Home School vs. Public School Essay Example for Free

Home School vs. Public School Essay I prefer home schooling over public schooling; which one do you prefer? There are both pros and cons for both Home Schooling and Public Schooling. I am going to explain this all to you in my essay. I personally was home schooled for a few years during middle and high school. All of elementary school and part of middle school I went to a regular school. My reasoning for choosing to be home schooled is I have Agoraphobia which is an anxiety disorder caused by situations where people perceive the environment as being difficult to escape or get help. As soon as I would walk into a class room I would have a panic attack. One thing I liked about public school was being able to play volleyball. I loved playing it for the little bit of time that I was in middle school. Even though I wasn’t really all that great, So I didn’t play very much. That is one con of being home schooled. You cannot play sports affiliated with any school. A pro for public schooling is you have a group environment to learn in with others to help you. On the other hand with home schooling you are on your own. In home schooling you have less choices of curriculum as you would if you were going to public school. You also have more diversity in public school. When going to public school you have a higher student to teacher ratio, now with home schooling there is a small teacher to student ratio. In home schooling you are free to choose your schedule, as in public school your schedule is strict and chosen for you. Public school chooses the curriculum for you. Unlike in home schooling you can choose your own. There are now roughly millions of children being home schooled. Being home schooled teaches students to be independent in their learning choices. Sometimes home schooling can be more expensive than going to public school. Teachers are not always qualified to teach all subjects, and colleges sometimes have stricter admission policies concerning home schooled students. It is also harder to provide social interaction when being home schooled. Like I had stated before I prefer home schooling but everyone has their own opinions. This is the reason why I have enrolled myself into the University of Phoenix online. So that I can have the flexibility of my classes, this way I can work around my everyday life and not miss out when it comes to spending time with my boys. I hope that the information in my essay was helpful to you.

The Importance of Photography in Market Essay Example for Free

The Importance of Photography in Market Essay Nowadays, a lot of people are dissatisfied with Computer Generated Images. They complain about unethical behavior in these images because these are usually unreal or copied version of the original; thus, this pictures can destroy the reputation of any brand (Spurgin, 2003). However, there are several reasons that show shooting a real picture is the best way for a business to promote its image. I. Relationship Between Photography and Business Photography is one of the steps of be success for a company. â€Å"The most successful brands achieve fame through their use of iconic imagery† (Roalfe, 2006, P.26) Long text ads are not useful any more, and these are not grab attention of any body. This not the thing that companies wants from ads. This is like just throw money to the garbage. On the other hand, a picture can grab attention of customers just at a glance, this is what really companies are need. Pictures act like a hook for Ads. â€Å"The reaction you want is for your images to hold people’s attention for as long as possible† (P.27). However, if picture is perfect, but irrelevant to companies’ product is worth nothing. Companies and advertisement agencies can make profit with having right, interesting, relevant and real picture of their ads, or they can have paper which â€Å"is not worth the paper it’s printed on†. (Muhleman, 2005, P. 23) II. Perfect Picture can Equal Successful Brand. â€Å"The visuals you use will create a perception of your firm in the mind of the people who see them† (P.24). â€Å"The right picture is worth a thousand  words. It can tell you story, showcase your products, and intrigue, interest or excite your audience† (P.23). The picture that a company uses for an ad is presenting not only company’s product but also the personality of the company (Muhleman, 2005). Who, How and How Much? â€Å"To know how best to present yourself and your firm, you first have to know who you are. And that’s not always as simple as it sounds† (P.25). After the company owners knows who they are and what they want, they can ask for a photo. However, it is difficult to decide which photo is better (Muhleman, 2005). However, more difficult thing is to find and choose a photographer. Uli Weber, photographer, gives an example: â€Å"choosing photographer for MS company is never as easy as one might think. MS is not a high fashion brand but it is the nation’s favorite high-street fashion brand. Most of the top fashion photographers only really specialize in high fashion. Their shots usually turn the models into something quite cold, where as we were looking for warmth and humanity for MS† (Roalfe, 2006, P.26). Here is one the way to find the best photographer for a company: â€Å"Better yet, get help with photography from your agency or public relations partner. They’re already familiar with photographers in area, and can often get you a better deal with the good ones due to other relationship† (Muhleman, 2005, P.26). How much really should pay for a good photo?! There is not a particular price for a perfect image. Price is depending on company’s job. Further, company’s location, how many photo, when, where and what is subject are make different price (Muhleman, 2005). â€Å"The best advice is to check around look at photographer portfolios, find a few whose work you likes, and get several quotes. Often negotiate based on use. Try to get a buy-out of rights