Descartes and Hume’s Infinity Essay Example for Free

Descartes and Hume’s Infinity Essay The word infinity refers to several concepts but all pertains to something that is without bound or endless. Most of the time, it is used in the field of mathematics but the concept is also used in several other fields including philosophy. This paper will try to study Rene Descartes and David Humes concepts and views of infinity as well as the problems regarding their concepts.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   For Rene Descartes, the word infinity is attributed and is referred to a perfect being, to God. On the other hand, although most of his infinity raises most paradoxes that are really challenging for his empiricism, David Hume asserts that we cannot comprehend infinity. According to Descartes, infinity is the same as God or that God is the same as infinity. He also proves the existence of God by using the concept of infinity as an illustration. Descartes also said that he is able to see infinity because he is able to think and imagine a large object and as well as a larger object but not the largest object. Descartes stated the existence of god is proven by the use of infinity because according to him, if you have the idea of infinity and yet cannot witnessed it proves the existence of God. This is because our so called finite self will not be able to generate the idea of something like infinity and therefore the idea must then came from a somewhere or someone of infinite being, from God. The ability of God is also proven by infinity because according to Descartes, the continuity of thing should be conserved and therefore needs the continuous power that is supporting it. On the other hand, according to David Hume, because it is by faith that we know that God exist and so we will know his nature in the heaven. If there is a God with infinite attributes, then he is therefore infinitely incomprehensible without proportion to us human beings. Therefore Hume objects the concept of infinity because we cannot experience infinity; therefore we have no adequate idea of what infinity really is. Because of his belief and thinking, he even proposes to replace the notion of endless or unbounded, infinity, by a time and space theory. That every idea that we have is copied from a similar impression is the fundamental of Hume’s arguments. So according to Hume, our idea of God together with his attributes such as his infinite intelligence, good being and all his infinite abilities and characteristics are just products of our own mind, increasing that idea without limit those qualities. Therefore our notion and knowledge of god is not brought by any revelations or something that god put on us but rather by of us taking our normal attributes and increasing these attributes to infinity.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The major problem regarding the theory and idea of Hume is that it contradicts some principles in geometry such as the Pythagorean theorem. David Hume’s theory includes the denial of the thesis that extension infinitely divisible. Still, how Hume critiques the idea of infinity is said to be a product of Enlightenment theory of Knowledge. Also the theories of Hume disprove the existence of God in which case most people will definitely disagree and critique and would say inverse that we does not create God but rather God created us. In this case it is certain that many people will be against Hume’s principles and ideology.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The problem with Descartes ideas is that he needs the existence of a perfect being in order to be able to have a clear idea of what is infinity. Also the argument of Descartes is a circular argument because he proves the existence of God using the idea of infinity and at the same time his idea of infinity relies on the knowledge of God. The clarity of his ideas is relied on God and God on his ideas. Since Descartes infinity theory relies on the concept of having an infinite and perfect being in our mind, there surely be misconceptions and understanding on the concept since our mind is able to entertain several things that may include fiction or something that is untrue. Greek gods, goddesses as well as super heroes are some of the examples that we entertain in our minds that are far and/or not part of the real world. Also since different person have different views and as well knowledge and understanding, there could be as many interpretations of the word infinity as there are people. And how about those that did not believe in the existence of God? Does that mean that they are not capable of understanding what infinity is? Definitely not and therefore Descartes’ concept of infinity applies to limited people only. The main similarity and difference between Rene Descartes ideas of infinity to that of Hume is that both of them uses the concept of God making their argument. They both use the concept and knowledge of a so-called infinite being in their arguments. Also they are in different and in conflict because Descartes proves the existence of God by using the concept of infinity and Hume do the opposite, disproving the existence of God as disproving the concept of infinity. In Descartes statement, infinity exist although we cannot see it. The mere fact that the idea of infinity is in our minds prove that there really is an infinite being, a God that created all things and that sustains it by his infinite attributes. On the other hand, Hume believes that we cannot comprehend and understand infinity and it therefore there exist no such thing. It can be said that both Descartes and Hume have an idea of what infinity is. Their difference is the idea whether infinity is achievable or not. For Descartes, infinity or God exist although we cannot see it or even imagine it; that basically is infinity. On the other hand, Hume disapprove the concept of infinity saying that since we cannot see or visualize infinity, infinity does not exist and should be replaced by something that exist, something real like time and space. Although the two ideas are conflicting in can be said that they are truly believable and without further and close study of the matter, we may really be misguided. Still, whether we believe Descartes or Hume depends on us, no one will force us to believe someone. What is important is that we really have the basis of our beliefs. Reference Brown, R. G. (2007). God, Dog and Spark. Retrieved December 04, 2007 from   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   http://www.phy.duke.edu/~rgb/Poetry/hot_tea/hot_tea/node31.html Holding, J. P. (No Date). Humaen Understanding. Retrieved December 04, 2007 from http://www.tektonics.org/gk/hume01.html Leahy, J. P. (2000). Infinity and Eternity of the Universe. Retrieved December 04, 2007 from http://www.jb.man.ac.uk/~jpl/cosmo/infinity.html

Design Concepts in Architecture

Design Concepts in Architecture Design is the most basic human creative activity. One could argue that Palaeolithic cave drawings were based on this fundamental human creative need. The word design derives from the Italian word disegno, meaning drawing of a work. Many confuse the notion of Design to Art. Design can well be seen in art, but as an independent subject it must be considered as entirely different. One of the first to distinguish this difference, were several British design historians, dating from 1977. Design can be seen and experienced everywhere. Design can be a development progress or an object. Definition for the word design given by designer Richard Seymour is making things better for people. ¹ Design expands so vastly, It can be seen in furniture, advertising, machinery, books, media, fashion, computers, food and in many other fields. Design nowadays is a subject of university study, such as graphic design and industrial design etc. It has always been accepted that anyone who created something, or made something look good, aesthetic or beautiful could be considered a designer. Even though most people believe that a good design is one that looks beautiful, this is not always the case. A good design is one which focuses mainly upon its intended function. A successful design is one that completely fulfils the needs of its intended purpose, Form Follows Function. A designer must be able to meet several points: aesthetical, artistic, theoretical, mechanical, organizational and functional. The word design holds much meaning and design paradoxes are endless, it would therefore be impossible to analyse them all. The focus of this review essay is the architectural area of design. In early 1937, Czech philosopher, Jan Mukarovsky developed a model of five functions for architecture: the immediate, the historical, the personal, the social and the aesthetic. In the arena of Art and Architecture, Design is a basic principle that must be carried out through every piece of work. In this respect, design is an idea, a concept, which is transferred from the individuals mind on to canvas, paper, blue print etc. In England (16th century) the term design was used under the sense of plan from which something is to be madea drawn sketch for an artwork, but also s Bernhard Burdek said: an object of applied arts; Design can be anything that stings ones imagination. Italian designer Giorgio Giugiano says: there is nothing without design. As the 20th century approached new attitudes in Art made their appearance. New styles were discovered by different artistic experiments such as Art Nouveau, Arts and Crafts Art Deco. These artistic trends and movements would encompass the styles referred to as the isms of the period, for example; Expressionism, Cubism, Surrealism and others. Some of these aforementioned areas had an impact in Architecture, but it must be noted that the Architectural field consisted of its own movements which rose within these decades. Egyptian, Greek, Roman and Renaissance architects and artists would combine their knowledge in order to produce a building design which combined and encompassed both the beauty of Art, but also the power and discipline of Architecture. The roots of Modern Art dates back to the 19th century. Artists were experimenting with their paintings and sculptures in order to find something different, something that could express