Literature and Online College Newspaper Free Essays

Persepolis by Marjane Satrapi is a graphic novel that depicts the life of a female coming to age during a time of war and violence in Iranian. The editor of The Ithacan, an online college newspaper, criticized this work of literature as being nothing more than an â€Å"advanced comic book† and â€Å"not too challenging. † He argues that Persepolis and similar literary works do not encourage intellectual advancement and does not benefit college freshmen. We will write a custom essay sample on Literature and Online College Newspaper or any similar topic only for you Order Now Despite the more basic vocabulary, the side narratives, unique dialogues, and use of illustrations evoke understanding and compassion for not only the narrator, but also the underlying themes. Generally speaking, a novel about Iranian politics and war is a topic that is hard for most young people to grasp or to find interesting because subjects such as these are very foreign to American readers. Persepolis assists in making this topic more relatable. By using graphics to depict the character’s expressions, settings and actions it is easier for the reader to connect. For example, on page 53, Satrapi illustrates the many ways in which Iranian young people express their feelings about the violent atmosphere. They cope with this situation by turning to family, friends and God. In addition, the author shows the children creating games and a fantasy world that compares their lives to the lives of the tortured. An example of the effectiveness of the illustrations and narrative is shown on page 116. The frame depicts soldiers amidst bombs, gunshots and smoke with multiple soldiers lying on the ground, dead. Marjane, the narrator, is standing in the upper left corner appearing helpless. Marjane is then shown exiting the frame stating that the situation could have been avoided. This is a powerful message because it relates to the current situation in the Middle East where American soldiers and innocent civilians are killed everyday. The value of Satrapi’s use of dialogue to enrich the narrative is evident on page 197. In response to overhearing her collogues prejudiced comments, she angrily retorts â€Å"I am Iranian and proud of it! † (197). This simple statement shows that proud of her nationality and will not tolerate negative statements applied to it. On this page she then states her comprehension of her grandmother’s advice. If [she] wasn’t comfortable with [herself], [she] would never be comfortable† (197). This is indicative of her self-growth and acceptance of her ethnicity. Literature comes in many forms and styles. These include novels, memoirs, plays, poetry and non-fiction. Graphic novels are just another medium in which authors can express their viewpoint and influence readers. One type of literature is not bet ter than another; the vocabulary, sentence structure and degree of difficulty does not correlate to the books worth. What is more important is how it influences a reader and the thought process and intellectual stimulation that comes about. Therefore, Persepolis is more than an â€Å"advanced comic book†. It is an engaging, enlightening piece of literature that portrays a violent time period in the Middle East that can be universally applied to other situations in the world today. Works Cited Satrapi, Marjane. The Complete Persepolis. Illus. Marjan Satrapi. New York: Pantheon Books, 2007. Print. â€Å"Taking Initiative: Graphic novel reading selection furthers declined reading comprehension. † The Ithacan 6 Mar. 2008: 1. The Ithacan. Web. 29 Sept. 2010. . How to cite Literature and Online College Newspaper, Essays

Literature and Online College Newspaper Free Essays

Persepolis by Marjane Satrapi is a graphic novel that depicts the life of a female coming to age during a time of war and violence in Iranian. The editor of The Ithacan, an online college newspaper, criticized this work of literature as being nothing more than an â€Å"advanced comic book† and â€Å"not too challenging. † He argues that Persepolis and similar literary works do not encourage intellectual advancement and does not benefit college freshmen. We will write a custom essay sample on Literature and Online College Newspaper or any similar topic only for you Order Now Despite the more basic vocabulary, the side narratives, unique dialogues, and use of illustrations evoke understanding and compassion for not only the narrator, but also the underlying themes. Generally speaking, a novel about Iranian politics and war is a topic that is hard for most young people to grasp or to find interesting because subjects such as these are very foreign to American readers. Persepolis assists in making this topic more relatable. By using graphics to depict the character’s expressions, settings and actions it is easier for the reader to connect. For example, on page 53, Satrapi illustrates the many ways in which Iranian young people express their feelings about the violent atmosphere. They cope with this situation by turning to family, friends and God. In addition, the author shows the children creating games and a fantasy world that compares their lives to the lives of the tortured. An example of the effectiveness of the illustrations and narrative is shown on page 116. The frame depicts soldiers amidst bombs, gunshots and smoke with multiple soldiers lying on the