Trumans Decision to Drop the Atomic Bomb Essay - 488 Words

Trumans Decision to Drop the Atomic Bomb Many debates have been provoked based on President Trumans decision to drop the atomic bomb on Hiroshima and Nagasaki in 1945. The debate is not solely based on the bomb being dropped, but more on the actual necessity and intention of the bomb being dropped. I believe that the Presidents decision was based dually on military necessity and on the Nations reputation. Truman was not a dumb man; he was inexperienced and quickly expected to make important decisions based on very little information that he had been recently made aware of. I believe that his first thought was to just end the War. I do not think he felt the need†¦show more content†¦The first would be allies and American blood and casualties being too high. The other most prominent one, in my mind, is the idea of some one else winning the war that we have been most leading warriors in. This thought brings me to my next motive of why Truman might have dropped the bomb. I do not think Truman was unaware of the lasting effects of the atom bomb, but by the time these facts were presented to him, piled upon facts about the actual bomb and the projects supporting them, it was to late to change his decision. He needed to save face for America (which brings me to the next motive of pressure) even if it public opinion was not his main concern. Truman did not want to look soft upon the Japanese, something further consideration and negation of the plan to bomb would have caused in some officials eyes. Also, Truman and much of the rest of the nation did not like seeing the U.S. as moral failures like many other nations. Who knows what the reaction to the Presidents decision would have been like if he had decided to let an invasion with hundreds and thousands of our men involved take place. As previously mentioned, I also believed a motive for dropping the bomb was most definitely pressure from many people in power who surrounded him. Many officials did not want Stalins presence in the War so they felt that the quickest way to force surrender was the bomb. Also, even more people wanted to show that the United StatesShow MoreRelatedHarry Trumans Decision to Drop the Atomic Bomb1314 Words   |  6 PagesTo what extent was Harry Truman’s decision to drop atomic bombs on Hiroshima and Nagasaki justified? A. Plan of Investigation Research Question: To what extent was Harry Truman’s decision to drop atomic bombs on Hiroshima and Nagasaki justified? This investigation assesses President Harry Truman’s decision to drop atomic bombs on both Hiroshima and Nagasaki. It will determine whether or not his decision was justified. This investigation will scrutinize the reasons that made Harry TrumanRead MorePresident Truman’s Decision to Drop the Atomic Bomb Essay1555 Words   |  7 Pagesafter something has happened, what should have been done or what caused the event†. It is a fair assumption that most people understand the old adage â€Å"hindsight is always 20/20†; alluding to the fact that, in our everyday lives, we as humans make decisions based on what we know, what seems right and occasionally what makes our lives easier. The average person does not have the mental capability to consider every possible outcome that a choice will have on his entire life, all within the thought processRead More Trumans Blunder: The Decision to Drop the Atomic Bomb1766 Words   |  8 PagesThe atomic policy against Japan was closely related to the fear of Soviet expansion in Asia. U.S. leaders were strongly conscious of Russia’s agreement at Yalta to join the war against Japan three months past Germany’s surrender on May 7, 1945 (Fogelman, 124). Among the U.S. invasion of Japan planned for November 1, 1945, U.S. officials were doubtful about the cooperative mission with Russia in which Russia would have power at the peace table. However, the successful detonation at Alamogordo hadRead MoreHarry S. Trumans Decision to Drop the Atomic Bomb1857 Words   |  7 Pages President Harry S. Truman was confronted with a difficult decision on August 3, 1945 that would drastically change the history of the United States. President Truman decided to drop two atomic bombs on the Japanese cities of Hiroshima and Nagasaki in order to end World War II and the U.S. would soon meet another formidable enemy with the beginnings of The Cold War. The Cold War developed anti- and pro-Communist views, shift ing the United States’ focus towards defeating Communism and its supportersRead MoreEssay about Trumans Decision to Drop the Atomic Bomb504 Words   |  3 Pagesthe toughest decision in your life, whether sacrificing a million of our men and thousands of war ships and plans, verses several thousand of Japanese civilian populists. This decision was on the shoulder of Harry S. Truman, the United States President, who had to make this decision by deciding whether or not to drop a newly designed weapon. The atomic bomb was tested in the sands of New Mexico, where it proved to be very successful. Harry S. Truman made a very successful decision, because he wantedRead MoreTruman and Atomic Bombs649 Words   |  3 Pagestake a side and then write an editorial on Harry S Truman’s decision to order the dropping of the atom bomb. HARRY S TRUMAN amp; THE DECISION TO ORDER THE DROPPING OF THE ATOMIC BOMB Boom! Boom! Seventy thousands Japanese citizens were perished instantly after the first atomic bomb was dropped in Hiroshima on August 6, 1945. Japanese still refused to surrender to Allied forces. On August 9, 1945, with the dropping of the second atomic bomb in Nagasaki, where eighty thousands people were vaporizedRead MoreEssay Pres, Truman Atomic Bomb Decision1421 Words   |  6 PagesPresident Trumans Decision to drop the Atomic Bomb on Hiroshima and Nagasaki During World War II the war in Europe ended after the unconditional German surrender at General Eisenhowers Headquarters in Reims, France, May 7, 1945. After the unconditional German surrender in Europe the war shifted to Asia and the Pacific. As the war continued against Japan the Allied forces captured islands such as Iwo Jima and Okinaawa close to Japan brought the Japanese homeland within range of naval and airRead MoreThe Atomic Bombs910 Words   |  4 PagesDuring the 20th century, specifically the year 1945, the United States of America had two atomic bombs that the commander and chief, and president at the time, Harry Truman, knew about. President Truman plan was to drop the bombs on two of Japans cities, Hiroshima first and then Nagasaki. Truman’s plans went accordingly, which to this day leads to a very controversial topic on whether or not dropping the atomic bombs was a good or bad thing. There is evidence and reasoning to back up both claims, inRead MoreAtomic B ombs On Hiroshima And Nagasaki844 Words   |  4 Pagesdropped atomic bombs over the Japanese cities of Hiroshima and Nagasaki killing nearly 200,000 people. This resulted in Japans surrender in World War II. J. Samuel Walker analyzes this historical event in his book Prompt and Utter Destruction: Truman and the Use of Atomic Bombs. Over the past 70 years’ extensive research has been conducted and there is an understanding that Truman’s decision to drop the atomic bombs is inconclusive. It is impossible to determine that the use of the bomb was the quickestRead MoreWhy Harry Truman Dropped the Bomb on Hiroshima, and the Consequences for Humanity1355 Words   |  6 Pages the United States, led by Harry Truman, decided to drop the atomic bomb on Hiroshima, Japan, forever changing warfare. This paper will be dedicated to why Harry Truman decided to use the atomic bomb on Japan and the effects that this decision had on humanity afterward. The creation of the atomic bomb, and subsequently the Manhattan Project, was created in response to the belief that the German Government was in the process of creating atomic weapons. This belief was expressed to President Roosevelt

