Identify and discuss the risks of either or both parties Case Study

Identify and discuss the risks of either or both parties - Case Study Example Thus it needs get food products from various overseas suppliers to continue its distribution business. Majority of food products that the company distributes are manufactured by companies which are located in USA. Now the company has developed a new market for spicy chicken noodle soup product which is desirable among Asian customers. Thus to avail this products the company is searching manufactures for this particular product who will be able to add special flavor and aroma to attract the Asian customers. Among many other manufacturers, it has shortlisted two companies, Slick Willie and Gumpbell Soup Company. But the finalization depends on the price quotes and the quality of the product provided by the companies. Gumpbell Soup Company Inc. is a New York based old line food manufacturing company which was founded in 1896. It went public in 1999 and has offered majority of its stock to the public. It has a high reputation among its customers as a renowned international food company t hat manufactures and sells wide ranges of food products across the USA and rest of the world. The company has a very comprehensive operation which includes research and development department for development of new and unique products, production plant and department to control the quality of food products all over the USA. It also has strong domestic and international distribution network to boost its sales. Although it has strong reputation among its customers but still it faces a strong competition from its major competitor Slick Willie’s Foods on the ground of pricing strategy.

Deconstruction Theory in Architecture

Deconstruction Theory in Architecture â€Å"Architecture is understood as a representation of deconstruction, the material representation of an abstract idea†.[1] Architecture is the art of space: its visual form, its dimensions and scale, the quality of its light- all of these qualities depend on our perception of the spatial boundaries defined by elements of form. As space begins to be captured, enclosed, molded and organized by the elements of mass, architecture comes into being.[2] In 1995, the Victoria and Albert Museum has announced plans for an expansion of their exhibition spaces. After a massive competition, the design that featured a six-story structure dubbed â€Å"The Spiral† by an architect, Daniel Libeskind has chosen by the museum. But the Victoria and Albert Museum has discarded the plan for the expansion, because of the harsh criticism from the press and scholars, as well as lack of funding. When the Victoria and Albert Museum declined the deconstruction style, other museums around the world have come to grasp it.[3] I have found that buildings and museums which with the existence of Deconstructivism both as development and completely new architectures. In this paper, I focus my studies on how philosophical theory of Deconstruction by Jacques Derrida applies to architecture design, specifically in museum settings. I have focused how deconstructivism theory has entered into the realm of architecture as well. Within this paper, I demonstrated how the style of deconstructivism works within a defined and systematic space for exhibition and the impact of this philosophical theory. Before finding the definition of deconstruction in the field of architecture, Jacques Derrida has been philosophical movement with Deconstruction as its foremost philosopher and Martin Heidegger’s writing as the roots. Deconstruction is a school of philosophy that originated in France in the late 1960s. Jacques Derrida was born in El Bair, Algeria in 1930 to Spanish immigrant parents. In 1948 he began his studies of philosophy in France after completed his baccalaureate. He presented his paper at Johns Hopkins University in 1966, where his work became eminence.[4] In the 20th century, Deconstruction symbolizes a complicated response to a range of theoretical and philosophical movements, most particularly Husserlian phenomenology, Saussurean and French structuralism, and Freudian and Lacanian psychoanalysis. German philosopher Martin Heidegger’s Destruktion and Abbau is where the term â€Å"deconstruction† acquires. Heidegger has developed the major foundation bec ame major theory of post-structuralist thinkers, such as Jacques Derrida. Derrida asserts those terms is literally a â€Å"translation’ and what is interpreted is architectural. He describes that Destruktion means â€Å"not a destruction but precisely a destructuring that dismantles the structural layers in the system† and Abbau means â€Å"to take apart an edifice in order to see how it is constituted or deconstituted†.[5] â€Å"Within architectural circles much confusion surrounds the term ‘deconstruction’†.[6] Architectural deconstruction can be expressed as a trend to design with the outcome of chaos, even though the translation of Deconstruction philosophical theory into architectural fundamental has never state clearly. The outcomes are geometrically abstract, apparently unplanned architectural forms. The architects who grasp this philosophy like try to plan architectural details that seem to be output of dismantling, displacement, deformation or partial demolition of pre-existing edifices’.[7] In 1998, the exhibition titled â€Å"Deconstructivist Architecture† presented by Philip Johnson and Mark Wigley, has marked a turning point in the very essence of architecture. The event held at the Museum of Modern Art in New York has presented the work of seven architects to the public and have been summarized with the generic brand of â€Å"Deconstructivist Architecture †.[8] The results are geometrically abstract, seemingly random architectural forms. The architects who embrace this theory thus try to design architectural elements that seem to be products of ‘dismantling, displacement, deformation, or partial demolition of pre-existing edifices.[9] Deconstruction provides a related way to architecture when its objective in philosophy asserts the need to comment current thought. The design is a clear deviation from earlier conventions and esthetics of architecture when first identified.[10] Nevertheless, the theory is I want to relate the previous assertion that deconstruction introduces initially with the existence of a formed object. The characteristics of Deconstructivism architecture essentially use fractured forms that deviate from the previous model of architectural construction.