ground, dead. Marjane, the narrator, is standing in the upper left corner appearing helpless. Marjane is then shown exiting the frame stating that the situation could have been avoided. This is a powerful message because it relates to the current situation in the Middle East where American soldiers and innocent civilians are killed everyday. The value of Satrapi’s use of dialogue to enrich the narrative is evident on page 197. In response to overhearing her collogues prejudiced comments, she angrily retorts â€Å"I am Iranian and proud of it! † (197). This simple statement shows that proud of her nationality and will not tolerate negative statements applied to it. On this page she then states her comprehension of her grandmother’s advice. If [she] wasn’t comfortable with [herself], [she] would never be comfortable† (197). This is indicative of her self-growth and acceptance of her ethnicity. Literature comes in many forms and styles. These include novels, memoirs, plays, poetry and non-fiction. Graphic novels are just another medium in which authors can express their viewpoint and influence readers. One type of literature is not bet ter than another; the vocabulary, sentence structure and degree of difficulty does not correlate to the books worth. What is more important is how it influences a reader and the thought process and intellectual stimulation that comes about. Therefore, Persepolis is more than an â€Å"advanced comic book†. It is an engaging, enlightening piece of literature that portrays a violent time period in the Middle East that can be universally applied to other situations in the world today. Works Cited Satrapi, Marjane. The Complete Persepolis. Illus. Marjan Satrapi. New York: Pantheon Books, 2007. Print. â€Å"Taking Initiative: Graphic novel reading selection furthers declined reading comprehension. † The Ithacan 6 Mar. 2008: 1. The Ithacan. Web. 29 Sept. 2010. . How to cite Literature and Online College Newspaper, Essays

Starship Troopers an Example of the Topic Film Essays by

Starship Troopers: Of the Cinema Situation and the Creation of Media Spectacle In the darkness of the cinemalies the very fascination of the film (any film), writes French literary critic Roland Barthes (as cited in Lopate, 1994, p.419) in his essay Leaving the Movie Theater. He was referring to the way darkness in a cinema hall gives off a hypnotic effect, encapsulating a viewer and giving him/her freedom. Barthes writes further: Need essay sample on "Starship Troopers: Of the Cinema Situation and the Creation of Media Spectacle" topic? We will write a custom essay sample specifically for you Proceed .the movie spectator could easily appropriate the silkworms motto: Inclusum labor illustrat; it is because I am enclosed that I work and glow with all my desire. (as cited in Lopate, 1994, p.419) Barthes also mentioned in the essay that even the reasons for going to a movie theater sets the stage for this mesmerizing effects of the cinema: the movie viewer is bored and in need of something to do in his/her leisure time (as cited in Lopate, 1994, p.419). University Students Often Tell EssayLab professionals:I'm don't want to write my essay. Because I want to spend time with my girlfriendProfessional writers advise: Your Best Essay HelperProfessional Academic Writing Services Online Paper Writing Service Write Your Paper For You Best Essay Writing Service All of these observations were made in 1975. Now, 32 years later, do Barthes observations still hold water? The answer is both yes and no. Generally speaking, people still go to cinemas because they have some free time and want something to fill this idle moment. But some things have changed. Let us take a contemporary movie Starship Troopers to try and examine how Barthes theories have changed and how they have stayed the same. Starship Troopers is a science-fiction movie loosely-based on Robert A. Henleins novel of the same title. Set in the twenty-third century, it depicts a story of a future Earth engaged in an interplanetary battle with the Arachnids, large insect-like aliens. It revolves around the story of Juan Johnny Rico (portrayed by Casper Van Dien), who was disowned by his family for his want of going to military service and fighting off the said aliens. He initially experiences failure in his chosen field and was about to quit when he heard news of his parents death due to the aliens use of an asteroid as weapon. With this, Johnnys determination to keep on battling the Arachnids strengthens. The movie goes on to show Johnny triumphing over a brain bug and being declared a hero of the military. (Starship Troopers (film), 2007) Starship Troopers was a technologically-advanced film, making use of special effects to paint a futuristic Earth. Made in 1997, it is a perfect example of what Douglas Kellner (2003) describes in his Media Culture and the Triumph of the Spectacle as medias proliferation of technologically sophisticated spectacles to seize audiences and increase their power and profit. In the creation of these spectacles, the movie industry stays true to Barthes words that films are made to hypnotize people. But the trance-inducing factor no longer stays with a viewers enclosure in a dark movie theater; it is now dependent with what the movie itself the amalgamation of images, script, music, and its underlying message presents. To completely capture the viewers attention, a movie has to present a social