so you can use images whenever and wherever you need them† (P.26). Price is not as important as people think. If a photographer with cheaper price cannot give company what they really want and need, company will be in trouble because of wasting money and time. Remember, â€Å"It is not about your own personal choice of what you think might make a good shot; it’s about what is right for the brand† (Roalf, 2006, P.26). The other way to have perfect photo is using stock photos. However, there is always one problem that â€Å"photos are â€Å"royalty free†. And because you’re not buying the rights, they’re wide open to anyone to use at any time, so there’s a good chance you’ll see them in others ads, including your competitors† (Muhleman, 2005, P.26). Absolutely, a company pay for the rights to a photo, with high quality, the cost is higher but company has the photo that its needs and wants (Muhleman, 2005). According to Photography It’s a Relationship by Graham Medcalf, the other way to find better photographer is having campaign. â€Å"That’s where the agent comes in, and Force believes strongly in the concept of collective of different talents that can be recommended to achieve the desired result. Despite this, she says, â€Å"at the end of the day agencies are going to choose the photographer want to choose† (Medcalf, 2008, P.28). I II. The effects of digital technology on photo market Digital technology has effected to different section of market, photographer jobs and photo market which includes manufactures and customers behavior (Medcalf, 2008). â€Å"Photography has changed more in the past decade than ever before. Digital and internet have meant big changes for the industry and photographers have had to re-educate themselves and adopt to change very quickly† (P.26). Further, digital cameras are easy to use which is increasing the number of pictures taken. A lot of people who used to have a photographer for their ceremonies, wedding and anniversaries are taking advantage of digital photo cameras, and they shoot photos by their self. Thus, wedding photography has been affected negatively. In fact, wedding photographers are trying to survive by having ads like â€Å"your wedding day is the most important day for your life† (Havkins, J K, 2006, P.35), but ads are not as useful as they need. On the other hand, the other photographers like photojournalism, documentary photographer and action photographer take advantage of stock photography. â€Å"There are many publications that use images from photographers in different markets, because locals do not submit their own work† (P.35). Digital technology helps photographer to stock photos easier, faster and  cheaper; also, with fewer changes from original ones. Another advantage is saving time (Roalfe, 2006). â€Å"The advantage of working on digital is that you can see the images straight away on screen. This allows for a much quicker turn around because you can pick and choose images as you go along, immediately after each shot has been taken† (Roalfe, 2006, P.27). The number of digital picture taken has been increased rapidly. â€Å"Even accounting for population growth the exponential growth of photos is incredible (we take 4 times as many photos as 10 year ago). In total we have now taken over 3.5 trillion photos. The kind of photos we are taking has changed drastically – analog photos have almost disappeared – but the growth of photos continues.† (Good, 2011, Para.5) â€Å"According to survey by unity marketing (ww.unitymarketingonline.com), 44% of consumers agreed with the following statement regarding their participation in photography: â€Å"I enjoy taking pictures. I do so throughout the year, not only for special occasions. I like having a lot of pictures†. On the other hand, approximately one third of responders were less involved and agreed with this statement: â€Å"I take pictures occasionally on holidays and special occasions. Some time taking picture is a bother† (Miller Washington, 2007, P.86). This survey shows not only people who enjoy photography but also the other group prefers to take picture by their self which has been effected photo market; U.S. market is a good example. â€Å"According to the consumer Electronic Association (www.ce.org) 23.16 million digital cameras sold in 2005, a 22.8% increase over 2004. The value of digital cameras sold in 2005 was $6.13 billion, a 29.7% increase† (P.86). Photography industries needed to change their plan; process lines, machines even staff for producing digital camera that is cost a lot and take a long time. Kodak was one of the largest photo industries in the world. For being  successful in the market, Kodak had been trying to revenue their process line. According to Picture Imperfect written by Carry Barret and David F. Carr established in September 2004, for surviving as a digital enterprise Kodak were supposed to change all process lines from analog to digital if so they could give new products and services to their customers. Their problem did not only has changed analog camera to digital but also the way people print pictures. People prefer to print at home instead of taking time to have print from industry printers. They do not need to go out, and they do not need to pay a lot for have high quality photo. They save time and money. On the other hand, home printing has been decreasing the profit of companies like Epson and Canon. In short, after having huge budget for startup new process lines and trying to survive Kodak is facing bankruptcy in 2011(Eastman Kodak files for bankruptcy protection, 2012). The effect of digital technology is not only negative. Social network websites like Facebook and Flickr, and digital camera and printer maker industries like Canon, Epson, Hewlett-Packard and Sony are raising huge money annually. In conclusion, photography is one of the most important parts of market. All companies needs photo for their advertising. Because of the digital cameras, the number of photographers has been growing