susan stared at the letters on the keypad. She could barely keep them in focus. On the LED below the keypad, five empty spots awaited entry. A five-character password, she thought. She instantly knew the odds: twenty-six to the fifth power; 11,881,376 possible choices. At one guess every second, it would take nineteen weeks†¦ As Susan Fletcher lay choking on the floor beneath the keypad, the commander's pathetic voice came to her. He was calling to her again. I love you Susan! I've always loved you! Susan! Susan! Susan†¦ She knew he was dead, and yet his voice was relentless. She heard her name over and over. Susan†¦ Susan†¦ Then, in a moment of chilling clarity, she knew. Trembling weakly, she reached up to the keypad and typed the password. S†¦ U†¦ S†¦ A†¦ N An instant later, the doors slid open. Chapter 108 Strathmore's elevator dropped fast. Inside the carriage, Susan sucked deep breaths of fresh air into her lungs. Dazed, she steadied herself against the wall as the car slowed to a stop. A moment later some gears clicked, and the conveyor began moving again, this time horizontally. Susan felt the carriage accelerate as it began rumbling toward the main NSA complex. Finally it whirred to a stop, and the doors opened. Coughing, Susan Fletcher stumbled into a darkened cement corridor. She found herself in a tunnel-low-ceilinged and narrow. A double yellow line stretched out before her. The line disappeared into an empty, dark hollow. The Underground Highway†¦ She staggered toward the tunnel, holding the wall for guidance. Behind her, the elevator door slid shut. Once again Susan Fletcher was plunged into darkness. Silence. Nothing except a faint humming in the walls. A humming that grew louder. Suddenly it was as if dawn were breaking. The blackness thinned to a hazy gray. The walls of the tunnel began to take shape. All at once, a small vehicle whipped around the corner, its headlight blinding her. Susan stumbled back against the wall and shielded her eyes. There was a gust of air, and the transport whipped past. An instant later there was a deafening squeal of rubber on cement. The hum approached once again, this time in reverse. Seconds later the vehicle came to a stop beside her. â€Å"Ms. Fletcher!† an astonished voice exclaimed. Susan gazed at a vaguely familiar shape in the driver's seat of an electric golf cart. â€Å"Jesus.† The man gasped. â€Å"Are you okay? We thought you were dead!† Susan stared blankly. â€Å"Chad Brinkerhoff,† he sputtered, studying the shell-shocked cryptographer. â€Å"Directorial PA.† Susan could only manage a dazed whimper. â€Å"TRANSLTR†¦Ã¢â‚¬  Brinkerhoff nodded. â€Å"Forget it. Get on!† The beam of the golf cart's headlights whipped across the cement walls. â€Å"There's a virus in the main databank,† Brinkerhoff blurted. â€Å"I know,† Susan heard herself whisper. â€Å"We need you to help us.† Susan was fighting back the tears. â€Å"Strathmore†¦ he†¦Ã¢â‚¬  â€Å"We know,† Brinkerhoff said. â€Å"He bypassed Gauntlet.† â€Å"Yes†¦ and†¦Ã¢â‚¬  The words got stuck in her throat. He killed David! Brinkerhoff put a hand on her shoulder. â€Å"Almost there, Ms. Fletcher. Just hold on.† The high-speed Kensington golf cart rounded a corner and skidded to a stop. Beside them, branching off perpendicular to the tunnel, was a hallway, dimly lit by red floor lighting. â€Å"Come on,† Brinkerhoff said, helping her out. He guided her into the corridor. Susan drifted behind him in a fog. The tiled passageway sloped downward at a steep incline. Susan grabbed the handrail and followed Brinkerhoff down. The air began to grow cooler. They continued their descent. As they dropped deeper into the earth, the tunnel narrowed. From somewhere behind them came the echo of footsteps-a strong, purposeful gait. The footsteps grew louder. Both Brinkerhoff and Susan stopped and turned. Striding toward them was an enormous black man. Susan had never seen him before. As he approached, he fixed her with a penetrating stare. â€Å"Who's this?† he demanded. â€Å"Susan Fletcher,† Brinkerhoff replied. The enormous man arched his eyebrows. Even sooty and soaked, Susan Fletcher was more striking than he had imagined. â€Å"And the commander?