relation between people that mediated by images (Debord, 1992). Movies are now consumed not only because of boredom but also because of curiosity, of people starting to view films as a commodity (Deb ord, 1992). True enough, people nowadays go to movies simply because they feel that a particular film has something to offer them. They are no longer in fulfillment of the classic conditions of hypnosis, as described by Barthes. They willingly submit themselves to the hours it takes to watch a movie because they are in a specific cultural quest (Barthes as cited in Lopate, 1994, p.418). Indeed, movies right now just have so much to offer because of the creation of spectacles gimmicks that make a media product so much more enticing. Going back to our example, Starship Troopers, the movie alone gives audience a lot of reasons to spend their good money in theaters. As Kellner (2003) noted, most critically acclaimed and popular films recently are high-tech, which Starship Troopers successfully abides to. But aside from having amazing special effects, Starship Troopers also feature popular and good-looking actors Casper Van Dien, Dina Meyer, and Denise Richards. Also, the film contained images that appeal largely to viewers human instincts it had a lot of violence and sexual connotations. Also present was that seeming controversy that the director Paul Verhoeven and screenwriter Ed Neumeier built around the movie. Verhoeven and Neumeier sculpted the film to be a satire on fascism, promoting human superiority and promoting human survival over that of unknown, seemingly harmful species (Starship Troopers (film), 2007). The fact that Starship Troopers and a great deal of movies recently (like Star Wars, Austin Powers, and Three Kings) sketches a world that we have yet to see, it is pretty hard to conclude that its lure is in line with the movie lure that Barthes outlines in his essay: The film image is what? A lure. I am confined with the image as if I were held in that famous dual relation which establishes the image repertoire. The image is there; I fling myself upon it like an animal upon the scrap of lifelike rag held out to him; and of course, it sustains in me the misreading attached to Ego and to image-repertoire. (as cited in Lopate, 1994, p.420) For Barthes, people are glued to a movie because they see in it a representation of themselves. This, although possible, can be hard in todays slew of advanced movies. As Hinton (2000) mentions in his analysis of Leni Riefenstahls Olympia, films really do not present reality, but only a stylized version of it. Even if there is still that one character in Starship Troopers with whom moviegoers can possibly relate to, the carefully-structured spectacle of the movie (or other highly-stylized movies, for that matter) can be distracting and can easily move the viewers away from mirroring themselves in the film. Also, if we do get to relate to the characters in a movie, more often than not, what we see is not an image of ourselves but an image of who media wants us to be. While it may be true that, contrary to popular belief, we are no longer just puppets saying yes to what the media dictates and that we are now able to formulate our own opinions and do not give in to media coercion (Garnham, 1986), it is also true that what crosses our minds are still highly-influenced by media. True to Maxwell McCombs and Donald Shaws Agenda-Setting Function, the media has become really instrumental not in telling us what to think but what to think about (Littlejohn, 1998). In Starship Troopers, very few viewers realized Verhoeven and Neumeiers message of fascism and mostly saw the film as a simple action film (Starship Troopers (film), 2007). Only a handful of really critical minds may have interpreted the movies propagandist motives but the very implication of fascism in the film somehow made people think about what Earths situation will be when aliens start to reign the rest of the galaxy supreme they may have probably thought that the characters in the film did well in defending the planet and that theyd want the same thing to happen if aliens are to invade Earth. The reverse can also be true: viewers see something in a movie that the movie creators did not intend. Lets look at Leni Riefenstahls Olympia for a moment. The German director intended for the two-part film to just be a beautiful depiction of the 1936 Berlin Olympics. It was, as Hinton (2000) puts it, a poem, a hymn, an ode to beauty. Riefenstahls sole purpose in doing the film was to show the beauty of the Olympic Games. Yet critics Americans, most specifically saw the movie as more than what was intended. Some movie reviewers accused Riefenstahl to being a Nazi Pinup Girl and pointed Olympia as a propaganda film for the Nazis. Even with this popular American sentiment on the documentary film, some Hollywood names (like Walt Disney) still gave Olympia a chance and saw it for what its really about. United Press correspondent Henry McLemore even called Riefenstahls masterpiece as the finest motion picture he has ever seen and that it is not propaganda, but a magnificent filming of t he greatest athletes in the history of the world (as cited in Hinton, 2000, p.59). His statements were seconded by an editorial in the Los Angeles Times: It is regrettable that political issues should intrude to prevent the general distribution of the feature in America, because contrary