Propaganda During The 20th Century And The Onset Of World War

Propaganda has always held sway over hearts and minds. Although the United States’ first large-scale wartime experience with propaganda in its semi-modern form of ‘yellow journalism’ took place during the Spanish-American War , primitive forms of it have existed since the days of â€Å"the tattoo-covered Caddo warrior, whose body attests to every victory, accomplishment, or god worshiped† and â€Å"Hannibal’s titanic war elephants advancing across the Italian plain.† Even â€Å"the ‘rebel yells’ of Confederate soldiers proclaiming that a charge was about to ensue† can be considered a sort of propaganda because in its most simple definition, propaganda is â€Å"the manipulation of opinion.† However, the modern propaganda which Americans are most familiar with is well summed up by the Merriam-Webster definition: â€Å"ideas or statements that are often false or exaggerated and that are spread in order to help a caus e, a political leader, a government, etc.† The beginning of the 20th century and the onset of World War I marked the beginning of the true modern propaganda era, and throughout the 20th century, propaganda has grown in scope and influence, as well as been altered in how it is disseminated among and marketed to the people. â€Å"‘There is little exaggeration,’ wrote political scientist Harold Lasswell in 1938, ‘in saying that the World War led to the discovery of propaganda both by the man in the street and the man in the study.’† Indeed, in the period directly after WWI, propaganda, aShow MoreRelatedThe And Collective Anti Semitic Violence1679 Words   |  7 PagesCollective acts of violence during the late nineteenth century and early twentieth century became more prominent and apparent since the Civilizing Process meant that violence was no longer an inherent part of everyday life. 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Clockwork Orange And The Age Of Mechanical Reprodu Essay Example For Students