up which makes more competition so companies can have better advertise. This is a sad fact that some businesses have been losing money because of the digital technology. However, the advantages of digital technology are more. People enjoy photography more than past decade, which makes more needs to the market. In addition a lot of businesses have a chance to find customer needs and use them to be successful. References Miller, R. K., Washington, K. D. (2007). CHAPTER 14: PHOTOGRAPHY. In , Leisure Market Research Handbook (pp. 86-88). Richard K. Miller Associates. Medcalf, G. (2008). Photography : Its a relationship thing. Admedia, 23(8), 26-31. Roalfe, M. (2006). THE ART OF PHOTOGRAPHY. Campaign (UK), 26-27. Spurgin, E. W. (2003). Whats Wrong with Computer-Generated Images of Perfection in Advertising?. Journal Of Business Ethics, 45(3), 257-268. Barrett, L., Carr, D. F. (2004). PICTURE IMPERFECT. Baseline, (34), 28-48. Muhleman, J. (2005). Picture Your Brand. Franchising World, 37(2), 23-26. Eastman Kodak files for bankruptcy protection. Retrieved January 19, 2012, from http://www.bbc.co.uk/news/business-16625725 Good, J. (2011). How many photos have ever been taken?, from http://1000memories.com/blog/94-number-of-photos-ever-taken-digital-and-analog-in-shoebox Hawkins, J. and Hawkins, K. (2006). Marketing and Selling Techniques for Photographers. Buffalo, N.Y.: Amherst Media

Metadata Encoding Transmission Standard Overview

Metadata Encoding Transmission Standard Overview Elizabeth Rogers Metadata Encoding Transmission Standard History The origins of the Metadata Encoding Transmission Standard, or METS, can be traced back to a 1996 attempt by The University of California Berkley to address the institutions inability to rebind pages of a book once they had been digitized. The program created by UC Berkley, called Ebind, was not successful. However, it paved the way for another attempt at solving this problem, the Making of America II Project. This project, started in 1998, was taken on by several U.S. universities, including UC Berkley (McDonough, 2005). While MOA2 was a step in the right direction towards the organization of digital objects, it was discovered that MOA2 had limited ability to fulfill this role. In 2001, a group of libraries working on digital library development programs decided that a replacement for MOA2 was needed, which led to the development of METS (McDonough, 2005). Metadata Encoding Transmission Standard Importance and Significance When an institution creates metadata for a resource, particularly a book, the metadata can be used to aide users in finding the book, and helps the library keep an accurate account of its collection and holdings. However, if the library fails to create accurate structural metadata, that does not mean the resource is lost or that the pages of the book will be forever separated. The same cannot be said of books once they are digitized. When a book is digitized, each page becomes a separate resource, and before the creation of METS, there was no encoding standard that provided a platform to create the structural metadata necessary to digitally bind these resources to ensure that they would be findable and able to used and evaluated as a cohesive unit (METS: An Overview Tutorial, 2016). Brad Westbrook, a librarian at the University of California in San Diego, describes METS as an XML standard that is a type of digital wrapper. It functions to relate the components of a digital resource (Rose, 2005). METS was specifically created for the digital library community to allow for the digitization and encoding of complex digital objects, like books or presentations. These resources can contain a variety of parts as well as different types of files. For example, one presentation can contain text files, images, video, and sound files. Using the structural metadata elements included in METS, institutions can ensure that all components of a resource are linked, even if they are stored in different places. METS also enables institutions to use structural metadata to control the presentation of resources and ensure that the objects are presented in the way they were intended to be (Rose, 2005). As previously stated, METS was born out of MOA2. METS did not replace MOA2, but rather built upon the work that had already been done. One of the major shortcomings of MOA2 was its lack of flexibility at the local level with administrative and descriptive metadata elements. METS allows for flexibility at the local level with administrative and descriptive metadata, as it does not require either of these to be included in an objects METS document. If descriptive or administrative metadata are used, METS does not require the use of controlled vocabularies for many elements, and allows for the use of whatever metadata element set the record creator chooses, furthering its increased flexibility over MOA2 (McDonough, 2005). Additionally, MOA2 was limited by its ability to encode only texts and still image media. MOA2 was unable to encode audio or video resources. Even in 2001, this would pose a significant challenge to any library with a well-developed collection that was serious about di gitizing all of its resources (McDonough, 2005). METS gives institutions and repositories the ability to encode audio and video resources, in addition to print objects. Finally, METS was created to allow for improved sharing of digital objects between repositories, which MOA2 could not facilitate (McDonough, 2005). Metadata Encoding Transmission Standard Schema Description METS documents are created using XML, so that the document is machine readable. A METS document can include up to seven sections, METS header, descriptive metadata, administrative metadata, file inventory, structural map, structural links, and a behaviors section. The only required, and most important, section for a METS document is the structural map. The structural map defines a hierarchical structure for a digital object, this section