† he demanded. Brinkerhoff shook his head. The man said nothing. He stared off a moment. Then he turned back to Susan. â€Å"Leland Fontaine,† he said, offering her his hand. â€Å"Glad you're okay.† Susan stared. She'd always known she'd meet the director someday, but this was not the introduction she'd envisioned. â€Å"Come along, Ms. Fletcher,† Fontaine said, leading the way. â€Å"We'll need all the help we can get.† Looming in the reddish haze at the bottom of the tunnel, a steel wall blocked their way. Fontaine approached and typed an entry code into a recessed cipher box. He then placed his right hand against a small glass panel. A strobe flashed. A moment later the massive wall thundered left. There was only one NSA chamber more sacred than Crypto, and Susan Fletcher sensed she was about to enter it. Chapter 109 The command center for the NSA's main databank looked like a scaled-down NASA mission control. A dozen computer workstations faced the thirty-foot by forty-foot video wall at the far end of the room. On the screen, numbers and diagrams flashed in rapid succession, appearing and disappearing as if someone were channel surfing. A handful of technicians raced wildly from station to station trailing long sheets of printout paper and yelling commands. It was chaos. Susan stared at the dazzling facility. She vaguely remembered that 250 metric tons of earth had been excavated to create it. The chamber was located 214 feet below ground, where it would be totally impervious to flux bombs and nuclear blasts. On a raised workstation in the center of the room stood Jabba. He bellowed orders from his platform like a king to his subjects. Illuminated on the screen directly behind him was a message. The message was all too familiar to Susan. The billboard-size text hung ominously over Jabba's head: ONLY THE TRUTH WILL SAVE YOU NOW ENTER PASS-KEY ______ As if trapped in some surreal nightmare, Susan followed Fontaine toward the podium. Her world was a slow-motion blur. Jabba saw them coming and wheeled like an enraged bull. â€Å"I built Gauntlet for a reason!† â€Å"Gauntlet's gone,† Fontaine replied evenly. â€Å"Old news, Director,† Jabba spat. â€Å"The shock wave knocked me on my ass! Where's Strathmore?† â€Å"Commander Strathmore is dead.† â€Å"Poetic fucking justice.† â€Å"Cool it, Jabba,† the director ordered. â€Å"Bring us up to speed. How bad is this virus?† Jabba stared at the director a long moment, and then without warning, he burst out laughing. â€Å"A virus?† His harsh guffaw resonated through the underground chamber. â€Å"Is that what you think this is?† Fontaine kept his cool. Jabba's insolence was way out of line, but Fontaine knew this was not the time or place to handle it. Down here, Jabba outranked God himself. Computer problems had away of ignoring the normal chain of command. â€Å"It's not a virus?† Brinkerhoff exclaimed hopefully. Jabba snorted in disgust. â€Å"Viruses have replication strings, pretty boy! This doesn't!† Susan hovered nearby, unable to focus. â€Å"Then what's going on?† Fontaine demanded. â€Å"I thought we had a virus.† Jabba sucked in a long breath and lowered his voice. â€Å"Viruses†¦Ã¢â‚¬  he said, wiping sweat from his face. â€Å"Viruses reproduce. They create clones. They're vain and stupid-binary egomaniacs. They pump out babies faster than rabbits. That's their weakness-you can cross-breed them into oblivion if you know what you're doing. Unfortunately, this program has no ego, no need to reproduce. It's clear-headed and focused. In fact, when it's accomplished its objective here, it will probably commit digital suicide. â€Å"Jabba held out his arms reverently to the projected havoc on the enormous screen. â€Å"Ladies and gentlemen.† He sighed. â€Å"Meet the kamikaze of computer invaders†¦ the worm.† â€Å"Worm?† Brinkerhoff groaned. It seemed like a mundane term to describe the insidious intruder. â€Å"Worm.† Jabba smoldered. â€Å"No complex structures, just instinct-eat, shit, crawl. That's it. Simplicity. Deadly simplicity. It does what it's programmed to do and then checks out.† Fontaine eyed Jabba sternly. â€Å"And what is this worm programmed to do?