Fashion and Architecture Free Essays

The organic structure can be seen and thought of as a machine, a vehicle, every bit good as a edifice. Therefore it could be stated that dressing of an single provides a definition of personal infinite as do architectural constructions though they are bigger in graduated table. Manner and architecture have many connexions: they both aim to â€Å" do † shelter for the human being and reflect our gustatory sensation. We will write a custom essay sample on Fashion and Architecture or any similar topic only for you Order Now In this construct, it is widely accepted that manner and architecture relation started with the earliest work forces who used the same stuff for their vesture and for housing/shelter. This relationship has lead closer connexions between the two subjects, such as, both Fieldss have commonalties in their design procedure which makes them portion the same boundaries: Both designers and manner interior decorators aim to make perfect, comfy and beautiful signifiers for the human organic structure. On the other manus, Architecture and Fashion differ in many ways, such as, Fashion is inevitable to decease in shorter clip than architecture, it is related to smaller graduated table, and most significantly, Fashion is more about selling and ingestion while Architecture is monumental and relates to infinity. These differences wholly create a yarn of commodification and commercialization for Architecture. Architecture acts as a maker of infinite, i.e. , it acts as a symbolic metaphor and an agent of the society ‘s cultural values. Since the outer infinite reflects our interior infinites, this commodification and commercialization might take Architecture to lose its mission in the societal life. Therefore this work suggests that Architecture should acquire engaged in human infinites, traditions and cultural values of the society, sustainability, infinity, and integrity of the life, instead than temporalty of manner. This Master ‘s Dissertation aims to research the relationship between Architecture and Fashion from conceptual, imagination, materiality and planetary positions. This survey proposes that in today ‘s extremely globalised universe, it is about impossible to pattern architecture separate from manner since both humanistic disciplines are antiphonal to the persons ‘ and the societies ‘ civilization and environment. In a conceptual sense, both Architecture and Fashion address psychological perceptual experiences, and spacial constructions. From the imagination – ocular position of point, both humanistic disciplines reflect the gustatory sensation of the persons who occupy those infinites, and from the materiality context, Architecture and Fashion have many in common, such as, usage of cloths and stuffs, usage of engineering, and from the planetary point of position, both humanistic disciplines and creative persons in these Fieldss have an chance to interact closely with each other in particularly socially antiphonal, more sustainable, and economical design. The work sets out to research the function of Fashion in Architectural design and visa poetry from exploratory and interpretative positions, showing preliminary findings from the literature study, ocular stuffs, pronunciamento of the interior decorators, and personal observations and readings. This survey differs from the old surveies in the sense that although much of the literature finds out that the relation between Fashion and Architecture is about a must and inevitable happening, and they propose closer relationships, this survey proposes that this fact creates a hazard for Architecture to go from conceptualization and to travel towards commerce and commodification. In this manner, architecture becomes a consumer production, instead than the reading of the infinite. This thesis is further developed to plan our â€Å" Fashionable Hut † . Architecturally, we aim to stand for the timeless architecture tailored harmonizing to the seasonableness of the modern-day epoch. Introduction The stopping point relationship between Architecture and Fashion ( hereafter A A ; F ) is frequently referred to the usage of the same stuff for covering of his organic structure and for constructing shelter of the earliest adult male. The recent exhibition on this relationship Skin + Bones ( 24 April – 10 August 2008 ) has besides explored several parallel patterns between these two subjects from 1980s to onwards. These patterns included digital design procedure, usage of complex geometry, colors, lines, visible radiations, etc. Globalisation, which is widely accepted as the promotions in engineering, peculiarly transit and communicating agencies, enabled both A A ; F to develop more possibilities in design and flexibleness in application. Thus one of the purposes of this thesis is to research the common features and interrelatedness between Architecture and Fashion in a planetary construct. In fact, this thought has arisen from the observation of parallel growing of materi ality and designation in manner and architecture designs and executions. On the other manus, as this maestro ‘s thesis chief statement suggests, these close synergisms between the two subjects might make the hazard of commodification and commercialization in architecture and instead than an political orientation, architecture might go a consumer merchandise. The ground for this thought is that manner is marketing of desire while architecture is monumental ; manner is destined to decease in a short clip, while designers aim infinity via their musical compositions ; and most significantly, manner is a tool for fall ining to the society, being a portion of it while architecture provides privateness, i.e. isolation from the remainder of the universe. Our chief statement is that, the stopping point relationship between A A ; F, could make a hazard for architecture cut downing the architectural political orientation to the facing and exterior image, merely. Sing to the relation between A A ; F, we take conceptual, visual-imagery, and modern-day – age of globalization attacks to research the synergistic and discordant relation between the two Fieldss. In the conceptual geographic expedition, the constructs of beauty and its relation to architecture will be foremost explored in order to happen out manner ‘s and architectures common purpose to make the beautiful or perfect shelter and home for the human being. From the conceptual point of position, both A A ; F reflects the gustatory sensation, individuality, and civilization of the person and the society at a given period. However, this period is greatly short for Fashion compared to the infinity of architecture. â€Å" If manner is the linguistic communication of architecture, manner represents the broad – and – swirling-cultural currents that form and direct that linguistic communication † says Rybczynski, â€Å" architectural