is where the relationship between the digital objects files is described. The information found in this section is what allows users to more easily look through a digital object, much in the way a user would look through a physical book. The structural map can also links the objects digital files back to their descriptive and administrative metadata (McDonough, 2005). The structural map is a unique aspect of this scheme because it can be represented by an actual diagram that illustrates the relationships between the parts of an object and the objects metadata. Another unique section of the METS document is the structural links section. This section is generally used in the archiving of websites. It allows the document creator to record hyperlinks between items in the structural map. A METS structural map can show the page hierarchy of a website, showing the relationship between a parent page and subsequent child pages underneath it. The structural links section allows for the recording of links between the child pages that would not be displayed in a traditional hierarchical organizational structure (METS: An Overview Tutorial, 2016). The behaviors section of a METS document is used to record behavioral metadata. This section records any metadata related to software or applications that may be needed to view, or use, a digital object. The behaviors section enables institutions to exercise control over how users experience a digital object. However, this section can also create significant challenges for repositories. Software and applicat ions change consistently and often, rapidly. If a behavior changes, a repository manager would need to modify the record for every object associated with this behavior (McDonough, 2005). The seven required sections of a METS document are also some of the top level elements used in METS. Other elements unique to METS include, structural requirements, technical requirements, maintenance agency, behavior files, and description rules. This is a departure from other schemas that tend to include top level elements that lend themselves solely towards descriptive metadata. In METS, these traditional descriptive elements are found within the descriptive metadata element. Here, elements from Dublin Core, MARC, MODS, EAD and VRA can be wrapped inside METS sub elements to describe the digital work (METS: An Overview Tutorial, 2016). This distinction is important because it reinforces that while METS does allow for the inclusion of descriptive metadata, its focus is on the administrative and structural metadata that is necessary to maintain the objects original structure and presentation. Metadata Encoding Transmission Standard Resources METS Schema Documentation. (2016, August 9). Retrieved March 12, 2017, from http://www.loc.gov/standards/mets/mets-schemadocs.html Schema Documentation. (2011, July 1). Retrieved March 12, 2017, from https://www.loc.gov/standards/mets/profile_docs/mets.profile.v1-2.html METS: An Overview Tutorial. (2016, February 9). Retrieved March 12, 2017, from https://www.loc.gov/standards/mets/METSOverview.v2.html#structlink Rose, Trish. (Summer 2005). METS: A Data Standard for Access and Preservation Now and Into the Future. Digital Letters, 8, 1-4. McDonough, Jerome. (2006, February 1). METS: standardized encoding for digital library objects. International Journal on Digital Libraries, 148-158. Metadata Encoding Transmission Standard Example Alabama blues Lomax, Alan 1915-2002 Recordist Hurston, Zora Neale Recordist Barnicle, Mary Elizabeth 1891-1978 Recordist Metadata Encoding Transmission Standard Conclusion METS was created in response to a void in the Library and Information Science community, with respect to archiving digital objects. Repositories that curate digital objects are tasked with organizing and disseminating a number of resources that can far exceed the collections of institutions with only physical objects in their collections. Once objects become digitized, they also present the unique challenge of taking on characteristics they did not possess as physical objects. In addition to their physical characteristics, these objects now have digital characteristics as well. Ensuring the that the integrity of the objects remain intact is important, if the objects are going to best serve patrons and users. The encoding scheme provided by METS enables institutions to organize and display vast collections of digital objects, while maintaining the objects integrity. METS achieved the flexibility that institutions felt MOA2 was lacking. However, one of the challenges presented by increased flexibility can be decreased interoperability. The lack of controlled vocabularies and required schema elements in METS makes it more difficult for individual repositories to share digital objects that have been encoded using METS. The future of METS will be focused on overcoming this challenge, and working towards interoperability between repositories. Jerome McDonough suggests that the creation of METS profiles by institutions is a step that can be taken on the road towards interoperability. In a METS profile document, institutions can detail restrictions on, and guidelines for, creating METS documents. Institutions can include directions about the schema and controlled vocabularies that should be used in the creation of METS documents. Additionally, McDonough suggests that a METS profile could contain guidelines for the forms that should be used for digital objects. This way, repositories could easily communicate with each other regarding the forms of objects that can accept and give. (McDonough, 2006). The LOCs METS website already has information on developing a METS profile for a digital object and describes the requirements for a complete profile. The requirements laid out by the LOC for a METS profile include information about an objects title and creation date, contact information, related profiles, profile context, external schema, rules of description, controlled