Clockwork Orange And The Age Of Mechanical Reprodu Essay ctionClockwork Orange and the Age of Mechanical ReproductionFor Walter Benjamin, the defining characteristic of modernity was mass assembly and production of commodities, concomitant with this transformation of production is the destruction of tradition and the mode of experience which depends upon that tradition. While the destruction of tradition means the destruction of authenticity, of the originally, in that it also collapses the distance between art and the masses it makes possible the liberation which capitalism both obscures and opposes. While commodity fetishism represents the alienation away from use-value and towards exchange-value, leading to the assembly line construction of the sameas we see relentlessly analyzed by Horkheimer and Adorno in their essay The Culture Industry. Benjamin believes that with the destruction of tradition, laboratory potentialities are nonetheless created. The process of the destruction of aura through mass reproduction brings about the destruct ion of traditional modes of experience through shock, in response new forms of experience are created which attempt to cope with that shock. Even the most perfect reproduction of a work of art is lacking one element: its presence in time and space, its unique existence at the place where it happens to be. This unique existence of the work of art determined the history to which it was subject throughout the time of its existence. The authenticity of a thing is the essence of all that is transmissible from its beginning when substantive duration ceases to matter, he says, the authority of the object is threatened. (Think, for example of Alexs response to high art) technology has subjected the human sensorium to a complex kind of training. There came a day when a new and urgent need for stimuli was met by the film. In a film, perception in the form of shocks was established as a formal principle. That which determines the rhythm of production on a conveyor belt is the basis of the rhyt hm of reception in a film. (Motifs in Baudelaire) Benjamin distinguishes between two kinds of experience: Erfahrung something integrated as experience, and Erlebnis, something merely lived through. Erlebnis characterizes the modern age and refers to the inability to integrate oneself and the world via experience. Erlebnis, then, is the form of experience of late capitalism, and our relation to commodities is characterized by ahistoricity, repetition, sameness, reactiveness, all the categories which the Culture Industry will describe as liquidating culture in the present post-holocaust era. The desire of the contemporary masses to bring things closer spatially and humanlyis just as ardent as their bent toward overcoming the uniqueness of every reality by accepting its reproduction. The fact of this desire for the reproduction over and above the original is precisely what Horkheimer and Adorno believe is destroying culture, for contrary to Benjamin, Horkheimer and Adorno assert that a ny emancipatory possibilities are re-absorbed into capitalism, and fascism turns out to be the midget in the Chess-playing machine of capitalist oriented democracy. They set out, like Poe in his article Maelzels chess player, to show that capitalism has a hidden motor and it is none other than fascism. Benjamins essay The Work of Art in the Age of Mechanical Reproduction provides us with an outline of the history of the work of art and the historical changes, which have led to the transformation of experience from Erfahrung to Erlebnis. It is only in the post-modern or so called post-industrial age that the concept of autonomy handed down to us from Kant, among others, begins to reveal it ideological nature. Benjamins analysis of autonomous art not only destroys our notions of the wholistic work, but also dispels the illusion of the artist as transcendental creator. Let us look for a moment at his comparison of the painter to the cameraman. The painter maintains in his work a natura l distance from reality, the cameraman penetrates deeply into its web. There is a tremendous difference between the pictures they obtain. That of the painter is a total one that of the cameraman consists of multiple fragments, which are assembled under a new law. Thus, for contemporary man the representation of reality by the film is incomparably more significant than that of the painter, since it offers, precisely because of the thoroughgoing permeation of reality with mechanical equipment, an aspect of reality which is free of all equipment. And that is what one is entitled to ask from a work of art. (Walter Benjamin, Illuminations, The Work of Art in the Age of Mechanical Reproduction, p. 230) Benjamin informs us that the surgeon and cameraman share in common the apparent act of penetrating into the web of reality to come up with fragments assembled under new laws, something which neither the magician nor the painter are capable of doing. The magician and the painter refer to a w holistic totalizing representation of reality. They are the producers of what has become a fetishized autonomous work. By way of contrast the figures of the surgeon and cameraman, and nowadays the cybernetician or genetic engineer plunge into reality itself and reassemble it from the bottom up. Along with the global controller who is responsible for the behavior of every part, any possible way of understanding the whole from these reassembled fragments is impossible. The maker vanishes at the moment reality is reassembled. Art escapes the gravitational pull of ritual and aura by virtue of its thoroughgoing technization of representation and, importantly, the complementary technization of perception itself. Other modes of representation allow their equipmentality, the residue of their technique to remain strictly visible, whereas film, by virtue of its extreme technization makes the technical aspects invisible. Film provides the illusion of a more direct apprehension of reality. Dist raction replaces concentration. Evidently a different nature opens itself to the camera than to the naked eye if only because an unconsciously penetrated space is substituted for a space consciously explored by man. Even if one has a general knowledge of the way people walk one knows nothing of a persons posture during the fractional second of a stride. The act of reaching for alight or a spoon is familiar routine, yet we hardly know what has really gone on between hand and metal, not to mention how this fluctuates with our moods. Here the camera intervenes with the resources of its of its lowerings and liftings, its interruptions and isolations, its extensions and accelerations, its enlargements and reductions. The camera introduces us to unconscious optics as does psychoanalysis to unconscious impulses. (236-237) As mechanically mediated dreams, film and photography and now Virtual Reality are all about the interpenetrating of human and image with equipment; the trajectory of futu rism, the dreamt of metallization of the body is completed in our own era where it will be impossible to know whether one is experiencing reality or VR. The equipment-free aspect of reality here has become the height of artifice; the sight of immediate reality has become an orchid in the land of technology. (233) Individuality itself breaks down and the individual viewer becomes equivalent to mass culture through mass reproduction. The destruction of uniqueness renders even the western metaphysical subject obsoleteit is this obsolescence of the unique which is reflected in our own culture of commodity obsolescence. Horkheimer and Adorno (p. 126) rail against the emancipatory imagery of Benjamin, for real life is becoming indistinguishable from the movies. For Horkheimer and Adorno this means a stunting of the mass-media consumers powers of imagination and spontaneity although as Benjamin asserts quickness, powers of observation, and experience are undeniably needed to apprehend film at all. Horkheimer and Adorno show that nevertheless sustained thought is out of the question if the spectator is not miss the relentless rush of facts. Even though the effort required for his response is semi-automatic, no scope is left for the imagination. Those who are so absorbed by the world of the movie by its images, gestures, and words that they are unable to supply what really makes it a world, do not have to dwell on particular points of its mechanics during a screening.