repute, every bit good as architecture comes on the manner ‘s sway. Therefore, at its most basic, â€Å" the mission of architecture is application of a manner on a infinite in order to show our gustatory sensation ‘ . On the individuality side, the manner system, as described by Barthes ( 1983, 277 ) is a â€Å" cultural object, with its ain original construction, and likely, with a new conclusiveness†¦ through the linguistic communication which henceforth takes charge of it, Fashion becomes narrative † . Therefore manner manipulates the ocular linguistic communication as a agency of reflecting the individuality of persons in particular, and the civilization of the society in general while architecture, in a broader sense goes beyond pull stringsing the ocular linguistic communication, but is more sophisticated in footings of pull stringsing the construct of the whole infinite. Manner is slightly a contemplation of the corporate individuality of a given group, such as, same gender, age group, occupational group, and so on, while architecture is for everyone in a given society. While manner is shaped by the persons, architecture shapes the society through the spacial applications. In am ount, manner can be described as the wall of the organic structure while architecture is the organic structure itself and the home environing that organic structure. On the ocular and imagery attack, A A ; F portion more in common, particularly with the developments in stuff and digital techniques, such as, high tech fabrics, fictile edifice stuffs, computing machine assisted design ( CAD ) package, and all that. One normally ascertained modern-day fact that architecture and manner are both basking the usage of fictile and flexible stuffs which enables designers, such as, Zaha Hadid and Rem Koolhass to borrow ruffling techniques from the manner interior decorators and manner interior decorators, such as, Lucy Orta and Yeohlee Teng borrowing from the construct of urban infinite and lastingness from designers However, these adoptions today are observed so often that it holds a danger for architecture to be reduced to come up, and the harmoniousness between the outer and inner of the construction is about lost ( this will be farther explored and discussed in the globalization construct ) . From the modern-day position, several issues will be explored: It can be said that modern-day epoch conditions, such as, computing machine aided designs, flexible and lasting stuffs, engineering and communicating agencies which are available about to everyone in the universe as forcing factors Fashion, Architecture and other scientific discipline and art subdivisions interact better than those in the yesteryear. The modern-day epoch is, of class, non without jobs: environmental issues, limited beginnings ( such as energy and H2O ) , planetary heating, in-migration and civil rights, and so on. Hereof, it is observed that modern-day epoch [ 1 ] interior decorators should be more socially responsible and interact in these issues more. That is to state, design should non be consumed so fast, interior decorators should move more environmental witting and socially antiphonal, sameness in planetary metropoliss might make a calamity, commodification and commercialization should be avoided, t he harmoniousness between the inner and outer surfaces and homes should non be avoided. If these can non be done because of the mass media and mass production, than forging the architecture is inevitable which is represented in our â€Å" Fashionable Hut † . From a simple point of view, the function of manner within architecture is relentless particularly on the surfaces and faades, coatings, and appliqus. The intent of this probe is to object to the typical relationship between F A ; A. The place of this thesis is that architecture should travel back to its earliest signifier. This thought is further developed with the design constituent which attempts to construct a wearable infinite in order to alter the surface easy in line with vesture manner. The architectural probe Centres on the inquiry: can architecture be fashioned instead than conceptualised? The remainder of the work is catalogued as follows. Dissertation Statement In today ‘s of all time altering environment art Fieldss and interior decorators are influenced by each other. However, when it comes the Fashion and Architecture interactions this relationship goes back every bit early as the Ice Age. This thesis explores three dimensions of A A ; F interactions with particular involvement on the African influence on Modernity: cultural, visual-imagery and planetary construct where each of these will carry on single subdivisions throughout the work. Aims Manner and Architecture have many analogues in footings of their aims and usage of graduated tables in add-on to utilize of colorss, angles, visible radiation, etc. The purpose of this thesis is twofold: to understand the relationship between A A ; F from the past patterns and to plan a construction stand foring the eternity of the architecture compared to the short life of manner. Methodology As for many humanistic disciplines and humanity surveies, the nature of this thesis is a qualitative 1. Therefore, informations will be collected through beginnings, such as interior decorators ‘ plants, web sites, and interviews in add-on to analysis of exhibitions, aggregations, designs, and constructions. Background: Beginnings In the clich signifier, the relationship between these two subjects back to the earliest adult male ‘s usage of the same stuffs for sheltering himself and for covering his organic structure. At its most simplistic description, building started with the earliest adult male constructing a shelter for him and so did the started when he covered his organic structure ( with the same stuff ) . The development of this interaction, chiefly from Semper ‘s position of point will be discussed in the theoretical chapter of this work. For the clip being, we foremost aim to separate manner from vesture and architecture from building by mentioning to their significances. The word manner comes from the Latin word fascia significance to do or a peculiar brand or form ( Kawamura, 2005, p. 3 ) . Although manner is largely used to show vesture tendencies, particularly, adult females ‘s vesture [ 1 ] nevertheless, in a broader term ( and for the intent of this survey ) it refers to the rapid alterations in tendencies that occurred particularly after the nineteenth-century industrialisation as a consequence of the developments in bring forthing new manner rapidly and someway cheaply. Fashion constructs desire, and it is a fleeting procedure. Architecture, on the other manus, is non merely doing or determining the construction, as Colomina defines it â€Å" architecture is the reading of the infinite † . It is an experiential, interpretive and critical, effect. Therefore architecture is a monumentary conceptual, ideological, and philosophical procedure which constructs vision in contrast to manner ‘s ocular facets. A A ; F interaction starts in a manner of exposing the individuality of an single and making the perfect spacial surface and construction, both Fieldss portion the thought of â€Å" the human organic structure and on thoughts of infinite, volume, and motion † and every bit good because both are a bed that communicates between the environment and organic structure with the