† â€Å"No clue,† Jabba replied. â€Å"Right now, it's spreading out and attaching itself to all our classified data. After that, it could do anything. It might decide to delete all the files, or it might just decide to print smiley faces on certain White House transcripts.† Fontaine's voice remained cool and collected. â€Å"Can you stop it?† Jabba let out a long sigh and faced the screen. â€Å"I have no idea. It all depends on how pissed off the author is.† He pointed to the message on the wall. â€Å"Anybody want to tell me what the hell that means?† ONLY THE TRUTH WILL SAVE YOU NOW ENTER PASS-KEY ______ Jabba waited for a response and got none. â€Å"Looks like someone's messing with us, Director. Blackmail. This is a ransom note if I ever saw one.† Susan's voice was a whisper, empty and hollow. â€Å"It's†¦ Ensei Tankado.† Jabba turned to her. He stared a moment, wide-eyed. â€Å"Tankado?† Susan nodded weakly. â€Å"He wanted our confession†¦ about TRANSLTR†¦ but it cost him his-â€Å" â€Å"Confession?† Brinkerhoff interrupted, looking stunned. â€Å"Tankado wants us to confess we have TRANSLTR? I'd say it's a bit late for that!† Susan opened her mouth to speak, but Jabba took over. â€Å"Looks like Tankado's got a kill-code,† he said, gazing up at the message on the screen. Everyone turned. â€Å"Kill code?† Brinkerhoff demanded. Jabba nodded. â€Å"Yeah. A pass-key that stops the worm. Simply put, if we admit we have TRANSLTR, Tankado gives us a kill-code. We type it in and save the databank. Welcome to digital extortion.† Fontaine stood like rock, unwavering. â€Å"How long have we got?† â€Å"About an hour,† Jabba said. â€Å"Just time enough to call a press conference and spill our guts. â€Å"Recommendation,† Fontaine demanded. â€Å"What do you propose we do?† â€Å"A recommendation?† Jabba blurted in disbelief. â€Å"You want a recommendation? I'll give you a recommendation! You quit fucking around, that's what you do!† â€Å"Easy,† the director warned. â€Å"Director,† Jabba sputtered. â€Å"Right now, Ensei Tankado owns this databank! Give him whatever he wants. If he wants the world to know about TRANSLTR, call CNN, and drop your shorts. TRANSLTR's a hole in the ground now anyway-what the hell do you care?† There was a silence. Fontaine seemed to be considering his options. Susan began to speak, but Jabba beat her to it. â€Å"What are you waiting for, Director! Get Tankado on the phone! Tell him you'll play ball! We need that kill-code, or this whole place is going down!† Nobody moved. â€Å"Are you all insane?† Jabba screamed. â€Å"Call Tankado! Tell him we fold! Get me that kill-code! NOW!† Jabba whipped out his cellular phone and switched it on. â€Å"Never mind! Get me his number! I'll call the little prick myself!† â€Å"Don't bother,† Susan said in a whisper. â€Å"Tankado's dead.† After a moment of confused astonishment, the implications hit Jabba like a bullet to the gut. The huge Sys-Sec looked like he was about to crumble. â€Å"Dead? But then†¦ that means†¦ we can't†¦Ã¢â‚¬  â€Å"That means we'll need a new plan,† Fontaine said matter-of-factly. Jabba's eyes were still glazed with shock when someone in the back of the room began shouting wildly. â€Å"Jabba! Jabba!† It was Soshi Kuta, his head techie. She came running toward the podium trailing a long printout. She looked terrified. â€Å"Jabba!† She gasped. â€Å"The worm†¦ I just found out what it's programmed to do!† Soshi thrust the paper into Jabba's hands. â€Å"I pulled this from the system-activity probe! We isolated the worm's execute commands-have a look at the programming! Look what it's planning to do!† Dazed, the chief Sys-Sec read the printout. Then he grabbed the handrail for support. â€Å"Oh, Jesus,† Jabba gasped. â€Å"Tankado†¦ you bastard!†

Birth Trauma in the Eye of the Beholder Critique