to rumor, it is in no way a propaganda production but simply a superfine camera analysis of great athletic events accomplished with art and imagination which are truly international in scope. (Hinton, 2000) This only goes to show that even though movies are open for misinterpretations, there are people out there who are bound to read it the way the filmmakers wanted them to read it. The peoples reception towards Starship Troopers and Olympia prove that while people still relate to the characters in the movie, there is a high probability of their thoughts being directed by the filmmakers intentions. The fact that the director and screenwriter of Starship Troopers both admit that they had a specific message they wanted to impart in the creation of the film proves Kellners observation that media has turned into one big infotainment a marriage of information and entertainment (2003). This creation is apparent in the way we now have sensationalized news and in the way politics have become a ballgame where politicians can create plays with which to amaze the people. Aside from the underlying message of totalitarianism, Starship Troopers also makes its way into the infotainment society by the way its narrative is formed. Veering away from the traditional movie narrative, Starship Troopers inject some advertisements that relate to the military being portrayed in the film. These advertisements tell of messages intensifying the need for more Citizens (people in the Federal Service/military), praising the works done by the current Citizens, and picturing the aliens as bad guys. This narrative form is said to have been put in the movie to intentionally depict the way news has come to be propagandistic, fulfilling not only the information purpose of media but its entertainment function as well (Starship Troopers (film), 2007). This proof of Kellners perception of an infot ainment society intensifies the fact that Barthes previous assumptions about the cinema situation are becoming obsolete. Another way by which Barthes ideas are being contested is the way by which media is being culturally homogenized. Barthes descries cinema as being mostly an individual experience: For such is the narrow range at least for me in which can function the fascination of film, the cinematographic hypnosis: I must be in the story (there must be verisimilitude), but I must also be elsewhere. (as cited in Lopate, 1994, p.420) Cinema nowadays, however, is no longer one person-oriented. Because of the fact that filmmakers can now inject their own personal message into the films and that movie-watchers are able to interpret movies based on their own knowledge and experiences, movies can now be used to proliferate a preferred way of thinking. Arjun Appadurai (2002) expounds on the concept of cultural homogenization in his essay Disjuncture and Difference in the Global Cultural Economy. Appadurai (2002) explains that with homogenization, media is most likely to be Americanized or commoditized (as the concept of spectacle outlines). And it is true that with homogenization or globalization media can now reach different parts of the globe, making American films available to those living outside the United States. With this, we can now admit that to media experience is no longer based on ones personal experience but also on his/her knowledge of the culture from where the content came from and on the way his/her own culture is related to the source of the content. Todays cinema situation is hypnotic to some extent it still lures the people in with promises of freedom and orgasmic experiences and tries to lead the people into thinking within the same frame of mind as the filmmakers. But Barthes theory of a hypnotic cinema has been rendered obsolete with the creation of media spectacles, the structuring of infotainment, and the introduction of cultural homogenization all of which leads viewers into the cinema armed with a specific purpose for watching. Also, the realization that the viewing public has become smarter, being able to construct interpretations of films on their own, proves that films and media, in general can only extend its influence as much. The cinema situation has indeed changed. Whether this is a good or a bad thing, that depends on the critic and how s/he views the changes made. One thing is certain, though: the cinema situation will keep on evolving as technology advances and as new spectacles are being created. These fut ure changes, hopefully, will lead media analysts to consensually say that the media landscape has indeed changed for the better. REFERENCES Appadurai, Arjun. (2002). Disjuncture and Difference in the Global Culture Economy. In Planet TV: A Global Television Reader. New York: New York University Press. Debord, Guy. (1992). The Society of the Spectacle. New York: Zone Books. Garnham, Nicholas. (1986). The Media and the Public Sphere. InterMedia, 28-33. Hinton, David. B. (2000). Olympia. In The Films of Leni Riefenstahl. Lanham, Maryland, London: Scarecrow Press. Kellner, Douglas. (2003). Media Culture and the Triumph of the Spectacle. In Media Spectacle. London and New York: Routledge. Littlejohn, Stephen W. (1998). Theories of Human Communication (6th ed.). Albuquerque: Wadsworth. Lopate, Phillip. (Ed.). (1994). The Art of the Personal Essay. New York: Anchor Books, 1994. Starship Troopers (film). (2007, September 28). In Wikipedia The Free Encyclopedia.