ability to convey individuality on the personal, political, cultural and other degrees within life and society † . In lingual footings, manner could be described as ‘the visual image of the image individuality that the users want to reflect to the society ‘ . This individuality is non needfully to be the existent individuality of the individual ; it is instead about what we want the society to believe about us, but non truly what we are in existent life. Taking architecture as a linguistic communication defined by Jencks, contemporarily, architecture could be both defined as the visual imag e of our Real individualities, and individuality does non alter every bit frequently as manner tendencies do. However, as we conceive of it today ( and for the intent of this survey ) , architecture is an experiential, critical, and interpretive pattern instead than being about building merely. Therefore it dates back to the Greek Mythology of the Labyrinth ( BC 3 ) where Daedalus who built the Cretan Labyrinth is regarded as the first designer. Nevertheless, be due to the interpretive nature of architecture, contrary to the myth, Daedalus was non the first designer since he built the maze but did non understand its construction, Ariadne who interpreted the construction with the aid of a device ( a yarn ) should be regarded as the first designer ( Colomina, ) . Manner, on the other manus, developed in a different mode, while architecture aimed to determine the society, manner was shaped by the society itself. In fact, apart from vesture as an ordinary definition, manner started merely in the AD 1700s in line with the merchandiser capitalist economy and accelerated during and after the Indust rial Revolution since the working category could attempt to vie with the upper category in footings of vesture and dressing up [ 2 ] . Therefore, from the historical position, we can speak about the links between A A ; F merely associating the period after the 18th C. But, what drove such a relationship? In other words, how did architecture collide in the kingdom of manner, or vice-versa? Following subdivision aims to reply these inquiries in order to keep a theoretical background to our unfavorable judgment sing to today ‘s status. Conceptualization Architectural history, it turns out, was ideally situated to cover with the dual intension of manner as the history of vesture manners and the more specific usage of manner to denominate the procedure of alteration peculiar to capitalist economy. Because designers active around the bend of the last century were concerned straight with dress-either as an attempt to reform modern visual aspect or as portion of the scenography of interiors-and because they were profoundly engaged with the temporal problematic of making a modern manner, their arguments betray an interesting conflation of vesture as artefact and manner as procedure, which in other Fieldss has created ambiguity. To this they brought a theoretical heritage concerned with the beginnings or aboriginal footing of architecture as a fiction of enclosure, shelter, or brooding ; analogies to covering the organic structure were standard, and fabrics were postulated to hold played a important function. Dress design has been an facet . In fact, the closest relation between A A ; F might be stated as to make the â€Å" perfectly beautiful constructions and infinites † for the organic structure. In order to construe the infinite, as an designer, one should see it, and the Centre of the experiential universe is the human organic structure. â€Å" Our organic structures and motions are in changeless interaction with the environment ; the universe and the ego inform and redefine each other invariably † . Then, is the mission of manner to supply the most suited and comfy coverings for the organic structure to feel the infinite? While the importance of organic structure ( as proportion, motion, etc. ) was emphasised by Vitruvius in the BC20s, it was merely in 1900s when girdle was abolished from manner, and more recent, in 1960s that ( women’s rightist ) adult females argued dressing in a mode of unrestricting their existent motions. While the organic structure and architecture and the organic structure and manner are so near, on the one manus, as Wigley emphasizes, designers tried to get away from the temporalty and futility of manner ( represented as feminine decorations in architecture ) during the Modern Era, by their judgement that manner ( represented in decoration in architecture ) is something feminine and ugly, on the other, many of those ( male designers ) â€Å" Henry Van de Velde, Josef Hoffmann, Lilly Reich, Frank Lloyd Wright or their married womans ( Anna Muthesius, Lilli Behrens ) designed apparels. Others, notably Otto Wagner, Adolf Loos, and Hermann Muthesius, wrote about manner † . In order to understand this paradox, Kinney proposes to understand the post-modernism foremost. However, in a reductionist manner, we will follow the historical mode. The metaphor of human organic structure as an architectural infinite is non a new construct ; or it is non a construct that appeared merely in the Modernism intervals, it can be traced every bit back as Vitruvius [ 3 ] who explored the organic structure as a proportion to the construction. Harmonizing to Vitruvius, â€Å" no edifice can be said to be good designed which wants symmetricalness and proportion. In truth they are as necessary to the beauty of a edifice as to that of a well formed human figure, which nature has so fashioned † ( De Architectura, Gwilt Translation, 1826, p. 78 ) [ 4 ] . In order to make the beat, edifices should be designed harmonizing to three correlative elements: utilitas, venustas, and firmitas [ 5 ] ( Rasmussen, 1959 ) . So, as to Vitruvius, architectural design should mention to the unquestionable flawlessness of the organic structure ‘s symmetricalness and proportions [ 6 ] . Even so, The issue of beauty had been debatable for Vitruvius. On the one manus he made allusions to the harmonic ratios of Pythagorean musical theory, proposing there was a higher cosmic order underlying the judgement of beauty. On the other manus he gave architects the right to change proportions if the †eye † calls for corrections, or as the humanistic disciplines make advancement † . As the perfect beauty is seldom found in the nature, therefore decoration, as the interceding component between natural nature ( stuffs ) and the telling lines of the architecture ( Mallgrave op cit ) was needed. This interceding component between the natural nature ( organic structure ) and the perfect expression is dressing and accoutrements in the manner sense. As Ruskin provinces, this ornamentation should be â€Å" whatever God has created † , such as, â€Å" abstract lines and the whole scope of systemized organic and inorganic signifiers † . Nonetheless, after rediscovery of Vitruvius in the 15th C, people interpreted him harmonizing to their ain manner be due to linguistic communication obstructions, the stylish cosmetic ‘excesses ‘ of the Rococo and in the medievalism of the Gothic and particularly in the Renaissance Era, architectural decoration to a great extent relied on the human figures. 