better what the painter, sculptor saw or felt, but at the same time enabling the observer to experience the artwork himself through his personal emotions. Areas of the Modern Art movement will be further analysed in the forthcoming paragraphs and their connection with the architectural styles which were popular at that time. Even though the modern era in architecture consists of several other movements (Usonianism, Constructivism, Purism etc), the purpose of this review is to analyze the influences that Art had on Architecture during the 20th century. Within the first decade of the 20th century, the first movement in Modern Art, to make its appearance was Expressionism. Painters such as Vincent van Gogh would flatten their paintings using lines, exaggerating certain fragments of the painting, either by using bright colours or by just the simple and minimal black and white. This simplified way of painting would usually portray sceneries focusing not on the beauty as the public was use to, but the suffering, poverty and violence were the notions presented. Parallel to Expressionism in Art, Expressionist Architecture started to develop. Most examples Can be found in Germany and a few other European countries. Similarly to artists trying to picture the cold truth of a humans life without any essence of beauty, leading architects such as Mies van der Rohe, Walter Gropins and Hans Poelzig developed poetical and dramatic designs influenced by natural forms which consisted of unusual shapes and massing. Manmade materials, such as, brick, steel, concrete and most importantly glass were key characteristics to this architectural style. In the lithograph on the left, Scream, also known as Shouting, the notion of sadness , fear or even death have been pictured; the print consists only of lines, which all lead to the centre of the picture, to the most important part, the screaming figure. The facial characteristics of the human head are very minimal, and may remind one of a caricature or a cartoon; even though the face is some what destroyed the person shouting, holding his head, with wide open eyes and mouth, gives one the impression of fear; as if he was facing something that scared him. The figure itself is very thin , the minimal appearance of clothing and the skinny face, may be thought to be either an old woman or man, facing the time of death. One of the buildings which has been placed under the title of Expressionist Architecture, is Hans Poelzigs exhibition space and water tower building. This extraordinary design of its time, is located in the city of Poznan, in Poland and was completed in 1991. Throughout the building it is difficult to find any straight lines; curves and flowing shapes are what make up the Einstein Tower. It looks more like a poetic and romantic sculpture than a building for such a specific use. The steps leading up to the entrance, through the body of the building with its dome like roof, reminds one of a naturally occurring organism such as a plant or an undersea creature. In France, during the period 1907 to 1914, the leaders Picasso and Braque developed the movement of Cubism, which largely differs from Expressionism. Analytical Cubism, focused on two-dimensional, flat paintings which would picture an object by breaking it down into shapes. Lines, geometric forms and bright colours were a necessary characteristic. Synthetic Cubism derived from the method of Collage, synthesising, combining painting, incorporating pictures from magazine advertisements, cuttings and clippings of different materials to generate a complete piece of artwork. As previously mentioned, Cubism was strongly associated with two-dimensional portraying. This motif in art also had an influence on architecture. Well analysed and synthesized architectural spaces, would remain in the usual two dimensions; architectural representations were based on the artistic era of the time. Closely related to Cubism is Abstract Art. Artwork now is not a matter of copying what appeared in front of ones eyes, but something that one may call a piece of decoration. What the artist feels becomes art. During the First World War, a group of young artists, named Dada, made their presence. They found a way to express their protest to the war, through their abstract painting. Picassos Violin, appears to be very confusing. By its title, one becomes familiar with what is portrayed. The painting illustrates a destroyed musical instrument, broken/cut into pieces. With its curved shapes and brown colours it is easily understood. But what is fascinating about this piece of artwork is the way the artist has shaded each part of the violin, giving it a special significance. Even though the painting is portrayed on a canvas (two dimensional), the hole picture seems to escape those boundaries, each part appears to stand out from the canvas. Dada for me was a new beginning and a closure. In free Zurich where the newspapers can say what they want, where magazines were founded and poems against the war read out, here where there were no ration-cards and no ersatz, here we had the possibility of shouting out everything that was filling us fit to burst. Richard Huelsenbeck. During 1922 to 1924, when Dada began to lose their influence, Surrealism was introduced. Painters were creating dream like pictures. Within these paintings one fragment would blend and merge into another and depending on the angle in which one viewed the drawing, the picture on the canvas would change. The same object could have two or more uses within the painting. Architecture has embraced most art movements and Surrealism was not be left out. As was analyzed in the previous paragraph, painting fragments, which had multiple uses, were one of the principles undertaken in this art style. Architects were incorporating two or more in some cases uses to a building, multiple approaches and embeddings. Within this surrealist painting of Dali, different elements accommodated a different story; and in some cases may have more than one role. In the centre of the painting , a female face appears, her eyes are also seashells on the beach, her forehead and nose form a fruit bowl full of pears; on her left hand side there is a dark tunnel with a river, whereas on the left side of the painting, there is mountain with sea waves running down towards the females face. The mountain to the right acts as a dogs head and what seems to be its collar is a bridge; many other such elements are hidden within this painting. These two multi-storey buildings, appear to be dancing. The male (cylindrically shaped building on the right), Fred, is standing next to Ginger (female). Fred seems to be reaching out his right arm to his dancing partner. This concrete structure, relates to the strong nature of a male. On the other hand, Ginger, as a woman, constructed from glass, appears more fragile, just as a woman can be elegant and delicate. Advertisements, comic books, magazines, posters, movies and everything else which portrayed some sort of a commercial image came in fashion; art was now called Pop Art. Although many believe that Pop Art was discovered in America, continuing from the movement of Abstract Expressionism in the 1930s, Pop Art was actually first seen in London. Leader and inventor of this movement was English painter and Collage artist Richard Hamilton. Often called the intellectual father of Pop Art. The Abstract era continues to grow in the United States and in Europe. Op Art, also known as Optical Art is appearing. In the period of the 60s and the 70s, vibration and optical illusions created either by monochrome, images or outstandingly bright coloured pictures consisting of basic geometric shapes were this movements principles. Similarly to optical illusions in Op Art, illusions of such type can be found within the world of architecture; maybe this is not an era called Op Architecture but defiantly architects have been inspired from this particular artistic style; Soon after came minimalism, with Kenneth Noland, Larry Poons and others. Minimalism consisted of simple colours and solid shapes based on geometric forms. Artists would reduce as much of the elements as possible within their work in order for it to appear simple but yet again well worked. Such fragments would be colours, textures and volumes. Architect Mies van der Rohe, adopted the so well know phrase les is more, by developing building designs which consisted of open plan layouts, minimal exteriors etc. Minimalism and Architecture is still a movement that continues to grow. Minimalist architecture comprising of simple volumes and clear lines, which sometimes look very similar to solid geometric shapes, is a style of architecture found all around us. Oil, water colour, charcoal, pen and ink, sculptures and photography are some of the art forms that can be found within the Fine Art department. There are different techniques in which an artist can experiment and develop in order to produce what might be a masterpiece. The French word coller meaning glue is the term used do describes one of those methods. The assembly of different materials, which create a new image, is else known as Collage. One of the first examples that can be related to this motif was found in China and dates from 200 BC, during the invention of paper. It was not until many decades later, in the era of Modern Art and during the Analytical Cubism phase, when Collage was formally introduced. Pablo Picasso and George Braque were the first to bring out the glamour of this technique in the year 1906-07. George Braque was the inventor of collage in Modern Art. He mostly applied this technique on his charcoal drawings. One of the earliest most famous collages was Picas sos Guitar, Sheet Music and Glass. By autumn 1912 it was apparent that Picasso was very interested in the three-dimensional construction of a collage. As in Picassos Violin (pg.4) for one to understand what is portrayed, one should be familiar with the object in question; in this case Guitar, Music sheet and Glass constructed in September 1912, follows the same principle. The rear surface of the collage appears to be a section of flowery wall paper; the shapes in which the other fragments of the collage are cut are very simple and one could say effortless; but the way in which they are arranged