IP and OSI Networking Essays

TCP/IP and OSI Networking Essays TCP/IP and OSI Networking Essay TCP/IP and OSI Networking Essay In this essay I intend to analyse why networking software is divided into layers, and to evaluate the advantages and disadvantages of such a division. I will then go on to analyse what the main differences between the networking protocols known as OSI and TCP/IP are. I will also attempt to analyse what factors led to their successes and failures respectively in terms of their diffusion into the technology sector. However, before we can discuss this, we must first be sure that we are aware of the meanings of terms such as networks, network architecture, protocols, and distributed networks/systems so I will begin by defining these phrases. Essentially, a network is the connection of two or more computers for the purpose of data communication and resource sharing. the formal definition of a network could be given as a number of interconnected devices capable of communicating and sharing each others resources (Bandyo-padhyway, 2000:157) As can be seen from the above quote, networking offers organisations a wealth of benefits. A network enables an organization to centralize its computer system and allows users to access the facilities of a large computer system via desktop computers. (Bandyo-padhyway, 2000:157) It could be said that network architecture is, in theory, a model for the set-up of a network. To help deal with this complexity, network designers have developed general blueprints usually called a network architecture that guide the design and implementation of networks. (Peterson Davie, 1996:29) Protocols, in the networking sense, could be considered as sets of rules or procedures that control how a message is sent from sender to receiver and all the factors involved in this process. A protocol is a set of rules or conventions which govern the way a message is transmitted from the sender to the receiver passing through a number of steps and via a number of network elements. (Bandyo-padhyway, 2000:178) Finally, a distributed network/system is where the tasks to be to be performed are distributed among a number of small PCs that are coordinated by a larger central computer. (Bandyo-padhyway, 2000:173) Having defined the aforementioned basic technological terms, I can now go on to my analysis of the reasons why networking software is divided into layers. The primary reason is that having separate distinctive layers reduces design complexity. By this, I mean having different layers means certain operations and tasks that must be carried out, can be carried out in a simple and organised order, rather than all at the same time. First, it decomposes the problem of building a network into more manageable components. (Peterson Davie, 1996:30) Layering allows for changes to be made at a specific layer, as a result of new ideas/innovation, and will not disrupt the software at other levels. Second, it provides a more modular design. If you decide that you want to add some new service, you may only need to modify the functionality at one layer, re-using the functions provided at all the other layers. (Peterson Davie, 1996:30) This means that it accommodates incremental changes more readily. (www. cs. wpi. edu/~rek/Undergrad_Nets/B03/HTTP_DNS. pdf) Another advantage of layering is that details of how the lower level services are implemented are shielded from the higher levels, allowing the higher levels to function more efficiently. This can be seen, from a more technological point of view, in the following quote. Many times there are multiple abstractions provided at any given level of the system, each providing a different service to the higher layers but building on the same low-level abstractions. (Peterson Davie, 1996:30) A final advantage of layering is that as a result of the different types of layers, making it so different types of translations can take place; different types of hardware are enabled to communicate. Having looked at the advantages of layering, I will now spend some time discussing its disadvantages. Some functions (like FDDI station management) really need to access and operate at multiple layers. (courses. cs. vt. edu/~cs5516/spring03/ slides/introduction_6. pdf) As the above quote displays, one disadvantage is since the software is split up into layers, functions will operate at one level at a time, where as some functions have the necessity to operate at several layers. Poorly conceived layers can lead to awkward and complex interfaces. (courses. cs. vt. edu/~cs5516/spring03/ slides/introduction_6. pdf) This quote shows us that unless a large amount of thought and work goes into each individual layer, then a very bad and hard-to-use interface can be the end-result. Another disadvantage is if new design for a layer is done, an old layer may become inappropriate or unsuitable given the properties of the new layer. (courses. cs. vt. edu/~cs5516/spring03/ slides/introduction_6. pdf) A final disadvantage of layering is something known as information hiding, this may take place and this can lead to inefficient implementations. (www-inst. eecs. berkeley. edu/~cs268/ sp03/notes/Lecture2. pdf) I have discussed why networking software is