(127) The culture industry as a whole has molded men as a type unfailingly reproduced in every product. (127) Clockwork Orange, is a film which analyses this process, film forces its victims to equate it directly with reality this is the conditioning process which is chosen by Alex, his formally astute powers of observation are perverted in the forced viewing of films (see the image at the header of this article) so that he equates violence, and the capacity to respond to violence with an unconscious linki ng to a feeling of death. Because the apparatus presents not a world to explore, but a screen upon which images are projected, Alex, like a prisoner in Platos cave, is afflicted, willingly/unwillingly, with a type of motor paralysis which makes the reality test impractical him. He is reduced to a subject remotely controlled by the cinematic apparatus and science. That this is perceived pleasurably for the mass audience might be linked to regression to a state of infant-like passivity. As passive subjects, the cameras eye becomes our eye, and its distortions become, possibly, the truth. It is not his mind but his body, which learns this connection. (Disk1B, 5, 27:40) Here, that chosen passivity is revealed to be what it denies, Alex like us, is a willing victim. The treatment becomes a punishment because coming into contact with the treatment perverts music, the image of high culture. Beethovens 9th Symphony is perverted (Disk1B chapter 5 29:25) by coming in contact with its scientif ic use in a conditioning treatment. The ninth above all in Beethovens work represents his attempt to find a universally acceptable message. The first movement reflects the desperate condition of mankind and alludes to Tartarus (the place where the worst offenders would go in Hell) as a symbol, the second movement depicts the search for happiness with diversions, and the third movement emotes piety a turning towards religion. The finale, in recounting all that has gone before arrives at fulfillment. This is precisely the organization, which Kubrick creates for his film. We see a reverse of the development of society, we move from a universal dystopia, toward an individual fulfillment, universal in the every man. That this fulfillment is only for the individual and not for the masses is one of the driving forces of the film. Now, Horkheimer and Adorno never really move away from endorsing high culture (rather than a breakdown in individuality and autonomy, they seem to want its re-inc orporation, probably the result of failing to be willing to really give up the enlightenment project) Alex with his ultra-violence represents the breakdown of culture itself (for example the opening scene with the bum) Alex understands the post-industrial society, he is both a product of it, and a means for its further production. Seeking idle de-contextualized violence as entertainment becomes a means of extremely temporary control, fulfillment, and emancipation from the horrors of a dystopian society in the throws of cancerous emptying of meaning. The bum says in first scene: The problem is there is no law and order, there are men on the moon and circling the earth, but there is no care taken here below. Technology has progressed but left the earth behind, no morality, and no ethics The old has failed to adapt to the changes; the violence of modern technology sees its reflection in Ultraviolence, beyond violence. Labor in this age is no longer that of production, but of destructio n without purpose violence without a referent. Thus we see Dims statement after the first ultraviolence (chapter 4 opening): Weve been working hard too. It is the expenditure of energy for its own sake. Labor in the Post-industrial age. In moving beyond mere violence, toward ultra-violence, Alex has incorporated and mastered the post-industrial age. As a post-modern pastiche of learnedness and stupidity, he is the inside-out reflection of the enlightenment subject. His language is the comprised of odd bits of rhyming slang a bit of gypsy talk, too, but most of the roots are Slavic. Propaganda. Subliminal penetration (from the book.) A clockwork orange, in the words of the Author within the book: A Clockwork Orangethe attempt to impose upon man, a creature of growth and capable of sweetness, to ooze juicily at the last round the bearded lips of God, to attempt to impose, I say, laws and conditions appropriate to a mechanical creation, against this I raise my sword-pen. Id like to tur n now to a very fascinating scene, the turning point of the film as it were, when he murders the Cat Lady: One will notice that the room abounds in modern art, which depict scenes of sexual intensity and bondage. The Cat Women is the only real force of resistance to Alex, and the scene presents us with a struggle between high-culture which has aestheticized violence and sex into a form of autonomous art, and the very image of post-modern mastery, Alex, who understands all to well the meaning which is obscured from the Cat Women. She inhabits a private sphere, the image of enlightenment individuality (cat women are always introverts who are obsessively non-social) in a sort of delusional satellite from the city where it is all hoodlums. (Note the inversion of the polisAlex brings the horror of the cities into the suburbsCyberbia). Denied the historical context of Art (the ninth is misunderstood) he actually understands the meaning of modern art very well indeed as violence, in fact h e turns it literally into the tools of violence, she is killed, as it were by her own instruments of aesthetic decontextualization. The sculpture phallus (a very important piece of art, ritualized and de-politicized) is made into a weapon, and the scene of her death is a nearly subliminal orgy of modern-art. Whereas she, as with the use of all high-art among the Bourgeoisie, finds only exchange value in the phallus, phallus as pure sign, Alex initiates the violent reversal of that commodification. He turns it into a tool, here a tool of violence; what she has done is to inject exhibition value into forms of art which have only exchange value, the work of art in the hands of the Bourgeoisie is reinjected with a type of aura, which only lead it further in the direction of losing control (like the reinjection of aura in the robot Marias aurain Metropolis). Control is lost and the phallus becomes a weapon, a violent recontextualization by Alex. He proves to understand well this process. There are also similarities here with the States control of his mind through conditioning. The state attempts to gain control by turning Alex into a robot (a clockwork orange), thus commodifying him (isnt this the struggle at the end for control of Alexthe liberals and state?). His use-value is a function of his exchange-value. BUS300-20: Decision Making Essay Music and Movies