together gives the observer a clear impression of the subject. On the left hand side of the collage the body of the guitar is formed from a wood-like cut-out. The blue rectangle next to it reminds us or the neck of the guitar, and below this the white circle resembles the sound hole. A black cut out of a semicircle forms the base. To the right are strips of sheet music and below a newspaper cutting and one of Picassos sketches picturing an abstract view of a wine glass, are the fragments which are used in order to compete the Guitar, Music s heet and Glass collage. Tatlins assembly on the left is a three-dimensional abstract construction. This creates the feeling of anger or fear and is due largely to the materials chosen. Canvas or board paper are replaced by an old wooden board. Industrial materials replace paper cut-outs which are secured by screws instead of glue. The artist, in this case, is not interested in a clean finish, but creating a rougher and more textured result which all add to its beauty. The discovery that the very distinction between flat and volumetric was no longer absolute, that through a process of unprecedented spatial semantic complexity, something deeply unsettling was happening to art.? Picasso started to experiment with his papier collers adding other materials which had a special significance. Cardboard, wood, metal and other textiles were incorporated within his Cubist artworks which were soon characterized as surrealist; In the years to come, several more artists, such as, Vladimir Tatlin, Varvara Stepanova and Alexandr Rodchenko, were producing collages. Newspapers, advertisement strips, magazine parts, photographs were some of the materials used. During the First World War, a young group of artists known as Dada were introduced, and soon became very popular. Dada attempted, in their own artistic way, to protest against what was happening to the world around them. The Dada movement was controversial at the time. They introduced a new art form, the art of expressing, in a more literal way, their thoughts about the disaster of the Great War. Dada meaning Hobby Horse in French, consisted of six members. Hugo Ball, his lover Emmy Hennings, Tristan Tzara, Hans Richter, Marcel Janco and Hans Arp. The group were based in Switzerland and the Dada era was born in 1916 in the city of Zurich. Dadaism did not only produce drawings or paintings; it was an era where all visual and intellectual arts were combined together. They used drawings, paintings, sculptures and poetry. It combined artistic, philosophical, music and political aspects. Hugo Ball would take poems apart and place the words in a random sequence. This recycling words technique and later on the photomontages and collages produced by the Dada group, would make one think that they were not so much inventors but recyclers; On the other hand another member of the group, Hans Arp was concentrating on the visual representation of their protest. Through collages and reliefs he was expressing the need of change. Within those collages, elements of wood, screws and paper can be found. The construction of those art works, were based on the law of change as Arp would say. Coming back to the motif of three-dimensional collages reliefs (page 8, Picasso), the Dada reliefs made this motif obvious. The shape in which the elements of the reliefs were cut was well thought, planned and processed. Sketched beforehand and placed exactly in order to complete the artwork. Usually curved and orientated in a natural like way would be remeniscent of organic cultures and the era of Impressionism. We do not wish to imitate nature; we do not wish t reproduce. We want to produce. We want to produce the way a plant produces its fruit, not depict. We want to produce directly, not indirectly. Since there is not a trace of abstraction in this art we call it concrete art. First collages created by Hans Arp were very minimal and simple. One could say that little effort had gone into creating them. Dadas reliefs are some what different to what one has seen through the history of collage. Shapes cut out from wood in natural forms are stuck one on top of the other. This technique could remind one of the three-dimensional construction of collages during the period of 1912-14 (pg.8). But in the reliefs on the left, an abstract assembly consisting of organic shaped, wooden fragments , painted in pastel colours, give the impression of a playful scene. Maybe one from the deep oceans or a field covered with flowers; Moving away form the notion of three-dimensional construction, Dadas work also consists of papier colles; Rectangles arranged according to the Laws of Change, is one of dadas paper collages; squares and rectangles in two shades of blue are cut and randomly placed on the rear (blue) surface of the collage. No right angles appear anywhere in this piece of artwork, nor in the position in which the paper fragments are placed on the board, nor in the way the elements are cut. Arp was always pleased to work and create art with other artists. In 1916 Arp invented the Fatagaga pictures. Fatagaga was a word which derived from the first syllables of the sentence: Fabrication de Tableaux garantis gazometriques, meaning: production of guaranteed gasometric pictures. Based on this new term, Arp and other artists created the i-drawings. The group continued to express their compassion to the sufferings of the public, but this time their collages, or as they called them, photomontages, were not so simple looking. Dada brought photographs in the papier colles, which pictured human bodies with different heads or objects placed on their forehead in combination with written illustrations, suggesting in their way the political and social exasperation towards the world. With Analytical Cubism, art opened its doors to papier colle, the construction and design of collages. Dada introduced that a collage did not only have to consist of paper and glue, but it could incorporate other materials as well, (wood, photographs, paint etc). Max Ernst said: I had to admit that in most of my collages there was no use for glue; that I am not responsible for the term collage; As the 1920s entered Dada collages formed a big change; collages where now consisting if geometric shapes, well processed and cut. The i-picture on the left, is one of Arps i-drawings. Rectangles and squares with sharp lines and right angles are places adjacent one to the other; in contrary to the Rectangles arranged according to the Laws of Change (pg.11), this collage looks more like a collage an architect would create; well planned and placed fragments in basic colours. Its one of the first times where one sees the illustrations of text within Dada pa co. The letter i is placed in the centre of the collage catching ones attention, from the first glance. The Art Critic (image on the left), moves away from the graphic collages that Dada were concentrating on until the 1920s. The illustrated bright orange rear surface of the collage, gives a new feeling to the whole picture; human forms are introduced with satiric elements. The man body is a different collage fragment to the out of scale head; facial characteristics are exaggerated by the added sketches/doodles representing eyes, lips teeth etc. Part of a shoe on the forehead of the Frankensteins man and a large pen in his right hand, weapon like, add to the style of the collage. On the right a male figure appears through the newspaper cutting on a black and white photograph. A woman looks stunned by the large figure in the centre of the collage. Additional fragments taken from magazines are added to the whole creating a troublesome image. Even though collages and photomontages started to disappear during the surrealist era in Art, there are a few examples for such stylistic papier colles. Max Ernst was one of the most popular surrealist painters in the 1920s. Within his works, numerous collages can be found. By cutting and reorganising sentimental illustrations, surreal collages would make their appearance. Other artists, such as Dali were strongly connected with surrealist collages Dali would play with the observer. He did this in the way in which the fragment of his collages where placed together, he would confuse the observer about what was being viewed, where as what was actually being portrayed was different to what the eye would see. Dalis playful scene of brightly coloured elements consists of both painting and collage; this technique has been seen before with Picassos Guitar, Music Sheet and Glass collage (pg. ). The rear surface of the Accommodations of Desire collage, is painted; this would be separate to the lion heads which are glued on. The collage consists of nine incomplete lions heads and is violent in its suggestions. In the top centre of the collage a sexual scene is suggested, with a naked women and a man standing close to her. Photomontage did not make its official appearance till the First World War and the Dada movement, but there are many examples in the past, dating back as far as the Victorian era to prove that this technique was seen before. German word Montage means fitting, and explains exactly what a photomontage is, the fitting of multiple pictures/photographs together and creating a new image. Million Fox Talbot was one of the people associated with the invention of photography. He would experimented with his photographs, as any individual would when trying to invite something now, such as photography; by placing tree leafs of the photographic plates, it would remind of some sort of photomontage; In those days, without the invention of photographic paper, the photographic plates were reused and must have be well cleaned in order for the next photograph to be taken. By not cleaning the plates whilst taking a new photo, the result would look as if one image had been placed on the other. In this wa y, photomontage was beginning to appear. In this way they would experiment with multiple plates and effects. During the Victorian period, several examples of such experiments can be found. One of the most striking of its time, were the postcards portraying a human body with a different head. With the revival of Pop Art collages and photomontages were brought back to file. Pop Art Daddy, Richard Hamilton was strongly