The phenomenon of interest (birth trauma and what it means to women) was clearly identified in the report. In the introduction the authors stated that women’s perception of birth trauma is quite different from the perception of the same phenomenon by health care providers. She also uses a term â€Å"in the eyes of the beholder† to emphasize that for every woman this phenomenon is unique. It is stated that PTSD after childbirth is quite prevalent and several studies support this fact. However, research is regarding the understanding of the birth trauma phenomenon from the woman’s experience lacking. The problem statement was worded clearly and directly and I wasn’t ambivalent about what problem will be discussed in the remainder of the article.†¦show more content†¦One letter informed members of a study. The researchers wrote the second letter explaining the role of the woman in the study and the research program. Several women sent their personal journals chronicling their traumatic birth experiences and the PTSD. Most of the participants chose to participate over the Internet and sent their story as an attachment. In phenomenological studies, in-depth conversations are the main data source. Researchers help informants to describe lived experiences without leading the discussion (Beck, 2012). In my opinion it was fully achieved with the use of personal stories and personal journals. As was mentioned above, the data collection focused on human experience and I believe the subjects were protected in this study. This study was approved by university’s institutional review board and participants were provided with informed consent. The author used Colaizzi’s method of data analysis. She did a great job explaining the procedures used to analyze the data. The analysis of the data in this study began with the reading of the stories and journals. The researcher extracted significant statements and formulated the meanings for those statements. The information was then further broken down into cluster of 4 themes. The process of saturation was reached when no further categories could be formed. Then, the findings were integrated into description of phenomenon and validated by nineShow MoreRelatedSave the Children Campaign, the Analysis2476 Words   |  10 Pagesnight, we cannot wait. Today, Save the Children is recognized as a leading independent child-assistance agency creating real and lasting change for children in need in 12 states and in more than 40 developing countries (Shriver). Analysis and Critique The use of Ethos: OKeefe defines the concept of ethos as judgments made by a perceiver concerning the believability of a communicator (Gass 76). Other important features of credibility include that it is a multidimensional construct, meaningRead MoreOrganisational Theory230255 Words   |  922 Pagespostmodernism anything new? The history Post-industrialism and the information society The virtual organization Neo-fordism, flexible specialization and post-fordism The regulation school Institutionalist school The ‘managerialist’ school The flexible firm – critique Postmodern organizations – the work of Stewart Clegg and Paul Heydebrand Conclusions 198 198 200 202 205 206 211 213 215 217 220 225 227 234 Chapter 6 Postmodernism as a philosophy: the ultimate challenge to organization theory? IntroductionRead MoreContemporary Issues in Management Accounting211377 Words   |  846 Pagesorganizations (see Chapman and Chua 2003 for a discussion). However, the advances anticipated have frequently been far more limited in scale and scope than hoped for. The following excerpt taken from the beginning of perhaps the most high-proWle and detailed critique of management accounting work shares the understanding that performance management involves more than better technical systems for the quantiWcation of, and reporting on, activity: The computing revolution of the past two decades has so reducedRead MoreStephen P. Robbins Timothy A. Judge (2011) Organizational Behaviour 15th Edition New Jersey: Prentice Hall393164 Words   |  1573 Pagesactually more likely to target their own sex, though to a less dramatic degree than female bullies do. Finally, it does appear that women are more adversely affected by bullying. A recent study of 183 victims of bullying found that the prevalence of trauma was higher for women (49 percent) than men (35 percent). The complexity of these relationships shows us that gaining a true understanding of organizational behavior phenomena often means understanding that the causes and consequences of work behavior