vocabularies, structural requirements, technical requirements, tools and applications, and examples. (METS Profile Components, 2011). As more institutions start to adopt this profile format, they will be able to move towards increased sharing of metadata and records. Categories for the Description of Works of Art History Cataloging non-print items has always proved challenging for the Library and Information Science community. The uniqueness of the objects held by galleries and museums makes standardization and interoperability difficult. As a possible answer to this conundrum, Categories for the Description of Works of Art, or CDWA was developed. CDWA can trace its roots back to the early 1990s when it was created by the Art Information Task Force, also known as the AITF. This task force was comprised of art historians, museum curators and registrars, visual resource professionals, art librarians, information managers, and technical specialists. CDWA is the basis for CDWA Lite, an XML schema used to describe works of art that was developed out of CDWA (Categories for the Description of Works of Art: Introduction, 2015). Categories for the Description of Work of Art Importance and Significance The art documentation and museum communities realized that developing a data structure standard for the explicit purpose of describing art, architecture, and material culture was a necessity (Baca, 2007). As the community was developing and changing, so was its need to describe its collections and holdings. Traditional data structure standards and schema, such as MARC, were primarily intended to describe textual works, as evidenced by the data element sets that include elements such as creator and publisher. These elements simply dont apply to visual works of art. In contrast the CDWA includes 532 categories and subcategories directly related to visual works of art (Baca, 2007). It was important for this community to develop a schema that had a wide variety of categories because repositories, like art museums that hold a wide variety of objects. Art objects can include textiles, paintings, pottery, sculpture, and works of architecture just to name a few. With the development of CDWA this community finally had the data structure standard it needed. However, CDWA is not able to be expressed in a machine-readable form. To be able to make this data machine readable, and thus more sharable, another standard needed to be developed by this community. In response to this need, CDWA Lite was created. Now, the art documentation and museum communities had an XML schema that was based off CDWA. Though this schema does not contain as many categories and subcategories and CDWA, CDWA Lite still achieves great depth and flexibility with over 300 elements and sub elements (Baca, 2007). Categories for the Description of Works of Art Schema Description The Getty Institute describes the purpose of CDWA on its website stating, The Categories for the Description of Works of Art (CDWA) are a set of guidelines for best practice in cataloging and describing works of art, architecture, other material culture, groups and collections of works, and related images, arranged in a conceptual framework that may be used for designing databases and accessing information (Categories for the Description of Works of Art: Introduction, 2015). The category/subcategory sets for CDWA are vast and allow for detailed and accurate descriptions of these types of collections and holdings. CDWA has several core categories that are strongly recommended to be included in the description of a work using this schema. While the IATF states that they feel the core categories represent the minimum information necessary to uniquely and unambiguously identify and describe a particular work of art or architecture, they concede that ultimately which core categories to in clude should depend on a particular institutions purpose and users (CDWA List of Categories and Definitions, 2014). The core categories in CDWA are object/work, classification, title or names, creation, measurements, materials and techniques, subject matter, current location, related textual references, person/corporate body authority, place/location authority, generic concept authority, and subject authority (Categories for the Description of Works of Art: Categories, 2014). These categories clearly lend themselves to describing works of art and differentiate this schema from others like Dublin Core or MARC. In contrast, CDWA Lite requires fewer elements, presenting instead a core description of the object (Baca, 2007). Per its website Getty explains that the purpose of CDWA Lite is to describe a format for core records for works of art and material culture, based on the data elements and guidelines contained in the Categories for the Description of Works of Art (CDWA) and Cataloging Cultural Objects (CCO) (CDWA Lite: Specification for an XML Schema for Contributing Records via the OAI Harvesting Protocol, 2006). Records created with CDWA Lite are less detailed that those created using CDWA intentionally, so that they represent the essence of the work. Murtha Baca of the Getty Research institute says The goal of the CDWA Lite schema is to provide core descriptive metadata about cultural works-i.e., an essential metadata record that can be easily shared and contributed to union resources and that provides enough information to enable users to understand what the work is and what instituti on owns it (Baca, 2007). The core categories recommended by the IATF for CDWA are the basis for the twenty-two high level elements in the CDWA Lite schema. In this schema elements 1-19 deal with descriptive metadata and elements 20-22 deal with administrative metadata. (CDWA Lite: Specification for an XML Schema for Contributing Records via the OAI Harvesting Protocol, 2006). Within CDWA Lite, only nine of the twenty-two top level elements are required. These elements are, object/work type wrapper, title wrapper, display creator, indexing