associated with those art motifs. A collage made from photographs or photograph parts is called a photomontage. At the time, for many people Pop Art was difficult era to be understood. The images portrayed in the Pop Art movement were generally seen in other context and individuals had problems embracing the new art form. In 1957 Hamilton defined Pop art as: Popular (designed for a mass audience), Transient (short-term solution), Expendable (easily forgotten), Low cost, Mass production, Young (aimed at youth), Witty, Sexy, Gimmicky, Glamorous and Big business. But Richard Hamilton found different ways in which he engaged the public with his art. His influence of Abstract Art was obvious in his works, which mostly consisted of collages and photomontages. The images used in order for him to produce a collage would have often been seen in other artistic works in the past; but Hamilton would manipulate them and make look unique. One of the first examples in Pop Art and Hamiltons most famous collage / photomontage is Just what makes Todays Homes so Different, so Appealing. In August 1956, an art exhibition opened its doors to the public. The exhibition hearing after the name This is tomorrow, took place in the Whitechapel Art Gallery, in London. The aim of this exhibit was o present new ideas to the public rather to a certain group of people. These new ideas exhibited would accommodate new, exiting and futuristic aspects which were introduced in the everyday life of an individual. For example aspects of Cinema, Comic books, Pop music, Science fiction and even the unforgettable, sexy Merlin Monroe were present; The exhibition was a space surrounded with playful imagery, music and even some shocking aspects which would make the public wonder about what Tomorrow would bring to their lifes; Richard Hamiltons collage Just what makes Todays Homes so Different, so Appealing, was created for the purposes of advertising posters and catalogue for the exhibition. Even though the artwork, consisting if collage and photomontage was only creating for commercial use, it was one of which made the British Artist famous; As mentioned in the side text, Richard Hamilton would recycle work of others, or imagery seen elsewhere; this is quite predictable, as collage can be alternatively described as a way of recycling imagery, text and photographs from other sources; but in this particular example of the collage pictured above [Just what makes Todays Homes so Different, so Appealing ], the title itself is reused; the original quat derives from an advert starting: just what is it that makes todays homes so different, so appealing? Open planning of course and a bold use of colour. all components of the collage are taken from popular 1960s adverts; The rear surface of the collage had been originally seen in the advert for Armstrong floors company floor surface types; the particular image was found in the Ladies Home Journal. Secondly, the young semi naked male, pictured holding a tennis racket, is the famous Irwin Zabo Koszewski, body builder. [photograph taken from Tomorrows Man magazine]. The woman sitting on the sofa at the rear right side of the artwork is believed to be artist Jo Bear. Opposite, on the left side, the element of the staircase accommodating a young female cleaner, was taken from the advertisement of the new, at the time, Constellation model of a hover. The painting / picture, which is hanging on the rear wall if the interior pictured in the collage, Young Romance, is part of an advert in Young Love. Below there is a television; produced be the Stromberg Carson company (1955). But not all the element accommodated within this collage are exactly cut and pasted in order to create this Pop image; Richard Hamilt on has modified certain parts, which without any hesitation contain a secrete meaning within them; in order to make this more clear, the rug, behind the young bodybuilder is actually a blown up image of the Whitley Bay Beach crowed; lastly on the ceiling of the interior, the image of the earth emerges; most probably this photograph is taken from the Life Magazine [September 1955 edition]. There may be different meanings hiding in this collage. But my personal view ion this artwork, is based on the promotion of the perfect home and family. During the period of the 1960s all was based on the visual aspects of life, new elements in the entertainment field of the public culture were been modified and everything was surrounding the new popular and exiting; cinema, magazines with shocking playful and colourful imagery were incorporated in peoples daily routines; Based on the collage Just what makes Todays Homes so Different, so Appealing , I believe that the artist is trying to portray the Perfect couple. A young , hansom, muscular male, with a sexy, beautiful woman by his side; elements of taking care if the physical body condition of both parties are suggested through the element of the tennis racket; Now there is the opportunity for the female to be the lady of the house; economical changes are suggested; now cleaners can be hired to keep the house in its perfect / clean condition and women can start taking care of themselves. Photographs were a major inspiration for Hamilton works; elements of advertising, film, photography, fashion, music, style, mass media, TV etc were always precent in his work. During the 60s R.Hamiltons works took on a more domestic feel. He was portraying interior spaces which were very similar to the scene of a film set. Some would characterise his work ironic, but for Hamilton that was not the case. By applying in his work imagery seen in the wider public and mass media environment, he addressed a problem which the outside world was facing and at the same time he would picture its possible solution. Hamilton explained in 1968: One wasnt just concerned with a car and the idea of speed but [with] the way it was presented o us in the mass media presenting a glamorous object by all the devices that glamorous advertising can add. The Pop paintings are anthologies of the mechanics of visualisation. Maybe it is not only about the entrainment and the economical but also about the political changes taking place at the time; women are becoming more important and have a say in different important matters; every home should accommodate the newest designs of furniture and electrical facilities; (TV, Hoover, Tape recorder) The perfect home sheltering the perfect couple The images of the earth on the ceiling of the interior may suggest that even in such a house, with all its fashionable and great conditions, it is actually what everyone feels within it; our house is our world; American, visual artist, Christian Marclay, concentrates on exploring the connections that may exist between music, sound and photography. He transforms sound into visual and physical form; this is represented by video, photography, sculpture etc. One of Christian Marclays projects was the Body Mix Series (1991). The project consisted of several album covers, which were collaged in such a way, in which a whole new image immerged through the stitched together pictures. One of those Frankenstein images, named Doorsiana, consisted of six different covers, one of which was the face of Jim Morrison and Diana Rosss left arm, in connection with several other albums. Seliger: It seems that from the start your work has always had a lot to do with collage, both in performance and with the objects. Marclay: Yes. Ive always used found objects, images and sounds, and collaged them together, and tried to create something new and different with what was available. To be

Changes to Religious Conversion

Changes to Religious Conversion How have the ideas of conversion changed over time? Remember to write what conversion is n (this is for me) Conversion has been affected overtime due to many avenues that I will be discussing through this essay. ‘The Conversion of Europe’ is concerned about the conversion of the mass which differs from modern conversions such a Samson Staniforth. I will be illustrating how conversion has changed overtime due to factors such as culture, technology and time which has also changed the meaning of conversion. The conversion of Europe started in the sixth century, ‘A religion which had grown up in the Mediterranian world of the Roman Empire was diffused among the outsiders whom the Romans referred to as the Barbarians’ (this is a quote but I want it to be a sentence imbedded and leave it red please). The conversion of Barbarian Europe had sufficed a much wider change, a change larger than just a change of belief but cultural change, declaring Christianity was just the beginning. The conversion followed with the Roman and Mediterranean way of life, adopting their value, habits and customs. Fletcher illustrated that during the 5th century, Christianity was seen as more than a religion, and it was seen as a way of life hence impacted all aspects such as authority, law, government, economy, as well as social aspects such as art, food and agriculture. The ideas of conversion had been implemented in all parts of living and had also been what governs law unlike religion today which i s perceived as a social personal matter. The Gregorian mission is an example of the conversion process which took part in Kent and other part of eastern England by Pope Gregory I since 601 mentioned by Fletcher. Paulinus, a member of the Gregorian mission who had been sent around by Pope Gregory I to convert people in Northumbria. This was a success as ‘’the royal family had been converted and an archbishopric found at Canter-bury’’, this was illustrates the impact of the Gregorian mission had through preaching Christianity. Modern day conversion narrative such as George Whitfield focuses on a spiritual impact which hones one from evil to a place of grace. Furthermore; Whitfield largely focused on his bad deeds; ‘’I took pleasure in lewd conversion’’ is an example of Whitefield’s sinful past, many who have come across Whitefield’s narrative have assumed that his sins were enhanced to make his conversion seem more dr amatic. There’s a couple of factors which Augustine and the early church conversion. Augustine’s conversion had influenced many modern conversion narratives as he had been a unique experience which had been written in a chronological sense. Pg 17. Hindmash suggested ‘’Augustine’s narrative n the confessions is indebted to the Neoplatonic pattern of the ascent of the soul’’. Augustine’s quest was to achieve union with the God from whom all beauty, truth, and goodness derives, and his crisis of conversion was the crisis of philosopher who could see the nature of the good life in ascetic self-denial and contemplation, but who had not the moral power to achieve it (please can you reword the bit in red its from a book and keep it red please). Augustine’s conversion took place in the early years if 397-8CE, his conversion states his transition from his sinful youth to becoming more virtuous. Quote; ‘I heard a voice from the nearby house chantingrepeating over and over ag ain â€Å"Pick up and read, pick up and read.