18th C is marked as this to a great extent usage of decor ation ( specifically human figures, Laugier ( 1755 ) was responded merely in the Modernist Era. Do n’t allow us be profuse in decorations, allow us set much field, something negligent, with the elegant and brilliant, allow us go through in common from the negligent to the field, from the simple to the elegant, from the elegant to the magnificent: Sometimes allow us travel briefly from one extreme to the other through resistance, the daring of which strikes the battle and may bring forth really expansive. This to a great extent trust of decoration should hold been in a manner that would non a quandary between the decoration usage and refute which likely best reflected by Winckelmann [ 7 ] ( 1755 ) . Once he stated that â€Å" sameness or humdrum as defects in architecture which consequence edifice without ornament and is like a healthy individual who is reduced to poverty, something no 1 looks upon as a good thing † , so subsequently he proposed that beauty is represented by â€Å" simpleness and repose, † ( chiefly by the Grecian interior decorators ) . ‘The Greeks entirely seem to hold thrown forth beauty as a thrower makes his pot ‘ ( because Greeks were close to the nature and they had copied it ) which he calls this beauty as baronial ( Lefaivre A ; Tzonis, 2004, pp. 369-370 ) . While Winckelmann was someway obscure between the ornamented and simplified beauty, his modern-day, and chief rival -Italian architect- Giovanni Battista Piranesi was clear abou t absolute beauty which came as the construct of â€Å" empyreal † placed above ‘beauty ‘ in the hierarchy. From an architectural position, Piranesi supported â€Å" to a great extent ornamented late-empire Roman architecture in resistance to the rigorists † . Similarly, Owen Jones who is regarded as one of the most influential design theoreticians and designers of the 19th C believes that decoration and proportion should function for the architectural flawlessness. In his words: â€Å" building should be decorated†¦ As in every perfect work of Architecture a true proportion will be found to reign between all the members which compose it, so throughout the Decorative Arts every gathering of signifiers should be arranged on certain definite proportions ; the whole and each peculiar member should be a multiple of some simple unit†¦ every decoration arises softly and of course from the surface decorated. . That is to state, the ideal beauty till the 18th C was represented by proportion, symmetricalness, and beat which were found in the human organic structure, of course. In the short infinite of a individual subdivision of such a low survey, one can state small about the broad gamut of the whole argument of beauty, decoration, nature, and all the above issues reviewed above [ 8 ] . Rather, we intend to supply a short background to the closer relationship between vesture and architecture with particular mention to Semper ‘s Theory of Dressing, Sullivan ‘s â€Å" bare edifices † , and Loos ‘ absolute rejection of decoration in organic structures and edifices wholly created cardinal alterations in vesture and manner [ 9 ] , excessively in the Modern Era. Identity Gottfried Semper, who broke the Vitruvian high ideals by his Four Elementss of Architecture, could be regarded as the first who straight pointed out the A A ; F connexion though arguably he might hold led cut downing architecture to the wall and roof by stressing merely the application of the development theory to these constructions. Harmonizing to Semper, thought of the wall evolved from the sequence of spacial enclosures and the phases of the development were: crude screen or woven mat, so metal overlay and, finally, rugs, whose colorful images were applied to the surface of masonry edifice to arouse a sentiment of monumentality. Further, Semper developed his â€Å" Theory of Dressing † aimed two facets: foremost, to underscore the importance of the fabric industry in the beginnings of architecture and 2nd, Semper was concerned with the trouble involved in the artistic usage of Fe in monumental architecture. . Among them Viennese Architect Otto Wagner examined the relationship between architecture and manner both in theory and pattern. However, his modern-day, Adolf Loos is most known for his involvement in manner ( as taking Semper ‘s ideals further and implementing them ) and absolute rejection and compulsion with the decoration in the human organic structure and in edifices. It must be noted here that, while crudeness referred to simpleness and purism for Semper, nevertheless, Loos took it as barbarian universe ( for him Papuans citing Africa ) . He ( Loos ) stressed that the more ornament the human being utilizations ( such as tattoos and piercings ) the most likely he / she is to perpetrate offense. Architects such as Le Corbusier, Hermann Muthesius and Peter Behrens besides perceived the edifice as a nicely garmented organic structure and therefore appreciated Loos ‘ lessons on dressing and edifice. By making so, Modernism, peculiarly as expressed by Le Corbusier, aimed t o interrupt from the Utopian life by extinguishing the mediaeval inequalities of societal categories, destroy the differentiation between the streets and chevrons, through art, particularly architecture since architecture is the art of life. Among the manner interior decorators, Coco Chanel is best known for her manner in line with Loos ‘ thoughts ( this construct and relationship will be examined further in the following chapter of this survey ) , nevertheless, Loos ‘ chief significance for this survey is that He was the first among those who declared the manner and architecture relationship aggressively. Ever since Louis Sullivan called for called for â€Å" †¦ forbearing wholly from the usage of decoration for a period of old ages, in order that our idea might concentrate acutely upon the production of edifices good formed and comely in the nude † ( we might besides add Adolf Loos ‘ proposition to link decoration with offense and crudeness [ 10 ] ) boulder clay Moussavi ‘s work on the Function of Ornament and Domeise ‘s Re-Sampling Ornament exhibition, late decoration has been a soiled word in architectural circles for decennaries. In fact, decoration was associated with gender, chiefly muliebrity and gender by the Modern Architects and therefore it should hold been omitted and FORM is to FOLLOW FUNCTION. This functionalism, as Loos puts it, for Modernist architecture is that the house does non hold to state anything to the outside ; alternatively all its profusion must be manifest in the inside ( cited from Colomina: 1996, p 32 ) . Colomina farther dec lares that the exterior is merely the screen of the book, it is dressing, it is mask. However, inside it is a speculation between the infinite and the person. While manner is the graphical interlingual rendition of the single human organic structure while architecture is the non-verbal communicating between the infinite and the society. Manner as a Mask is satisfies our quest for individualism within the context of a society while architectural building is a tool for fulfilling the demand for insulating ourselves, it is the existent shelter. While manner performs uniformity in the society, architectural manifest garbages limitations. This disjuncture farther brings out the refusal of fashion-able as in Le Corbusier ‘s statement: What we wished to show in art was the Universal and Permanent and to throw to the Canis familiariss the Vacillating and the Fashionable. [ 11 ] However, with Chanel ‘s response to that functionalism, in her â€Å" small black frock † that can be a party