creator wrapper, display materials/techniques, indexing dates wrapper, location/repository wrapper, and record wrapper (CDWA Lite: Specification for an XML Schema for Contributing Records via the OAI Harvesting Protocol, 2006). One of most unique features of CDWA and CDWA Lite is that within the required categories and elements, there are recommended sub elements and sub categories. For example, within the creation category for CDWA the following sub categories are also strongly recommended, creator description, creator identity, creator role, creation date, earliest date, and latest date. (CDWA List of Categories and Definitions, 2014). There are considerably more recommended categories and subcategories required by CDWA than other metadata schemas I have encountered thus far. The inclusion of such a wide variety of elements and sub elements is essential when an institution holds objects in its collection that all possess distinct characteristics. Another interesting aspect of this schema is the harvesting ability of CDWA Lite. CDWA Lite records foster interoperability between museums and other institutions that use the Open Archives Initiative, or OAI by allowing repositories to harvest metadata from one another (CDWA Lite: Specification for an XML Schema for Contributing Records via the OAI Harvesting Protocol, 2006). According to Murtha Baca of the Getty Research Institute this is an advantage because the metadata comes from (or should come from) the institution that owns the corresponding objects or items, and is therefore accurate and authoritative (Baca, 2007). As was mentioned earlier, an XML record that is created using CDWA Lite represents only the most core information about the work. This was done to make the harvesting of metadata using this schema achievable and manageable (Baca, 2007). Categories for the Description of Works of Art Resources Categories for the Description of Works of Art: Introduction. (2015, October 6). Retrieved March 20, 2017, from http://www.getty.edu/research/publications/electronic_publications/cdwa/introduction.html Categories for the Description of Works of Art: Categories. (2014, April 9). Retrieved March 19, 2017, from http://www.getty.edu/research/publications/electronic_publications/cdwa/categories.html Categories for the Description of Works of Art (CDWA). (2012, August 9). Retrieved March 23, 2017, from http://www2.archivists.org/groups/standards-committee/categories-for-the-description-of-works-of-art-cdwa CDWA Lite: Specification for an XML Schema for Contributing Records via the OAI Harvesting Protocol. (2006, July 17). Retrieved March 22, 2017, from http://www.getty.edu/research/publications/electronic_publications/cdwa/cdwalite.pdf Baca, Murtha. (Spring 2007). CCO and CDW Lite: Complementary Data Content and Data Format Standards for Art and Material Culture Information. VRA Bulltein, Vol. 34, Number 1, 1-8. Categories for the Description of Works of Art Example 12345 http://www.getty.edu/art/collections/objects/o1091.html 12346 http://www.getty.edu/art/collections/objects/o1092.html 98077 full view, oblique view from the right front corner general view oblique view 1996 98076 detail of the desktop with inlaid coat of arms overhead view detail view coat of arms Metadata Encoding Transmission Standard Conclusion Museums and art institutions recognized the need for a cataloging system that enabled them to accurately represent the works held in their collections which led to the development of CDWA. As more institutions and repositories began to develop digital collections, a new need also arose. Institutions that previously had distinct collections found themselves having the same digitized copies of works in their online repositories. Interoperability, which wasnt as a great of a need before now needed to be realized. It was this realization that led CDWA Lite. Both CDWA and CDWA Lite have element and sub element sets with a great amount of depth that are specific to describing works of art. Within CDWA this allows for the development of rich and accurate records. Within both CDWA and CDWA Lite the element and sub element sets allow institutions to use one system to catalog a variety of works that have dissimilar properties. This need sets this community apart from the library and archival communities which mainly house textual objects. These schemas rely heavily on descriptive metadata, and most of the elements in the CDWA and CDWA Lite element sets fall under the descriptive metadata umbrella. Through CDWA Lite institutions are also able to harvest metadata from each other, enabling museums and art repositories to create accurate and up to date records for digitized works. CDWA and CDWA Lite are still relatively young schemas, CDWA just reached is barely twenty years old. Considering the future of the schemas, one change that may come for CDWA Lite is the inclusion of more of the elements and sub elements from CDWA (CDWA Lite: Specification for an XML Schema for Contributing Records via the OAI Harvesting Protocol, 2006). Adding more elements to CDWA Lite would enable museums to make the metadata for more of the objects in their collections harvestable and would increase the quality of the harvested metadata. It will be exciting to see how this schema develops and continues to improve standardized cataloging and interoperability in the museums and art repository communities. Works Cited: Baca, Murtha. (Spring 2007). CCO and CDW Lite: Complementary Data Content and Data Format Standards for Art and Material Culture Information. VRA Bulltein, Vol. 34, Number 1, 1-8. Categories for the Description of Works of Art: Introduction. (2015, October 6). Retrieved March 20, 2017, from http://www.getty.edu/research/publications/electronic_publications/cdwa/introduction.html Categories for the Description of Works of Art: Categories. (2014, April 9). Retrieved March 19, 2017, from http://www.getty.edu/research/publications/electronic_publications/cdwa/categories.html