†Ã¢â‚¬â„¢, this suggests that Augustine picked up the Bible die to the children chanting and started reading. However, many sceptics may disagree perhaps view this as unrealistic, several people would have investigated out of the window hence why it may be perceived as being exaggerated. Furthermore; many would not assume a child to be one of authority figure hence why the authenticity of Augustine’s conversion is questioned. Conversion in the countryside The ideas of conversion had changed overtime for due to many factors, one of which had been where the conversion of Christianity was taking place. The Bishop’s method of conversion in the Countryside was to target landed elites, who held great influence locally pg 40 ‘’to take firm and if necessary coercive action to make peasantry Christian’’, Fletcher is perhaps indicating that the ideas of conversion had been attain in an oppressive state rather than a choice; this had taken pace in places such as Constantinople, Italy, Africa and many more. Furthermore; it is evident that the ideas of conversion were not only changed overtime but they were different within communities of the same time. The countryside is an example of hierarchical control, although not all bishops had carried out the same approach; Martin, the bishop of Tours is one who had taken matters in his own hands and ‘’choos[e] to take direct and personal actions’†™. Paganism had started to become less common overtime which changed people’s idea of God and created a more spiritual way of converting, this can be seen in the Baptism of Edwin from Bed’s narrative; according to this Edwin felt as though – evidence (the conversion of Europe)- this was seen by Edwin who said which was seen in Bede’s narrative: ‘’be-fore he set out on campaign he promised that if God grant him victory he would renounce the worship of idols and serve Christ’’; due to the success of his campaign he sent his daughter to be baptized. Baptism is a symbol of being reborn as a Christian, it is an important ceremony which conveys a lot of spirituality. Paganism is a reason why Our understanding and interpretation of conversion had changed overtime due to culture and society –evidence Physiological advancement – the meaning of conversion changed overtime there were more imitations of Augustine’s conversion which demonstrated that what it meant to be Christian during the medieval roman times to what it was in the later centuries have changed Sampson Staniforth Evangelical Conversion – Staniforth similarly to Augustine began by describing the pain that sufficed for him before his conversion which was illustrated: ‘but to continue crying and wresting with God, till He had no mercy on me. How long I was in that agony I cannot tell’. Evidently from this, we can perhaps assume from the description that life before conversion had been agonising, this is specifically demonstrated when he mentions; ‘but to continue crying and wresting with God’. Staniforth’s goes on to explain the significance of the conversion to his life as it was a defining moment. The prolonged wait for a sign from God. Hindmash mentions how conversions such as Stantiforth’s have 5 concepts which the story is focussed on: ‘autobiography, narrative, identity, conversion and gospel’. It is evident that modern te ‘p Sixteenth and seventeenth century The ideas of conversion have changed overtime which has been demonstrated through the narrative. Hindmash goes on further to speak about the Catholic’s understanding of conversion according to Puritans Thomas Goodwin and Philip Nye. They believed; ‘’England was ‘half reformed’ and they wanted to see a purer church’’pg 33. An example of the rise of conversion narrative which changed the ideas of conversion overtime is ‘spiritual brotherhood’; ‘’ preached the word of God in the same spirit and felt themselves to be members of a brotherhood’’, they ‘’ became a centre of reforming activity, teaching, and training that eventually sent many of them throughout the rest of England and even to the Netherlands and to the New World’’ (can you please rephrase this so it is not a quote and leave it red please). The puritans were described by Richard Baxter as: ‘’affection ate practical English writers’’; this illustrates the power of narrative and frame it was written in; they ‘’fostered spiritual autobiography in part by their stress upon religious experience’’.

Transformation and Mixture in Moby-Dick :: Moby Dick Melville

Classroom discussions of Moby-Dick often result in a heightened awareness of Melville’s depictions of duality in nature; for example, the contrasting sky and sea respectively represent heaven and hell and the foul-smelling whale in Chapter 92 produces a fragrant and valuable substance called ambergris. But interpreting Melville’s Moby-Dick only as an exercise in duality limits the scope of this complex novel. Melville’s contemporary, Margaret Fuller, also seems aware of the confining notion of duality and states in Woman in the Nineteenth Century: Male and female represent the two sides of the great radical dualism. But, in fact, they are perpetually passing into one another. Fluid hardens into solid, solid rushes to fluid. There is no wholly masculine man, no purely feminine woman†¦Nature provides exceptions to every rule (Fuller 293-4). Fuller explains that duality is a limiting and artificial concept, especially when used to describe nature. Transformation and mixture are concepts that more accurately characterize both nature and the writings of Fuller and Melville. Multiple perspectives are ideal for these authors, as is evident in Melville’s multifaceted Ishmael. At the end of the novel only Ishmael survives because he is able to view life and nature in an all-encompassing fashion. Melville is preoccupied with coffins in this novel, exploring the connection that this object has to nature -- an object that is made from nature (wood) and holds another part of nature (a body) after a natural progression has taken place (death). Melville seems fascinated by this odd and frequent custom of humankind of burying bodies inside a wooden box. Even seamen who remain unattached to land, such as Queequeg, desire such a ‘burial’ at sea. This coffin motif begins within the first few lines of Chapter 1, "Loomings," when Ishmael thinks of funerals: Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral procession I meet†¦ (Melville 3). This statement in the beginning of the novel introduces the reader to the coffin imagery that Melville uses throughout Moby-Dick and serves as the metaphor for transformative mixture throughout this paper. In Chapter 110, "Queequeg in his Coffin," Chapter 126, "The Life-Buoy," and the Epilogue, Melville explores many different and interesting representations of Queequeg’s coffin. Queequeg’s coffin cannot be defined only in terms of duality – it is not simply just a coffin and a life-buoy.

Theatre Royal in Winchester production of 1984 :: Drama

Theatre Royal in Winchester production of '1984' 1984 Evaluation =============== On the 19th November 2002 myself, and a group of year eleven students went to the Theatre Royal in Winchester to watch a play named '1984'. The plays main theme was about a society being treated unfairly and not being able to have rights or individuality. It showed people being extremely restricted on what they could do both physically and mentally. Watching it, it made me feel fortunate to have the rights I have and that I am not constrained on what I can do. The director wanted you when watching, to feel uncomfortable and distressed as you were watching one individual being tortured. The more torture shown, the more privileged I felt to possess the rights I do have. A variety of techniques were used to enforce the powerful message this play presented. At the beginning, a group of soldiers pointed at the audience and shouted 'Die Die' continuously, which made you feel threatened and also at the same time involved within the play. The set was quite basic yet effective. All the scenes featured two large wooden walls, which were moved for different scenes. These walls were used as a technique to change scene. When a new scene was started the walls would be spun round to illustrate a new scene, which was very effective. Throughout the play short videos were shown for a variety of reasons. These included: emphasizing a point within the play, to give new information to the audience or to add to the dramatic effect of a particular scene. Various lighting techniques were used including a spotlight. A spotlight makes you focus on one particular part of the stage where usually a scene is being acted. A spotlight can add tension and increased dramatic effect to a scene, for example when soliloquies are used. An additional lighting method used was to flash bright lights at the audience to illustrate a scene change. This was very effective as afterwards a new scene was taking place. As well as lighting techniques, the props used were very successful in making the scene more exciting and attention grabbing. One prop used was a counterfeit electric chair. In this scene the main character was being tortured using the electric chair. The smoke and sounds the chair was making made the scene even more dramatic and made you sympathise with him even more. The main characters included a man named Winston, and a woman called Julia who has already had already a couple of illegal love affairs. Both characters were deprived of their rights and wanted the same thing, freedom.