frock with accoutrements, such as, a pearl necklace, and besides it functions as a twenty-four hours frock with a cardigan or worn obviously, it can be said that manner felt in the kingdom of architecture, or looking at Le Corbusier ‘s statement above, we can state that manner invaded architecture ‘s infinite. This sarcasm that on the one manus, while architectural thoughts tried to get away from the manner, manner interior decorators, such as, Chanel, Schiaparelli, and Dior adored architectural ‘ thoughts on functionalism and excluding decorations and applied architectural manners in their designs, on the other manus, while saying how ugly the feminine manner, designers did non maintain off from manner ‘s infinite. Art, trade, architecture, manner one for all The above thoughts summarize Bauhaus ( and, International Style, after the World War II and migration of Bauhaus members to other states, chiefly USA ) farther to make rational societies through rational design. Bauhaus was radical school of art, architecture and design established by the innovator modern designer Walter Gropius at Weimar in Germany in 1919 ( Tate Modern ) . It was a topographic point of acquisition and implementing where the boundary lines between art and scientific discipline and adult male and machine were eliminated. This design issue was non restricted to merely architecture, but included about all subdivisions of art and design, such as, planing mills, their catalogues and even letter papers, or planing houses and offices, their furniture, the pictures, etc. ( from the Manifesto of Bauhaus by Gropius ) . The thought is straightforward: in order to unify the existence, as creative persons we must unify our manners and International Style, could provide a model f or this. The rules are: down with frontiers, up with the grid, no curving lines, so that art will be corporate for the universal, and general grammar of the form would be geometry [ 12 ] . . The phase workshop was an interaction between all public presentation humanistic disciplines, i.e. , music, dance, theater. Led by Schlemmer ( an designer, pigment, interior decorator ) Bauhaus costumes were designed in order to show philosophical and compositional look of cardinal organic structure types: pure, clear, and clean. Costume, architecture, organic structure, and infinite were dynamic and inextricably linked for Schlemmer. â€Å" His individual topic was the human figure. He reduced to puppet-like, planar forms that were expressive of the human organic structure as a perfect system of proportions and maps correspondent to the machine age † ( Bauhaus Archive Webpage ) . Schlemmer ‘s costume designs were playful and riotous, and restrictive for the human organic structure that inhabited his costumes reflecting Schlemmers theory that human types were unreal buildings. The map of costume is to stress the individuality of the organic structure or to alter it. Costume expresses the organic structure ‘s nature or it intentionally misleads us sing it ( extracted from: History of Modern Drama, Emory University ) . The skectches of organic structure and costumes designed at Bauhaus will be farther explored and critised in the following chapter. Meantime, from the chronological point of position, the true beauty of the Bauhaus motion harmonizing to the writer, is that it ‘s pronouncement anounced by Ludwig Mies van der Rohe: less is more [ 13 ] The construct is simplicity and clarity lead to high-quality design. From the position of an designer, it is a working method in which aesthetic seeks to amaze in a simple manner and without unneeded elements. The infinites are adapted to an thought of life that is intended to be simple, the walls linear, the floors with smooth texture and as a whole the construction that allows captivation. The virtuousness is absence, absence of decoration, unneeded inside informations that will ensue more esthesis. Since fewer elements mean fewer possibilities, minimalist architecture is more hard to accomplish flawlessness. Thus it represents the aesthetics of the silence, the infinite of civilization. The infinite maps create a dry run with the head and isolates us from the exterior. Modernism and its rules as an architectural motion were good set, as emphasised in the pronouncements, manifests and patterns of the bookmans and interior decorators. However, two paradoxes could be observed here: one is that although its rules were good set and communicated, its deductions diverted from state to state ( chiefly be due to common and homes of those topographic points ) hence a uniformed design could non be implemented, 2nd, although the word ‘modern ‘ refers to modern-day, being modern-day, following the developments, etc. Modernist designers were more Utopian in their rules as the lone acceptable truth in design issues. Skin and Bones, that is architecture, no acerate leafs The undermentioned old ages, with Ludwig Mies van der Rohe ‘s revolution, the glass house, the rules of Modern architecture, i.e. functionalism, concreteness, transparence, cleanness and elation all came to life. His pronouncement â€Å" less is more † represented the thought of less structural frame with more infinite. Although the rules of modern architecture remained, Le Corbusier ‘s â€Å" White World † was to be exchanged to the â€Å" Crystal Line † of Mies, nevertheless, the chief thought remained the same: Purism at its bosom. Mies proposed his supreme stuff, as sheet glass which meant elation and transparence. However, Mies ‘ compulsion with his belief that the lone redemption of architecture existed in his glass architecture, led commercialisation, or in other words, inexpensive architecture, which will be discussed in the concluding chapter of this work. Though rules of Modernist Architecture were good determined, nevertheless, Robert Venturi, Denise Scott Brown and Steven Izenour in 1968, recognised in a trip to Las Vegas that marks and symbols had taken the topographic point of decoration which they justify as a sort of interruption from the modernist Architecture. In fact, Venturi suggested planing from outside to inside as opposed to the Modernist designers ‘ planing from inside to outside would be better. In his words, â€Å" signifier accommodates map † , by which they mean â€Å" architecture as a common loft is non interesting, surface is interesting, the ornamented surface, allow ‘s engage symbols, iconography, and decoration † . They province that the â€Å" heroic and original † ( Modern ) architecture that is non relevant any more since it did non talk with expressed symbols that most people could understand. They drew two sorts of architectural infinite: â€Å" the small edifice with lar ge mark ( decorated shed ) † and â€Å" edifice as mark ( duck ) † . On the other manus, when ocular pollution became an issue, Venturi Scott Brown stresses that they do non intend the value ( the form ) , but the thought ( iconography as decoration ) is of import. Venturi and Associates ‘ claims are really of import in footings of the circling thought of decoration and iconography in architecture which were omitted in Modernism. However, contrary to the old periods, particularly the classical manner, they say ordinary could be preferred over original. The concern of this work is non a sociological position, nevertheless, since A A ; F in the modern-day epoch has developed from the sociological phenomenon, it must be