divided into layers as well as evaluating both the advantages and disadvantages of layering. I now intend to introduce the first of the aforementioned protocols Open Systems Interconnection (OSI), before then introducing the second. A number of different types of distributed systems were being developed in the 1970s and as a result, a range of standards had to be introduced. (Halsall, 1996:11) An organisation called the International Standards Organizaton (ISO) created the ISO Reference Model for OSI. The ISO was a body founded in 1945 to coordinate international standards for a wide range of industries. (The Internet in the Arena of International Standards) Below is a diagram of the OSI protocol, taken from Peterson and Davie. As can be seen, the OSI protocol has seven layers. The application layer provides the user interface to a range of networkwide distributed information services. The presentation layer is associated with the representation of data during transfer between two communicating application processes. The session layers job is to set up a communication channel between two communicating application layer protocol entities during a network transaction. The network layer is responsible for establishing a networkwide connection between two transport layer protocol entities. The link layers job is to build on the physical connection provided by the network to provide the network layer with a reliable information transfer facility. Finally, the physical layer is associated with the physical and electrical interfaces between the user equipment and the network terminating equipment. (Halsall, 1996:16, 17, 18) I will now introduce the second networking protocol so that we have a good understanding of them both, before analysing their differences. The second protocol is called Transmission Control Protocol/Internet Protocol (TCP/IP). TCP/IP was developed by the US Department of Defence (DOD) research project to connect a number of different networks designed by different vendors into a network of networks. (www. yale. edu/pclt/COMM/TCPIP. HTM) The idea behind the DODs thinking was that in the Cold War, if the right designated place was bombed successfully, then the whole countries network communication facilities would become inoperable. This was obviously be a bad thing and so the DOD wanted to develop a standard that would connect all the networks together to prevent this from happening. Below is the model of the TCP/IP protocol, taken from (www-staff. t. uts. edu. au/~sean/DSP. dir/dsp00s. dir/lect1. dir/sld014. htm) As can be seen, the TCP/IP protocol has only four layers. The application layer handles high level protocols. The transport layer deals with quality-of-service issues. The internet layer determines the path to forward packets of data. The network layer is concerned with all of the issues that an IP packet requires to make a physical link. (www-staff. it. uts. edu. au/~sean/DSP. dir/dsp00s. dir/lect1. dir/sld014. htm) Now that I have briefly introduced both of the protocols, I will now move on to my analysis of their main differences. A difference between the two protocols in terms of their establishers is that OSI was orally established by Telcos, a telecommunications company and had a large connected emphasis linked to it. TCP/IP came more from a computing background with a large connectionless emphasis associated with it. Another difference that should be noted is that the two models have opposing approaches. The OSI model has a top-down approach meaning the processes that take place within the layers start at the top of the model and work their way down to the bottom. The TCP/IP model has a bottom-up approach meaning the processes taking place within the layers begin at the bottom of the model and move upwards. As can be seen from the models, the visible difference is the number of layers present within each. The OSI protocol has application, presentation, session, transport, network, data link, and physical layers. Where as the TCP/IP protocol has only application, transport, internet and network layers. Even though some of the layers have different names, they essentially do the same thing. However, the presentation and session layers that are in the OSI model are not present in the TCP/IP model. This makes the two protocols technologically different. First there were the technical differences, chief among them that OSI had a more complicated and compartmentalised design. (Lyon Hafner, 2003:246) The above quote points out how the OSI design was considered to be very large and complex where as the TCP/IP design was far more simplistic and smaller. On the OSI side stood an entrenched bureaucracy, with a strong we-know best attitude, patronizing and occasionally contemptuous. There was a certain attitude among certain parts of the OSI community whose message was, Time to toll up your toy academic network,' recalled one ardent TCP/IP devotee (Lyon Hafner, 2003:247) We can see from the above quote that OSI was regarded as a potential official standard with a considerable amount of bureaucratic support, as opposed to TCP/IP, which was seen by some as a toy network for the academic world only, and would never have any real chance of becoming an official