Categories for the Description of Works of Art (CDWA). (2012, August 9). Retrieved March 23, 2017, from http://www2.archivists.org/groups/standards-committee/categories-for-the-description-of-works-of-art-cdwa CDWA List of Categories and Definitions. (2014). Retrievied March 23, 2017 from https://getty.edu/research/publications/electronic_publications/cdwa/definitions.pdf CDWA Lite: Specification for an XML Schema for Contributing Records via the OAI Harvesting Protocol. (2006, July 17). Retrieved March 22, 2017, from http://www.getty.edu/research/publications/electronic_publications/cdwa/cdwalite.pdf McDonough, Jerome. (2006, February 1). METS: standardized encoding for digital library objects. International Journal on Digital Libraries, 148-158. METS Example Documents. (2016, February 9). Retrieved March 14, 2017, from https://www.loc.gov/standards/mets/mets-examples.html METS: An Overview Tutorial. (2016, February 9). Retrieved March 12, 2017, from https://www.loc.gov/standards/mets/METSOverview.v2.html#structlink METS Schema Documentation. (2016, August 9). Retrieved March 12, 2017, from http://www.loc.gov/standards/mets/mets-schemadocs.html Rose, Trish. (Summer 2005). METS: A Data Standard for Access and Preservation Now and Into the Future. Digital Letters, 8, 1-4. Schema Documentation. (2011, July 1). Retrieved March 12, 2017, from https://www.loc.gov/standards/mets/profile_docs/mets.profile.v1-2.html

Atomic Bombing :: Essays Papers

Atomic Bombing When asked, many people can think of an event that changed their lives instantly. For example, a near death experience may lead a person to see that life is fragile and that it should be lived to the fullest. Unfortunately, sometimes these events require the loss of innocent lives. In 1945, the United States dropped nuclear bombs on the japanese cites of Hiroshima and Nagasaki in retaliation for the attack on Pearl Harbor. In the years following the attack, many writings have been published in order to capture the horrid nature of this event. The two that we will look at are â€Å"Hatsuyo Nakamura† by John Hersey, and â€Å"Atomic Bombing of Nagasaki Told by Flight Member† by William Laurence. Hersey’s Story chronicles life after the bombing for one of the survivors while Laurence tells the story of the attack through the eyes of one of the crew members aboard one of the bomber planes. Both readings focus on the drastic events of Hiroshima and Nagasaki thr ough the utilization of different styles while conveying two completely contrasting points of views; however, Hersey’s comes across more effectively in the end. One of the more apparent differences is that Hersey’s â€Å"Hatsuyo Nakamura† is written in the third person. Telling the story in the third person prevents readers from seeing things through that person’s eyes. However, it gives a clearer overview of the situation as opposed to breaking down the person’s every thought. In this case, we see the effects of the radation on Nakamura; described as being â€Å"weak and destute† in the aftermath of the bombing. She ends up living in a wooden shack for the next few years where she would â€Å"begin a courageous struggle† in order to â€Å"keep her children and herself alive.† These quotes capture the very essence of her struggle and at the same time promote a feeling of empathy for Nakamura. She continues to struggle for a long time; she justifies this with the phrase, â€Å"Shikata ga-nai†, meaning â€Å"It can’t be helped.† In telling Nakamura’s story in t he third person, Hersey conveys the true feelings and experiences of the bombing victims through a fictional character. Instead of putting out facts and figures, he creates a world in which the reader is able to become engrossed in and even at times experience vividly.

Provocation Through Comedy :: Movie Script Film Creative Writing Essays

Provocation Through Comedy If I were to write a film concerning women and sports, first of all I think I'd make it a comedy. I think sometimes it is easier to convey serious thoughts through a comedy, because the viewer doesn't feel so tangled up in the emotion of drama, leaving them laughing and in a good frame of mind to consider the points being made by the film after they watch the film. I think this idea is much akin to the idea that it is easier to discuss issues and problems of race and gender through a forum like film because a person can identify with an idea being expressed without having to take responsibility for the authorship of the idea. I think that a comedy is more capable of providing a powerful ending because the viewer isn't expecting it. Obviously if I were a screenwriter I would want to write a film that was unique and distinguishable from the other films made about women in sport. This might at first seem difficult, given the proliferation of films made on the subject, but they follow a lot of the same trends. One of these trends is the portrayal of the latent aggression in women that is released through sport. Women are not permitted by society to be aggressive in any area and still maintain their femininity. If I were to write a film I would include this theme and I would try to show that women can be aggressive in many areas. Their aggression can be in something other than sports, for example, business. I think a situation that would show this and also be comical could be perhaps a woman that owns a sports team. Another issue is the fact that all of the women in the films we watched were made to prove their femininity. I don't think that it is necessary to prove that a female athlete must stand up to an accepted level of femininity. There really is no reason to make a female athlete buy new dress shoes or learn to put on lipstick. I really don't think that it is necessary for any woman to prove their femininity whatsoever, especially not in these superficial, commercial ways. So if I were to write a film, she wouldn't go through that trouble. Her power suit could be pants and she wouldn't have to wear makeup.