noted here that Learning from Las Vegas teaches us â€Å" ( non ) larning from dad † both architecture and manner develop in a response to the shared values of the society, e.g. , political relations, scientific discipline, engineering, etc. In that sense, it could be said that what Venturi and his chaps observed in the Las Vegas Strip could be connected to post-World War II rise of the consumerism and pop art. Venturi ‘s call for marks and symbols as ornamentation was responded by pop art or vice-versa that 1960s and the subsequently decennary were dominated by it. The printed media, the easiness of bring forthing marks, the engineering to reproduce art ( including architectural design plant ) , mass production, consumerism, market consideration instead than inspiration, etc. all produced aggregate civilization. Art became an instant event instead than a advancement and all these were claimed as to be liberty, freedom, or interrupting utopia. sixtiess and 1970s were coined as the age of media by many bookmans, the age of media, mass production, fast ingestion, etc. which wholly led the globalization in the following decennary. Though we do non hold with Venturis ‘ thoughts today, which is the chief portion of our statement, architecture against the manner, specially, branding manner, Venturis ‘ work is really much of import for this survey: First, contrary to the Modernism ‘s purpose to edify the society- learning the metropolis ( and therefore society ) through ideals, doctrine, art instruction, and so on, Venturis manner was larning from the metropolis and milieus whether they represented edification or non. In their words, they preferred larning from the ordinary since it can take you to larn the extraordinary. Second, the mark ‘s going a picture besides means art ‘s being replaced by trade, and if we regard this as architecture in footings of urban infinite, we could so boldly province that feelings are replaced by reproduction since marks can be reproduced easy. Third, are hoardings as they claim to be about right, non the production of mass civilization? If architecture is reduced to hoardings, what will make full the spread between architecture and the life? no-one life in the rock age would cognize he [ sic ] was populating in the rock age. He would believe he was populating in the modern age. Today we believe we are populating in the modern age. Time will state [ 15 ] Yet Venturi ‘s statement is true in some senses, nevertheless, architecture as a contemplation of the societical issues, might besides be impermanent, since societies, excessively change quickly. Sing the changeless alterations in silhouettes of metropoliss, about in every period that the society is depressed ( as in the instance of London in the current fiscal crisis period ) , it can be said that in the modern-day epoch, architecture is besides impermanent. Venturi ( 1966 ) ( who coined the term â€Å" less is a dullard † ) was non the lone 1 who was bored by the less, the economic crises of the 1970s which led to 1980s liberalization besides caused the societal crises. Venturi suggested that edifices which attempted to be non-historical were someway non as rich or every bit interesting as those which gave a witting nod to, or borrowed from, the yesteryear. Similarly, Charles Jencks besides supported the thought that Modernist structures lacked the verve and diverseness which brings psyche to the urban landscape. He said that: Happily, we can day of the month the decease of modern architecture to a precise minute in clip†¦ .Modern Architecture died in St Louis, Missouri on July 15, 1972 at 3.32 p.m. ( or thereabouts ) when the ill-famed Pruitt-Igoe strategy, or instead several of its slab blocks, were given the concluding putsch de grace by dynamite As for the manner, this happily motion was celebrated with Mary Quintin ‘s mini skirts, fancy frocks, disco frocks, colorful frocks, which may be called the ‘total freedom ‘ or ‘complete pandemonium ‘ . Manner, excessively developed in the same mode: formality was abolished and insouciant dressing was promoted The really evident illustration of this fact is the so called Modss, who see Modernism as a life manner. Though occurred in the late sixties, Mod refers to Modernism, and can be taken as a reaction of the immature people against the complex life manners of the sixties. The ulterior decennary, 1970s characterised by societal conditions mentioned above, witnessed more colorful, but non needfully stylish or quality mentality was coined as â€Å" the decennary that gustatory sensation forgot † . The modern-day epoch, get downing from 1980s globalisation moving ridge will be the topic of the 3rd chapter of this survey and the catalogue. In short, Modernity has overcome Modernism as a consequence of mass civilization. Though manner followed architecture ( should we symbolize architecture by Las Vegas ‘ colorful marks and symbols ) , the after-Modernism period paralleled with the Modernism Era in footings of avoiding manner, as Robert Venturi, the most known opposition of Modernist Architecture provinces: Apparels are more delicate than edifices and their design can germinate more rapidly. Clothing is impermanent by its really nature, and architecture by its really nature, is every bit lasting as anything human can be in world. We change our apparels. but architecture is a environing invariable. In so far, from a chronological historical point of position, our literature study could be summarised as follows. The relationship between edifice and vesture started with the earliest adult male ‘s utilizing same stuffs for both sheltering and vesture himself. Harmonizing to the available earliest beginning Vitruvius ( around 25 BC ) the organic structure and architecture was studied in footings of proportion, therefore for a proper architecture human nonliteral ornamentation represented appropriateness. On the other manus, since perfect beauty is rare in nature, decoration was used as a interceding component between the natural and unreal. Initially, this decoration was whatever the God created ( Ruskin ) . However, the stylish cosmetic ‘excesses ‘ of the Rococo and in the medievalism of the Gothic created an architectural lack for a call to order ornamentation. The ornament argument has than continued till the Modernism Era. Gottfried Semper ‘s development theory farther explored the relationship between edifice and fabric in footings of wall stuff, and he so developed his theory of vesture since vesture was seen in close relationship with architecture. Semper ‘s theory was farther progressed by Adolf Loos, and other Modernists to exclude decoration and to manner the metropolis. Initially, for Modernists, manner represented muliebrity, architecture represented maleness and therefore architecture should hold kept off from manner, nevertheless, paradoxically, many Modern designers dealt with manner either by composing on it or by planing it. While architecture refused manner and stylish in the Modern Era, manner interior decorators adored their thoughts and implemented them. Gabriel ( Coco ) Chanel was the most celebrated manner interior decorator in that mode and she was besides celebrated with her esteem to Loos ‘ thoughts . In fact, from the above, we could state that Modernist designers did non get away from the manner ; so, they shaped the manner ( at least worked to make so ) . The following epoch has witnessed rapid