standard networking protocol. The reason being was that the OSI was created by the ISO, and the ISO had long been responsible for creating international standards for a variety of industries, as the following quote displays. Since the 1940s, ISO had specified worldwide standards for things ranging from wine-tasting glasses to credit cards to photographic film to computers. (Lyon Hafner, 2003:246) As a result of this official standardization reputation that ISO had created for themselves, OSI was backed by several governments, led by Europe, and was thought to be meeting the needs of the whole world. Another difference between TCP/IP and OSI, was that TCP/IP had actually been implemented where as the only thing OSI had to offer was the design model for the protocol, as the following quote shows. And it was a design, never tried. As far as the Internet crowd was concerned, they had actually implemented TCP/IP several times over, whereas the OSI model had never been put to the test of daily use, and trial and error. (Lyon Hafner, 2003:247) An extremely large difference between the two protocols is in relation to their impacts on the networking world respectively. OSI failed to become to the official international networking standard that it was predicted to be. TCP/IP, contrary to what many had anticipated, was a huge success within the networking protocol world and is used across the world today. However, one must ask, what factors led to this outcome? One factor was that one key TCP/IP developer, Bill Joy, decided that TCP/IP when bought was to come with free networking software, which was based on Unix. As can be imagined, the fact that one received free Unix networking software when buying TCP/IP with no extra charge dramatically helped push TCP/IP further than OSI. The first Sun machines were shipped with the Berkeley version of Unix, complete with TCP/IP. Berkeley Unix with TCP/IP would be crucial to the growth of the Internet. When Sun included network software as part of every machine it sold and didnt charge separately for it, networking exploded. (Lyon Hafner, 2003:250) To clarify, Sun was the name of the computer company that Joy joined as the Unix expert. Another factor that led to TCP/IPs success was the fact that ARPANET decided to switch over to it on January 1, 1983. ARPANET was the resulting internetwork developed when computer networks associated with a large number of universities and other research establishments were linked and it was in large usage. (Halsall, 1996:19) As a result, TCP/IP was pushed even further ahead when ARPANET switched its protocols from Network Control Protocol to TCP/IP as this meant only machines running the new protocols could communicate over the network. Lyon Hafner, 2003:248) Dennis Jennings tells us of a factor that largely contributed to the failure of OSI when it was announced by the manager of a company called ICL at a review meeting that the output of the OSI research would not be in the interests of ICL. The Commission then told ICL that they could do what ever they like. This meant that where would be no available implementation opportunities for OSI once the research had been completed, and Jennings feels that this made it so that OSI had absolutely no chance of success. So what ever the merits of having a set of open OSI protocols, it was a serious attempt to provide an available solution, and the Commission allowed the project to throw it away. OSI died at that meeting. Without available implementations, it had no hope. (Randall, 1997:218) Another thing worth saying is that because the Internet boomed and became increasingly popular, and TCP/IPs design had a layer devoted to the Internet, TCP/IPs popularity was again increased further as a result of the Internets rapid growth. One could argue that OSI, being a protocol that did not include a layer for the Internet in its design, was over-run by the Internets growth. A final factor I would like to mention is the belief that a main reason OSI was not a success was because it got too preoccupied with the standards process and attempting to approve too many that it became caught up with them. It is seen by some that this caused it to fail as it distracted OSI from the one single standard that it was supposed to produce, the following quote shows this. But ISOs plan to make the OSI protocols a single standard for all computer users was defeated by ISOs own practice of approving multiple standards. (International Standards). To conclude, the concept of layering within networking software is in usage as it provides many advantages in terms of the softwares performance itself. Although, it does also pose some disadvantages, I feel they are small in number are not strong enough to outweigh the advantages. My analysis of the two networking protocols, OSI and TCP/IP, shows their main differences in terms of technical as well as social factors. I have also discussed the two differing impacts the protocols had in the world of networking and have attempted to explain why by looking at important factors associated with their diffusions. From my analysis, one can see that OSI was mostly a failure, as opposed to TCP/IP which won the protocols war and is in large international usage today.