Luxury Goods and Jewellery in India Essay

The VERTU originally started in 1998 in Great Britain, now wholly owned subsidiary of Finnish company Nokia. The same year founder and Chief Designer, Italian Frank Nouvo began putting his ideas for Vertu on paper and the board of Nokia gave the project a green light. Frank Nuovo was a design strategist at Nokia from 1995 to 2006, when he left to become Vertu’s lead designer full time. Also in 1998 the company made it a company principle of hand making their products with â€Å"exotic, rare and naturally durable materials†. In 1999, their characteristic V form was established, and it is still highly visible across the Vertu product portfolio. In 2000 Vertu began taking shape as a company, locating their headquarters in England, and started an extensive Research and Development- project and decided on some of the parts that would go into the phones as well as some design decisions, such as the use of sapphire crystals as a design-tweak. Three years in to operations, Vertu was granted the Vertu Concierge Service as a patent and this is still one of Vertu’s edges in the luxury cell phones market. Vertu launched what they themselves call the â€Å"†¦first ever luxury mobile phone† near the Eiffel tower in Paris in 2002, the Vertu Signature. With the first phones now available on the newly created market for luxury phones, Vertu also had the opportunity to offer one of their customers help through the concierge service, with a flight from London to New York. In 2005 10. 000 concierge requests was made according to Vertu, a figure that is, and should be (due to their customers privacy), hard to confirm. In 2003 they open their 50th retail location. By 2010, Vertu had more than 90 own boutiques and was sold in over 600 locations in almost 70 countries, worldwide, according to Nokia`s financial statement for 2010. In 2007 Vertu went on a joint venture with Ferrari, creating an special edition phone marking the car company’s 60th anniversary. CONCEPT AND UNIQUENESS The concept of Vertu is to appeal to high-end customers who look for something unique in their mobile phones. Through meeting target customers standards about design, materials, price and brand Vertu has created a market for luxury mobile phones. The additional services, such as the Vertu Concierge give customers an elevated experience. â€Å"Vertu aims to enhance and enrich customers’ lives through the services and products we offer. This enrichment will now further extend to the experience in our stores with a focused, tailored approach to customer interaction. † by Perry Oosting, President of Vertu BUSINESS STRATEGY Nokia’s first idea was to create a phone that was completely contrary to the company’s mass phone distribution and enter the luxury market by creating the subsidiary company Vertu. In order to keep the luxury image and status of Vertu, the phone was not associated with Nokia’s mass mobile phones. During the recession in 2009, the CEO Perry Oosting, announced that Vertu was launching cheaper phones and accessories as a tool to keep up the market shares and survive the recession. Late 2011, the new CEO of Nokia, presented the new strategy; to use a new operating system from Microsoft for their smartphones. This resulted in a giant downfall in market shares. As mentioned above, Vertu’s flagship stores are located at the most exclusive shopping districts, amongst other Rodeo Drive in Beverly Hills, in order to be associated with the same luxury atmosphere as the neighboring brands. Vertu also put a huge emphasis on the store layout, everything from special glass for the display cases, to the floor and lightening. For the ultimate luxury experience, they also provide high personal service with top skills. For the exclusiveness and status of the luxury phone, it was chosen to be launched in connection with fashion shows at Paris fashion week and was thereby becoming to be viewed as a fashion brand instead of a technology brand. This was a strategic move to strengthen the image if the brand. Vertu chose to launch their products in the BRIC countries, which consists of some of the most emerging markets in the world today. Additionally, the Middle East and Japan are also two extremely important markets for Vertu, partly due to the strong technology awareness in these areas. The sales in these countries are larger than in the western countries and the luxury company is exploiting the new wealth of the generations with high luxury awareness and taste. In order to gain greater market share in the British and Hong-Kong market, Vertu has numerous joint ventures and partnerships with jewelry stores, such as King Fook Jewelry in Hong-Kong and Goldsmiths in Harrods, London. â€Å"We understand communications technology. We believe now that we understand the luxury industry. It will take something for competition to match that. † – Nigel Litchfield, former president of Vertu, 2002 MARKETING MIX Product: Vertu sells hand-made luxury phones made from fine materials like gold, platinum and sapphire. Along with every purchase the buyer receives superior service and is entitled to free ‘concierge’ service which assists users with exclusive services like restaurant and hotel reservations, priority bookings, and a global recommendation network. Price: Vertu prices range from $5,000 to over $300,000. The prices vary with the different collections and the materials that are used in them. Place: Vertu phones are selectively distributed. They are available at company-owned boutiques and at other various company-selected luxury stores like London Jewelers, Goldsmiths, Tourneau and Colette. Vertu locates its stores in luxury shopping districts of large metropolitan areas and opens relatively few stores. The stores are small, intimate and have a luxury feel more like that of a jewelry store than a cell phone store. All sale locations can be found on vertu. com. Promotion: Vertu acquires much publicity from sales to celebrities like David Beckham, Madonna and Gwyneth Paltrow. As well Vertu has collaborated with big brands before like Ferrari, Boucheron and Audemars Piguet. Vertu releases different collections at different times and will only make a certain number of phones in order to keep a prestigious image and attract buyers. Vertu has a website for publicity which features product descriptions and photos of celebrities who own Vertu phones. POSITIONING. Vertu was a pioneer in the luxury cell phone market and has positioned itself as the top-of-the-line targeting high-net-worth individuals. Vertu accomplishes this by using only the finest materials to manufacture their products which are all handcrafted ensuring that every product is of perfect quality. Vertu will release different collections each featuring different materials and designs which make the collections unique and prestigious; their most expensive line ever was the Signature Cobra designed by Boucheron, only eight were made and they cost $310,000 each. Vertu will often collaborate with other luxury brands, like Boucheron, Audemars Piguet and Ferrari, to extend their success and name in the luxury product world. Vertu offers superior and personalized service to its clients, including a free concierge service anywhere in the world, guaranteeing customer satisfaction and loyalty. They also position themselves by showcasing the celebrities who own their products as an indication that their products are for the rich and famous. Vertu has locations all over the world in 70 countries however they open relatively few boutiques solely in luxury shopping districts of large cities and thus are considered selectively distributed. Vertu boutiques are decadent, small, intimate venues which offer personalized service to clients wishing to make a purchase; the other stores licensed to sell Vertu products are also luxury stores like Tourneau Watches and London Jewelers in the United States, Bandiera Jewelers in Canada, Colette in Paris and Ernest Jones in London. Vertu very successfully maintains a prestigious image with its ultra-luxurious products and superior service through its positioning. VERTU SERVICES VERTU brand offers services that are unique, independent and carefully customized to the particular needs and desires of their customers. All services are integrated into gadget. VERTU CONCIERGE Vertu Concierge is added directly to the customer`s handset, offering luxury assistance and enrichment. The service is offered by voice call or email, and access through a dedicated key on the cell. At the moment of VERTU phone registration and activation of VERTU Concierge service, initial â€Å"fitting† call is proposed. It can be done immediately at purchase time or later up to client`s choice. The â€Å"fitting† call gives an opportunity to have full explanation of services offered by Concierge, as well as client can express her/his needs and desires which will be matched to this service. This includes the establishment of personal preferences, the range of the service they would wish and significantly, the sort of contact they wish to receive from Vertu. The Vertu Concierge Classic service offers the client with 24/7 