alterations in media and mass production, therefore produced consumptionism and mass civilization. As a consequence, the order and edification that Modernism aimed to convey to the society was replaced with the thought of devouring the civilization, instead than bring forthing it. In that sense, architecture and manner developed correspondingly in the sixtiess and 70s. From the low study of this survey, to this point, no stopping point relationship between architecture and manner was observed. However, personally and as a bookman in architecture we observe a really close relationship between these two subjects. Therefore within the model given in the debut portion of this survey, following chapter aims to research these relationships and analyze the results. Semioticss Since manner and architecture are contemplation of the civilization and individuality, the development degree of the societies would surely impact the design constructs and possibilities. In a manner of showcasing the individuality of an person, both profession portion the thought: The human organic structure and on thoughts of infinite, volume, and motion † and every bit good because both are a bed that communicates between the environment and organic structure with the ability to convey individuality on the personal, political, cultural and other degrees within life and society. From the position of sociology, manner, or in a broader pregnant adult females ‘s dressing can be looked as a ocular representation of their aesthetic gustatory sensation while with a few exclusions, such as Le Corbusier ‘s Le Modulor, early twentieth-century modernists ignored ocular mentions to the organic structure ; alternatively, they focused on the actions of the organic structure. The higher intersection between Architecture and Fashion was observed after the Modern Era, or better termed as the â€Å" Late Modern † . While the earlier periods depended on drawings and illustrations, Modern Era has witnessed several developments in imagination, such as, picture taking, cinematography, and telecasting. The great promise of picture taking was that it would state the ‘truth ‘ . Yet the ‘truth ‘ of picture taking is merely a more convincing semblance, choice and ruse lurking behind the looking nonpartisanship of the mechanical oculus. Fashion drawings frequently give more accurate information, yet it is the photographic image that has captured the feel of modern apparels, and in so making influenced them. How to cite Fashion and Architecture, Essay examples

Financial Accounting for WorldCom Group- myassignmenthelp.com

Question: Discuss about theFinancial Accounting for WorldCom Group. Answer: On the date of July 21, 2002, the WorldCom Group which is essentially a telecommunications company with a revenue amount of more than $30 billion did file for protection for bankruptcy under Chapter 11 of the U.S. Bankruptcy code. The issue that occurred in the company was that from the year of 1998 to 2000, WorldCom did deliberately decrease the amount of reserve accounts in order to cover up for the liabilities of the companies that it had acquired. WorldCom did make an addition of $2.8 billion from the part of the revenue to these reserves. The reserves were not able to cover it as a result a particular mail was sent on December, 2000 to the respective Texas division reporting this issue. In order to manage this, the CFO, Sullivan instructed the employees or the key members of the organization to tune up the operating costs as long-term investments by an amount of $3.85 billion. This resulted in the scandal that turned the huge losses into enormous profits. To be more clear the ne t income of the company increased by $1.38 billion in the financial year of 2001. The assets were also overstated (Yallapragada, Roe and Toma 2012). The disparities that were observed in the financial statements of the company was that the capital expenditure in the domain of computer expenses was not recorded by the amount of $500 million. The entry of $2 billion was also questionable. Even the profits were increased by the amount of $3.8 billion. The issue or the misstatements that were carried out in the year of 2001 and in 2002 were that the line costs especially the costs related to the utilization of third-party network facilities and services were misstated in the financial statement as capital expenditures. This unethical practice was at first noticed and reported by Cynthia Cooper who was the vice president of the internal auditing team and then reported to the Securities and Exchange Commission. The company accepted its fault and surrendered that these transactions were not in accordance to the generally accepted accounting principles and this resulted in the termination of the CFO, Sullivan. The suit filed by SEC was published on the following day. The turning of line costs into capital expenditures resulted in the fake increase of the net income and earnings before interest, tax, depreciation and amortization (EBITDA). The statement submitted by the company to the SEC also projected the fact that some reserve accoun ts were materially reversed thus further increasing the revenue unethically (Lennox, Lisowsky and Pittman 2013). The situation that was most critical in the case was that capital expenditure in the domain of computer expenses was not recorded by the amount of $500 million. The entry of $2 billion was also questionable. Even the profits were increased by the amount of $3.8 billion. Such fraudulent tasks led to the downfall of the company (Sharma and Panigrahi, 2013). From the cash point of view the fraud hugely did affect the cash flow statements of the company that is the operating expenses were purposely shown as investing expenses. The entire fraud committed not only brought upon the downfall of the company but also resulted in the lowering of the share price of WorldCom to a figure as low as $0.6 due to the negative vibe about the company which had already captured the market. In addition to this almost 17000 employees lost their jobs. WorldComs external auditor Arthur Andersen developed his own auditing approach rather than the traditional approach towards the financial statements. He overlooked many journal entries with absurd amounts without any proper background data or documentation. Even the audit committee was not competent enough to notice the improper entries or identify the material misstatements done or the fraud committed. The relationship or the communication between the management of the firm and the audit committee was also poor. This resulted in delay of the SCF in showing red flag to the company. SCF came to know about the fraudulent activities after the internal auditor of the firm Cynthia Cooper did uncover the fraud worth $3.8 billion (Pedneault et al., 2012). References Lennox, C., Lisowsky, P. and Pittman, J., 2013. Tax aggressiveness and accounting fraud. Journal of Accounting Research, 51(4), pp.739-778. Pedneault, S., Silverstone, H., Rudewicz, F. and Sheetz, M., 2012. Forensic accounting and fraud investigation for non-experts. John Wiley Sons. Sharma, A. and Panigrahi, P.K., 2013. A review of financial accounting fraud detection based on data mining techniques. arXiv preprint arXiv:1309.3944. Yallapragada, R.R., Roe, C.W. and Toma, A.G., 2012. Accounting fraud, and white-collar crimes in the United States. Journal of Business Case Studies (Online), 8(2), p.187.