7 Reasons Why Slowing Down At Work Is a Good Idea

7 Reasons Why Slowing Down At Work Is a Good Idea You might think the best and most productive worker in the room is the one balancing 17 tasks at once and zooming up and down the halls, but you’d be wrong! It turns out that sometimes the smartest and most successful people are the ones who ease up on the throttle, turn down the pace, and work more slowly and mindfully. Here are just a few ways how a  slower approach to work can pay off hugely in the long run.1. You need more time than you think†¦ to think.It’s hard to do your best cognitive and creative work in the frenzy of the workplace. What if that frenzy were just†¦ pointless, though? If you start to think â€Å"slow,† you’ll give yourself time to ease the pressure, get creative, let your ideas simmer until they’re ready to emerge. Instead of jumping rapidly- and inefficiently- from task to task, try deliberately slowing down. You might be amazed at how much time you actually have in a given day when working effectively instead of in a frenzy.2. Your rational brain kicks in.You’ll be more confident in your ideas and decisions when you make them mindfully. Move away from your super fast automatic or â€Å"sympathetic† nervous system and those knee-jerk reactions, and towards the slower, more logical â€Å"parasympathetic† nervous system. You’ll get out of mental loops and autopilot and come to more logical decisions about which you can be more confident.3. Your listening skills improve.Are you frantically tuning people out, smiling and nodding because you’re just too busy to put down your task and listen? Curb this common behavior and learn to truly process the ideas and concerns of others. You never know when this might help you find the missing piece to a personal puzzle, or gain more respect and traction among your coworkers.4. You’ll make fewer mistakes.Working this way, slowing your pace to be more meticulous and measured, means that you’ll make fewer mist akes. And the mistakes you do make will be much easier to rectify. You might even learn something and have the time and space to internalize that lesson before moving on.5. Your brain will remember how to act.This kind of practice is also great because it will eventually train your brain to slow down and work this way automatically. Soon it won’t be a project, but just the way you work.6.  You can eliminate unnecessary work.Sometimes busy work is just that†¦ busy. Working slowly can help you realize which tasks are not necessary. Save yourself and your coworkers from extraneous work. Don’t create extra tasks for yourself or others when you could concentrate on the projects that really matter.7. You’ll learn to let go of stress.Instead of chewing your nails down to the quick and tapping your feet annoyingly while waiting for coworkers to finish off their tasks, concentrate on the work on your desk. Do it right, rather than fast. And instead of concentratin g on getting everything done, try working just on the task at hand and getting it done right. Relax a little and understand that it’s just not possible to leave work every day with a blank to-do list.

Accounting Theory (Australia) Essay Example | Topics and Well Written Essays - 500 words

Accounting Theory (Australia) - Essay Example Presently, the Japanese Generally Accepted Accounting Principles are recognized by the European Union. The Financial Services Agency of Japan is also working to have common regulations with the International Financial Reporting Standards. The Business Accounting Council has come up with deliberations about the treatment of consolidated financial statement based upon International Financial Reporting Standards within the purview of Japanese Security Exchange Law. This measure has been presumed as the regulatory response of Japan as it involves the treatment of IFRS based consolidated financial statement prepared by issuers of both, Japan as well as foreigners, to be listed in the Japanese market. Japan and other Asian countries should participate more into the regulatory authorities for their own benefit. Their valuable presence in the committees would voice their needs and requirements. Presently, the Accounting Standard Board of Japan is trying to build up consensus over various financial regulatory issues among the Asian economies. Among the various regulatory issues, BASEL reforms have been very crucial for the transformation of the banking sector. It has been observed that there have been certain issues in terms of compliance of BASEL norms in Japan. The financial disorder prevalent in the last decade and the continuous postponement of resolution of non – performing loan (NPL) hindered compliance with the BASEL standards in Japan along with propagating political intervention in the economy of Japan that considerably hampered bank regulations. Today, it is almost certain in the periphery of the financial regulations that IFRS would make way for GAAP in due course of time as it has already adopted by European Union. Japan should focus more on accounting standards of IFRS rather than that of GAAP to be in line with the

Select a Code of Conduct to Revise Assignment Example | Topics and Well Written Essays - 500 words

Select a Code of Conduct to Revise - Assignment Example In addition, the communication language in which the code of business conduct should convey the message should be understood by the employees (Waldmann, 2006). Corporate companies like Diageo and Coca-Cola prohibit their employees from taking for themselves or directing business opportunity to other people that business opportunity that the organization has turned down. This code of business conduct needs to be revised. This is because of the fact that if organizations like Coca -Cola are not interested with the business opportunity they should therefore provide the employees with the chance of taking up the challenge and provide the services needed. This should be allowed to provide the employees the chance to grow themselves. If an organization is not interested in a business opportunity, then it means that it is giving other people that opportunity. Therefore, why not give the same opportunity to the employees to empower them and make them have better income and advance their careers (Barth, 2003). However, this opportunity should not be discovered using corporate property or information. Diageo should ensure that employees should not use the organization’s resources, information or position for personal gain or competing with the firm. It may be hard to sometimes determine the line between personal and firm benefits. The best action to do is ask for permission for the use of any firm property or services that is not solely for the benefit of the organization. In addition, in order to protect the interests of an organization, it is important for companies to monitor and review all data and information contained on an employee’s company issued property. This is for the sole purpose of protecting the organization’s information from outsiders. Moreover, strict measures and discipline should be instilled to those violating the rules. In conclusion, it is important for organizations to have the code of business conduct as it serves as a