access to a team of lifestyle managers, situated within a network of global centers covering all the main time zones including London, Dubai, Hong Kong, Tokyo, and San Francisco. Vertu Concierge also has managers on the ground in major destinations in order to create close relationships with specialist suppliers of goods and services specifically for Vertu clients. Many customers choose to use Vertu Concierge for their travel and lodging requirements as Vertu has protected exclusive opportunities for its clients. Vertu Concierge can contact the widest network of hotels, restaurants and airlines, and can as a result meet the exact preferences and expectations of their customers. Vertu Concierge clients may also ask for support with purchases ranging from small luxury items to accompaniments to their property range. Vertu Concierge is available in English, French, German, Italian, Russian, Arabic, Japanese, Mandarin and Cantonese. Vertu Classic Concierge is included free of charge for one year from the date of purchase of a Vertu handset. VERTU CITY BRIEF. Vertu City Brief is a global digest of information covering more than 200 cities and destinations worldwide. Launched in September 2009, it is now one of Vertu’s most utilized services. Independently written for Vertu by experts in their respective fields, Vertu City Brief is available on Vertu handsets in English, French, German, Italian, Russian, Arabic, Japanese and Simplified Chinese. Refreshed and updated on a regular basis, Vertu City Brief allows the user to hit the ground running on arrival in an unfamiliar territory or to explore new or exciting opportunities in their home town. If the customer does not see anything which exactly meets their requirements, Vertu City Brief is the perfect inspiration to begin a conversation with a Vertu Concierge Lifestyle Manager. VERTU SELECT Vertu Select delivers original articles selected to inspire, inform and entertain based on a user’s region, preferences and passions. Written by carefully selected global journalists, experts and organizations, the articles appear via the handsets RSS feed once a customer has registered their phone. Vertu Select is available in English, French, German, Italian, Russian, Arabic, Japanese and Simplified Chinese. VERTU. ME Introduced with the launch of Constellation Quest in October 2010, vertu. me is a service that provides the user with a Vertu email account and effortless harmonization of the device’s lifestyle and business tools. Should the customer choose, the user’s emails, contacts, calendar and task information can be automatically synchronized with Vertu’s secure servers, giving the benefit of protected back up of their data. Vertu offers the consumer complete peace of mind. Should the handset be lost, this data can be retrieved and seamlessly downloaded to a replacement phone. The system also ensures that whenever the vertu. me account is accessed, whether from the phone, a home or office computer (PC and Mac) or via the web, this information is up to date. TARGET CONSUMER The Vertu mobile is a highly luxurious product, which doubtlessly is made to fit the extremely wealthy population of this world. The main customers are rich and found in the urban areas, who are constantly searching for the extraordinary products. Furthermore, their flagship- and department stores are situated in the finest areas, in order to attract the highly rich international shoppers. â€Å"These are people who buy the best quality watches, the best quality fashion devices† – Nigel Litchfield, former president of Vertu The special features and services of the phone such as the â€Å"Vertu Concierge†, attracts customers who are constantly traveling worldwide – jet setters. The Vertu mobile was the first phone which was able function in over 180 different countries. This fact covered many needs and made it rapidly attractive for people who were constantly traveling such as celebrities and high ranked business people. In fact, Madonna, Beckham and Gwyneth Patrol were some of Vertu’s first users when it was launched. CONSUMER-BASED BRAND EQUITY PYRAMID Brand Salience For Vertu achieving right brand identity involves brand salience. People generally are not still aware of VERTU because it is relatively â€Å"young† brand and promotion is quite narrow. However their target consumer for sure can recall and recognize this brand. So conclusion here is that Brand salience is more depth than breadth. This basically means that even thou there are not yet many people knowing VERTU, but those who do , they know all insights of it, can easily recall it and understands what this brand is about. Brand Performance The product itself is at the heart of brand equity, as it is the primary influence of what consumers experience with a brand, what they hear about the brand from others, and what the brand can tell customers about the brand in their communication. Brand Performance relates to the ways in which the product or service attempts to meet customers` functional needs. This is on top level for VERTU brand. It is crucial to contribute to customers` desires, wants and needs. Vertu brand highly represents all what their HNWI customers want to have for paying a high price. The product is highly durable; it has distinctive logo, premium pricing and advanced technology in gadgets. Unique services provided for customers by VERTY also attributes to brand`s performance. Brand Imagery Another variable CBBE Pyramid is second type of brand meaning which involves brand imagery. Imagery deals with such a properties of a product, which meets customers` psychological needs. It is more about what people think of it, how they see it. VERTU`s imagery is extremely individualistic and stylish. When customer is buying VERTU cell he/she buys a beauty of it as well. As of VERTU`s customer has a strong judgment of a brand as high quality luxury product. Credibility is high and customer see VERTU as superior, advantageous brand. Brand Judgments Brand judgments focus upon customers` personal opinions and evaluation with regard to brand. This involves how consumer put together all from performance and imagery association to make kind of an evaluation. VERTU`s clients evaluate this brand as a high quality luxury brand. Brand Feelings This variable shows emotional response with respect to VERTU brand. It shows what feelings are evoked by the marketing strategy for the VERTU and how does it affect feelings about themselves and relationships with others. Customer of VERU is for sure status-conscious person. Customers of VERTU have a unique and warmth feeling about the brand. It can be exciting due to special relationship of beauty and technology in brand`s products. Customer feels it is trendy and relates to special status and therefore social approval. Customer feels high security within this brand due to all advantages provided. As VERTU makes consumer feel better self-respect, pride, fulfillment and accomplishment also occurs. Brand Resonance Final variable of pyramid shows brand relationships with a customer based on Salience, Performance, Imagery, Judgments and Feelings. As for VERTU even if general awareness is low the behavioral loyalty is very high, customer want to get back to this brand, consequently repeat purchase is possible. Brand loyalty is necessary but not sufficient for resonance to occur. Within VERTU brand customer is not returning to this brand again due to, for example, scarce of substitutes. VERTU attained their main goal- strong personal attachment to brand. It goes beyond of having just a positive attitude to view brand. Another important part of Resonance is active engagement. This probably is the strongest affirmation of brand loyalty. It occurs when client is willing to invest time, energy, money in to the brand. Constantly customers of VERTU are invited to special social events created by VERTU worldwide, and they are participating. Therefore VERTU has a very strong relationship with its customer. SWOT ANALISYS FOR VETRU STRENGHT * Masterpiece of design, engineering, and craftsmanship. * Was truly innovative pioneering brand * Strong reputation (Products have established strong reputation in their field) * Global expansion (Includes significant growth over last 10 years) * Customer service * Control of Quality(As produced just in one factory in England) * London Symphony Orchestra is creating ringtones exclusively for each model of Vertu WEAKNESSES * Extremely high production price (which leads to high product price) * Limited access as distribution is exclusive and limited (Missing opportunities for new customers) * Not able to buy online (More customers now go online). * Not enough technical innovation again (Many customers claim that gadgets are beautiful but not really practical) OPPORTUNITIES * E-business (launch â€Å"buy option† online) * Emerging markets * Mix VERTU styling with Nokia (in order to increase awareness ) * Change of consumer lifestyle (growing demand from young and senior people) THREATS * Increasing Quality of Competing Products and Number of those * Importance of counterfeiting (Chinese counterfeiting factories already picked