The Ideal Posting Frequency When Should you Post on Social Media

The Ideal Posting Frequency: When to Post on Social Media When it comes to posting frequency on social media, its hard to find a one-size-fits-all solution. By analyzing various studies and sources, we have come up with  what we think is the best strategy for posting to social media and summarized it in this easy-to-read infographic! When creating your social media strategy, you should remember there are no general  rules for optimal posting frequency.  How often exactly one should post and where is individual and depends on the respective goals.  It is important to gain experience with your own target group and develop a sense for them.  However, there are studies and guidelines for the different channels.  Our infographic shows recommendations derived from reviewing studies done on this topic.One thing is certain: Quality beats quantity.  In case of doubt, one should share fewer, higher-quality content pieces rather than a large amount of lower-quality posts.  It is also important to be continually active on your pages.  Being active and regularly posting interesting and entertaining content is critical to success on all channels.

Black Sparrow Hawk essays

Black Sparrow Hawk essays "Black Sparrow Hawk" was born in 1767 in the village of Saukenuk, in northwestern Illinois. At 15, he joined a raid against the Osage, one of his tribe's principal enemies. At this early age, he succeeded in becoming a Sauk warrior. Not long afterwards, "Black Sparrow Hawk", later to be called Black Hawk by whites, led an attack upon 100 Osages with only seven Sauk warriors. Black Hawk killed the enemy and escaped without losing a single one of his men. In this early period of his life, Black Hawk was already a prominent warrior. Sauk and Meskawki leaders signed a treaty in 1804 that forfeited all their lands adjacent to the Mississippi River in both Illinois and Iowa. With most of the Sauk and the Meskwaki people furious and White settlers beginning their move into the area, conflict seemed imminent. When the war of 1812 broke out, Black Hawk and the Sauk sided with the British in hopes of checking the growing population of white settlers. With the British defeat, these hopes were dashed. During the winter of 1831, the Choctaw Indians were the first tribe to walk the "Trail of Tears" westward. This removal policy of President Jackson's was aimed to encourage Indian tribes to sell their land in exchange for land in Oklahoma and Arkansas. However, this new land nothing like a "country of tall trees, many water courses, rich lands and high grass abounding in games of all kinds," as Jackson described it. Instead, the preserve was a barren desert and Pushmataha, a Choctaw chieftain, urged his people to reject Jackson's offer. However, President Jackson declared he would destroy their nation if the Choctaw would not move west. Many tribes organized resistance against the unjust removal, including the Sauk. Joined with the Fox Indians, they fought the Black Hawk War in order to recover their lands. The Indians had not understood the treaty that they had signed when they had transferred their land, and had not understood the impl...