Unrestricted Capitalist Development and the International Monetary Fund

Unrestricted Capitalist Development and the International Monetary Fund: Their Economic and Social Effects on Buenos Aires. Argentina The day is Friday, December 21, 2001. After three days of massive riots the city of Buenos Aires looks like an abandoned battlefield. Its grand palm-lined avenues are strewn with burnt-out shells of cars, smashed glass, rocks, and twisted furniture. Unemployed people, pensioners, and women with babies climb through smashed supermarket windows searching for any food that looters left behind. Most banks and shops are closed, and dazed people wander the streets, confused and fearful of their nation’s state of affairs (Arie 11). The â€Å"battle† started on Monday, December 17, with massive food riots and looting of trucks transporting food, led by thousands of poor families. The Argentine government said there were 20,000 looters in Buenos Aires alone, as citizens broke into stores and smashed shop windows, stealing items including food, clothing, and toilet paper (Gardner 9). Food riots erupted in the working-class belt surrounding the capital, such as Lanus, as well (Rohter 6). Television footage from Rosario, a city northwest of Buenos Aires, showed more than one hundred slum dwellers descending on an overturned cattle truck and slaughtering the animals with sticks and knives so they could carry off chunks of meat (Abel 20). Silvia Tebez, an unemployed 27-year-old mother of three said, â€Å"a few hooligans made off with television sets and the like, but by and large these were parents who were hungry, with no money and no hopes of obtaining any† (Rohter 6). Hungry or not, the government, headed by President Fernando de la Rua, attempted to control the rioters by instituting a sta... ...State University of New York Press, 1987. Rodriquez, Alfonso. â€Å"Argentine Food Riots End, But Hunger Doesn’t.† The New York Times. 24 December 2001: 18. Rohter, Larry. â€Å"Argentine Food Riots End, But Hunger Doesn’t.† The New York Times.23 December 2001: A6. Soriano, Alex. â€Å"Argentine Police Smash Protest by Workers.† The Montreal Gazette.19 April 2002: 12. Sparr, Pamela. Mortgaging Women’s Lives: Feminist Critiques of Structural Adjustment. London and New Jersey: Zed Books Ltd., 1994. U.S. government. 12 April 2002: http://www.cia.gov/cia/publications/factbook. Valente, Marcela. â€Å"Labor-Argentina: Workers Give New Life to Abandoned Factories.† Inter Press Service. 19 March 2002: 1-3. Ximenez, Daniel. â€Å"Argentina People Throw the Bastards Out.† Labor Notes. 22 February 2002. http://www.labornotes.com.

Living Together Before Marriage: Morals, Money, and a Major Choice Essay

Not long ago, a choice of my survival had to be made. Many single men and women struggle, not only in relationships, but with money issues, especially if they are in college or starting out as a young adult in the world. In college, I had the choice to live with my significant other or to manage on my own. I am sure others, not only myself, view â€Å"managing† their lives in roughly the same terms. Being alone makes one independent, but lonely. Living alone, can be very empowering, but discouraging in terms of money. Then there is always the factor of what others may think on the outside. So, here in a college town, where many choices made individually are overlooked externally due to our youth, it was not only me, but society that was influencing my choice. So, I had to choose, live with my significant other, who could have alleviated my loneliness and ameliorated my bills or live alone and forge on with my own terms, however daunting they may be. I pondered this for some time, probably longer than others in my peer group, who look at stepping in cohabitation as some right of passage that proves you are older and committed to something more than you are already. But, I did not care what my cohorts thought, this was my decision. I did, however, consider my partner’s role in all of this and how this would affect our futures. Of course, we weren’t deciding to get married or even â€Å"playing house† to see if we could get closer to that point. So, the decision became easier to make once I realized that. This was my friend and confidante, but not the person I could imagine spending the rest of my life with. Yes, we would get along and even pretend to the outside world to be in love, I suppose. But, this would be nothing more than a fascade and we both knew it. But, the pressures that were building up around us in our growing adulthood had made us reach ever farther out for something, flailing around for a bedrock that made us strong. We felt strong together, but that was not the role suited for either of us. We were just too young. I had no right to put more pressure on my friend, my pretend soul mate. When searching for the truth in the world, we could not lie to each other too. In my eyes, I wasn’t looking for my soul mate to be there for me each and every day, I was looking for someone to help square up my life. I felt bond by the circle that had only me in it, a nice-looking circle from the outside, but hollowness inside. I needed to fill it up, not square it up. I thought that maybe moving in with someone was something I could â€Å"get over with† to fill in the circle like an SAT essay answer or something that would let me abandon the circle of me altogether and become a part of a squared away, more safe person. But, in addition to that I was looking for a roommate not a soul mate and that wasn’t fair to either of us. So, I stayed in my circle of me and decided to slowly roll through my younger years without any obligations (other than those piling bills). We stayed friends. It was really okay. The thing about having time alone is that there is no end to the possibilities of learning about yourself and everything in the word that can be googled or discovered in some situation that comes out of the blue, unexpected. Many of these observations surround the opposite sex and their charm, that which I could not appreciate if I was coming home to the same person every night. Similarly, I can study and become more intelligent and not all â€Å"wishy-washy† about my cohabitating bliss (or imagined bliss). So, I have plenty of time to google, objectively of course. So I have found articles about my dilemma and the dilemma of others. We have it rough, as most cohabitating couples don’t last. But, that really was never the dilemma for me, then. I learned that I just needed a live-in friend and someone with a bank account to share with me. So, I shifted my attention to these pertinent matters. I got a job so I could interact with coworkers and never be lonely, I make more money, and spend my free time studying. Its a great life, one I wish all young people would experience before jumping into a â€Å"fairy tale† that has been proven to be a fable with a moral to the end. Cohabitating just doesn’t work out the way we wish it could