up the idea) * Newer forms of luxury and innovation are constantly changing COMPETITORS. GOLDVISH Brand established in Geneve, Switzerland in 2003. Very Haut-Couture style but extremely not practical. Cells are difficult to buy, narrow distribution channel. View itself as a pioneering brand of luxury cell phone on official website which is obvious lie. The pioneering brand was VERTU. Only 3 lines of phones are developed since 2003. The most expensive gadget is â€Å"Le Millionaire† and it costs $1,000 000. MOBIADO Canadian-based manufacturer of luxury phones with modern minimalistic design launched in 2004. It has 3 main lines –Classic, Professional and Grand Line. Mobiado actively participates in social events in North America (such as Golden Globes and Couture Fashion Week in NY). The brand is not very popular in Middle East and Europe. Still Distribution channel is not wide enough. Price range is from $1,900 to $57,000 GRESSO Gresso is Russia-based company which started its activity in 2007, so it is the newest competing brand in luxury phones field. Gresso has 5 main lines and they also provide customized phone for their clients. But mostly popular in Russia and Vietnam, Ukraine and one distributor in USA so far, however it is compensated by their option to buy products online. For Gresso products price range is from $3,000 to $42,000. RECOMMENDATIONS Focused and customized segmentation is valuable in this market, so VERTU must continuously concentrate on their customers’ needs and desires. As any luxury company which faces constant global expansion it has to pay attention to counterfeiting problem. For example, Apple Inc. now faced big problem in China where whole Apple stores are opened and being â€Å"fake†. China already produces cheap unqualified cells, abusing the brand VERTU, so losses in long-run might be significant. VERTU must work on effective anti-counterfeiting strategy in order to preserve the â€Å"face† of the brand. During this study we have discovered that general awareness of the brand is still low, therefore VERTU might collaborate with mother-company Nokia in order to produce some kind of mix and make the brand more popular and easily recognized, as for example H&M and Roberto Cavalli collaboration. Vertu is constantly launching Limited Edition lines which are sufficient in this market, because â€Å"best consumer† wants something distinctive and really exclusive, and more important, the customer is ready to pay for that. Partnership with Ferrari, Boucheron and Ermenegildo Zegna increased popularity of the brand considerably. For that reason, we suggest VERTU to collaborate more also with fashion designers, thus gaining also â€Å"fashion† group customers. REFERENCES http://us. vertu. com/world-of-vertu/history/ http://i. nokia. com/blob/view/-/263802/data/1/-/form20-f-10-pdf. pdf http://www. cpp-luxury. com/en/vertu-lanseaza-o-gama-de-produse-mai-ieftina_444. html http://www. google. fr/url? sa=t&rct=j&q=vertu%20mobile%20strategy&source=web&cd=8&ved=0CGQQFjAH&url=http%3A%2F%2Fhighered. mcgraw-hill. com%2Fsites%2Fdl%2Ffree%2F007710708x%2F110214%2FGucciLouisVuitton_Vertu_CaseStudy. doc&ei=_GctT_WCE8HM0QWryK2tCA&usg=AFQjCNHW6_wzn1WCQxkM_OJSMTuizfXMcQ&sig2=MWFOk5Qo1sZB17F5_23Eew&cad=rja http://www. businessweek. com/globalbiz/content/dec2007/gb20071221_951028. htm http://www. icmrindia. org/casestudies/catalogue/Marketing/MKTG151. htm https://www. iveycases.com/ ProductView. aspx? id=52373 http://www. wital. net/en/press-events/press/vertu-services-overview/ http://mktg. uni-svishtov. bg/ivm/resources/CustomerBasedbrandEquityModel. pdf http://www. wital. net/en/press-events/press/vertu-retail-concept-2011/ http://www. brandchannel. com/features_profile. asp? pr_id=61 http://www. prschool. ge/img/every_day/Fashion%20Marketing. pdf#page=155 http://www. zdnet. co. uk/news/desktop-hardware/2002/03/22/platinum-luxury-phones-have-no-competition-2107188/ http://www. goldvish. com/ http://mobiado. com/ http://www. gresso. com/ http://vertu.com/ http://www. linkedin. com/company/vertu/statistics. http://vertu. com/en/discover-vertu/history. aspx http://vertu. com/en/help-and-support/contact-vertu/where-to-buy. aspx http://money. cnn. com/popups/2006/biz2/cellphone/4. html http://www. allbusiness. com/retail-trade/apparel-accessory-stores-womens-specialty/4250840-1. html http://www. icmrindia. org/casestudies/catalogue/Marketing/MKTG151. htm http://www. unet. univie. ac. at/~a0025537/php/ABWLs/FK-Marketing/store3/Internet_Exercise_Vertu. pdf http://www. wital. net/en/press-events/press/vertu-retail-concept-2011/.

Myths that Hide the American Indian Essay

Nearly everyone in this world is guilty of stereotyping against a certain race, religion, ethnic group, nationality, etc. One of those groups that are stereotyped is the Native Americans. Ever since the Europeans â€Å"discovered† the New World, there have myths about the Native Americans that lead to this stereotyping. In the essay, â€Å"Myths That Hide the American Indian† by Oliver La Farge, many of those myths are brought up. Due to these myths about the Native Americans, people’s views, past and present, of who and what they are have become extremely distorted, or essentially hiding the Native Americans from white people. One of the many myths that the Europeans created about the Native Americans is that they are bloodthirsty, ruthless savages. Oliver La Farge does a good job in his essay of discounting this myth by giving multiple examples of how most groups of Native Americans were a peaceful group of people that just were not quite as well developed socially, economically, technologically, etc. as the Europeans. Because of this lack of development on behalf of the Native Americans, the Europeans looked at the Native Americans as uncivilized savages. The reason that this myth was even created was to justify the slaughtering of thousands of Native Americans at the hands of the Europeans, with the justification being that they were inferior beings, which is another myth brought up. Once the Europeans had conquered the Native Americans, this myth was altered, now proclaiming that the Native Americans were drunken, lazy good-for-nothings. La Farge also discounts this part of the myth in his essay. Going back to the point of the Europeans thinking they were superior a superior race when being compared to the Native Americans, that would happen in any situation if the circumstances were similar because it is human nature to believe that if one race able to conquer another race, then they will believe they are superior. This is one of the continuing myths that have hid the Native Americans from white people. Another one of the myths that plagued the Native Americans is that the early European settlers tended to assume that all or most of the Native Americans had one culture and that they were all at about the same stage of development. This myth could not be further from the truth. â€Å"The tribes and nations that occupied North America varied enormously, and their condition was anything but static† (pg. 7). The cultures of the Native Americans were like snowflakes; no two were alike. Many different types of cultures are described in detail in the essay, proving that the myth is completely wrong. Each tribe of Native Americans had a culture that, while considered backwards and wrong by the Europeans, was unique. This myth helped to hide the Native Americans from white settlers because if the whites got to know the culture of one tribe, they would just assume that all of the other tribes had identical cultures. If that culture they learned had some barbaric practices, like the Aztecs sacrificing men by tearing out their hearts, they would assume that all tribes did that and further prove the myth that Native Americans were savages. That is how this myth hid the Native Americans from white people. The first myth that was ever started about the Native Americans is the Noble Red Man or Child of Nature myth. What this myth is about is the Europeans considered the Native Americans to be children of nature. Also, it â€Å"credited the Indian with either a penchant for flowery but dull oratory or an inability to communicate beyond ‘Ugh’ and grunts† (pg. 4). This myth puts the Native Americans on the same level as an animal. If the Europeans thought the Native Americans were that ignorant, then it is no wonder why they thought that they were a superior race. The Native Americans became hidden by this myth because it is so completely false and completely misrepresents them as a whole because they had developed languages and could communicate with one another. Myths about Native Americans have, and will continue to be a cause of people stereotyping them. Because of the stereotyping, most people will never know the truth about Native Americans and they will remain hidden from white people. This stereotyping has gone so far that today, Native Americans will get dressed up for tourists in a costumes and put on war dances just to please tourists who believe in the myth because if they did not, the tourists would question the legitimacy of them. That is how myths of the Native Americans have hid them.