Android’s operating system review

Android’s operating system review Android’s operating system is extremely safe and really hard for malicious users to get into other peoples phones and corrupt them without the user granting them permission but this wasn’t always the case. As the Linux kernel can be accessed directly this means developers have to use advanced software and hardware to ensure integrity of applications, data and the network is kept also confidentiality. Main security features incorporated by Android to protect the phone or tablet is the Google Play app this where users download majority their applications from. Google play now has a license verification and Google Play Protect which scans apps when you download them from the app store. Android also have an app and a website to locate if a device is stolen/lost. It also has a feature that when you download from a website for example and the device can’t verify the application certificate it has a pop up that users have to untick to allow installation from an unknown source. Also the device if enabled can go through periodic scans that will inform a user of potentially harmful apps. This is shown in the diagram. Androids basic security features presented is a pin, password and pattern or in some of the newer devices can be unlocked via the users face. One service that Android phones offer is device encryption. This involves scrabbling the data on the device and only when the device is presented with the correct key could you access the data for example a password or pin. If a user doesn’t enter the correct pass after a certain amount of tries users are sometimes able to set an erase all option. Android uses dm-crypt to encrypt the data. This encrypts data all the way down to the root file system thus working at the kernel level and has a 128 bit algorithm. It allows the whole disk to be encrypted. However once this encryption key is set there is no option to change it without a hard reset of the device and losing all of the data. Newer Android versions have incorporated fast encryption meaning you are prompted to enter your key in at start up, this leads to a slightly long time to get the device started. On the application level Android has introduced sandbox security and permission. Sandbox is an old concept and originated from the UNIX operating system which would split file permissions from processes. This means once the application is up and running unless granted permission by the user the application stays in its parameters and run on a virtual machine. This ensures one app doesn’t have access to another app. It sort of works like a sand toy i.e. once sand is in the toy unless the child allows the sand to come out the sand will never leave the sand boxes walls. This is seen when users first download their app from the Play Store or once downloaded the go to the applications settings and can edit it from there. For example simple applications like a photo editing application shouldn’t be accessing your phone but however it may need to access your storage such as photos or videos, it may also ask for permission to access your camera. With Android there isn’t a specific way an app has to enforce its security. Due to the apps being â€Å"sandboxed† at OS memory corruption doesn’t occur, this also means the native code at the Linux kernel is just as secure as the code operating on the â€Å"virtual machine†. Authentication is being able to identify the user or users and allowing them access to the system. Android uses â€Å"user-authentication-gated cryptographic keys†. On initial start-up authenticator tokens are available to receive information from the user. Users on Android must use a pin/pattern or password. This then generates a 64bit User SID. This works as the â€Å"key to the lock†. This 64Bit code is paired with the users’ password/pin or pattern. When users want to change this they must provide the original password thus giving the original 64bit user SID. If they don’t provide the exact key all the information hidden by the key is lost and this is what is known as an â€Å"untrusted enrol†.

Behavioval Science and Human Relations Term Paper

Behavioval Science and Human Relations - Term Paper Example It is considered that each of these internal systems possess specific control behaviors. It is assumed that the probabilities of transition between these internal states predict human behaviors in varying social contexts. The trends in these interstate transitions are calibrated and hierarchically organized by behavioral scientists to understand long term and short term human behaviors. It is these two ranges of behaviors which makes the foundation for human behavior and human relations. Such a modeling of human behavior can be helpful in many ways. These models can be used to develop human-machine systems which can assess and recognize human behavior. This could even be used to predict human behavior. Here the requirement is to have inputs for this system on the internal human states. However, the challenge here is that these human states are not readily observable. These internal states are to be estimated through an indirect estimation process. There are several researches on beha vioral science which has led to the designing of models which can estimate these internal human states. For instance, Pentland & Liu (199) has used a model termed Hidden Markov Model (HDD) to undertake this assessment and were able to recognize human driving behaviors and predict the pattern of human control states. It has been claimed that they were able to do accurate predictions and anticipate human behavior even up to few seconds in future. Behavioral science uses several human systems to analyze human behavior and relations. It has been recorded that human behaviors like speech, handwriting and hand gestures can be precisely recognized through some of the assessment models(Pentland & Liu, 1999). However, very detailed properties like smoothness and continuity are required to go up to the level of accurate simulation and prediction. Sharper models are required to capture the additional properties of smoothness and continuity. The application of these behavioral models in managem ent is based on the basic theory that every employee moves within his own unique system of human behavior. These are further influenced by the cultural, environmental and the experience based conditioning of each individual. It is important to understand these factors as it is these factors which make an individual to react in a particular when it comes to human relations. Thus it is important in management to understand these factors. It is these factors which constitutes that particular individual’s behavioral system. Thus if one could identify the factors within the behavioral system of an individual, the management will be in a position to predict that individual’s response in a given situation. The Human Relations approach The consideration of human behavior and elementary drivers of human behaviors in management has evolved as different school of thought in management, which is termed to be the human relations approach (Likert, 1961). This school of thought is ho wever, contradictory to the conventional management concepts. While the conventional management theories rely on rationalizing of management processes, the human relations approach leaves ample space for human behavior and emotions within in management. In simpler words, classical theories of management quantify work and work routines through tangible markers whereas the human relations approach accommodates emotional and relational needs of individuals

Discuss Reproductive Alternatives Research Paper

Discuss Reproductive Alternatives - Research Paper Example Georgia Reproductive Specialists (n.d.) stated, ‘The procedure, called Transvaginal Oocyte Retrieval, requires neither hospitalization nor general anesthesia. In order to prepare a proper environment in the woman and to increase the chances of recovering several healthy and mature eggs, the woman will undergo about two weeks of intensive preparation. This will include hormonal therapy with "fertility drugs." Blood tests and ultrasound scans of the ovaries are used to determine the optimal time to retrieve the eggs from the ovary. This optimal time is just before ovulation when the oocytes are almost ready for fertilization. At the proper time, an outpatient procedure under local anesthesia will allow the females eggs to be visualized by ultrasound and retrieved from the ovary by placing a needle through the vaginal wall. Usually, the eggs will develop into cleaving pre-embryos, whose cells divide 2 or 3 times to become preimplantation embryos (pre-embryos). Using a special cath eter, the couples pre-embryos will be passed through the vagina and into the uterus at the time the pre-embryos would normally have reached the uterus (2+ days after retrieval). After the pre-embryo placement in the uterus, the patient will lie quietly in a bed for about an hour, and then will return home.’ The process of Transvaginal Oocyte Retrieval can actually bring about emotional stress and even anxiety. Like other alternatives, it does not guarantee a hundred percent accuracy. It is also said to have serious side effects, however, drawbacks can be prevented once those are immediately detected. Another option that is becoming popular is the surrogate mothering. Malpani, Annirudha and Malpani, Anjali wrote, ‘The word "surrogate" means substitute or replacement and a surrogate mother is one who lends her uterus to another couple so that they can have a baby. In the West where fewer and fewer babies are offered for adoption, surrogacy is gaining popularity, despite