[11] Architect use these forms of acts as a way to deconstruct the concept and guidance to access a building. They are capable to use the philosophical an d dramatic structures combined with Deconstructivism, in order to deconstruct the former ethic in architecture designs. Nevertheless the philosophy of deconstruction can be used to clarity the architecture design, it can also remark the inquiry about the museum as a concept and how it affects the architecture design. I have discovered that there was a direct shift in the function of museum and its attitude in the cultural landscape in my research. I would like to analyze the shift as not origin, but the changes which reflected in museum design. I will also analyze the stylistic changes with the issues of a new objective of museum. This shift in relation to the objective of museum is regarding the practice of deconstructing the model in order to further the structure towards different speculation and function. Another essential shift in this research is the purpose of museum itself, while research about the analysis of the shift approaching design museum with deconstruction. Nowadays, in most of the capital cities, museums are recognized as cultural academy. Museums are playing a role of showing the value of culture in our society and mostly the visits are for educational and tourism purposes.[12] In those years, first museum in Western Europe was initially to assemble private collections, which museums nowadays are diverging the authentic use and status of museums. In past, the private collections were belonging to aristocracy and the royal families, their status and knowledge of the museum’s owners were determined by the quantity of collection.[13] The use of a museum as an academy completely to the exclusive is in direct opposition with how nearly all museums are seen nowadays. Most of them have moved from the cabinet paradigm into the new perspective of museum as entertainment. Nowadays, museum visits have become the significant part of the tourism trips as well as promoted as cultural academy.[14] This has assembled as a turning point in the design and layout of museums nowadays. This turning point in the proposed purpose of the museum has turned from an exclusive academy to cultural playground. The influence of turning the concept of museum is bigger than the visitor of museum. In this research, I want to figure out will changing designs of museums with deconstruction affect the purpose of museums. In this research, I have focused on few museums which designed with deconstruction. The museums are the Militarhistorisches Museum (translated â€Å"Military History Museum†) in Dresden, Germany; Jewish Museum in Berlin, Germany; Phaeno Science Center in Wolfsburg, Germany and Vitra Design Museum in Weil am Rhein, Germany situated outside of Basel, Switzerland. These museums are designed by three outstanding architects, who are Frank Gehry, Daniel Libeskind and Zaha Hadid. Frank Gehry and his architecture design is important in deconstructivism, his influence over Deconstructivism in architecture is great. He also acknowledged as the most significant architect and his design is presented across worldwide. For this research, I have chosen one of his architecture design as one of my research topics, which is the Vitra Design Museum which is a museum for design that located at Weil am Rhein,Germany. In addition, the other reason I have chosen Vitra Design Museum is this museum was one of the examples of fractal architecture[15] in museum composition. Vitra Design Museum was Gehry’s first persuasive architecture designed with Deconstruction style and acknowledged an aspect of Deconstructivism in a smaller scale. The location of this museum is within the campus of Vitra furniture manufacturing company outside of Basel, Switzerland and completed in 1989. Vitra Design Museum is conspicuous since it is Gehry’s first architecture design in Europe. [16] Regardless of the scale of this design is modest, the architecture turned up as a practical work of deconstructivism with a combination of towers, ramps and cubes. The exhibition area is in 700 square metres over two floors. Throughout the faà §ade, the design has promoted Gehry’s specific angular shapes and component. At the same time, it also showed that the starting point of his using curves in his architecture design.[17] The vault is built in cement material and designed upward to maximum the capacity of area for this comparatively small museum. Since there is no window on the faà §ade, the scattered skylights are where the natural light entering. These skylights can be open or close depends on exhibit’s requirement. Furthermore, another museum which also designed by Frank Gehry in deconstruction style is the MARTa Museum in Herford, Germany. This museum is completed in 2005, a smaller architecture of Gehry’s committed to present contemporary works. Similarly, Gehry has applied the similar elements of Vitra Design Museum to MARTa Museum, which are the waving forms that involve the faà §ade and roof. The faà §ade is built by brick, and then the stark metal plating is using on the roof and entrance area. Besides, another similar feature is the skylights which allow the flow of natural lighting and adjustable are placed in the exhibition space as well as the lecture hall. The notable use of fractal and angular forms which influenced by Gehry has left major impact on Deconstructivism architecture and dominates the style. Besides, Daniel Libeskind is another noteworthy Deconstructivist, his design of the Victoria and Albert Museum’s expansion project, â€Å"Spiral†. In that design, â€Å"Spiral† consists of various fractal structures, which has develop into his trademark style in most of his designs. These can be seen in his designs of museums which located in Dresden and Berlin. The signature fractal forms of Libeskind have featured on the Militarhistorisches Museum (translated â€Å"Military History Museum†). In 2011, the museum was extended and reopened afterwards. The architectural expansion is a triangular wedge in dark grey metal, literally popped outward from the original building, which is in in ivory coloured structure built during the early twentieth century. The five-storey pointed steel and glass shard of triangular wedge has made the Militarhistorisches Museum as the largest museum in Germany. The sharp tip of the triangular wedge is pointed towards east, which is the point of firebombs dropped during the war. Besides, the city skyline in the west can be view from the rooftop viewing platform which is 30 metre-height.[18] Moreover, the Jewish Museum Berlin has made his eminence in Deconstructivism architecture, while the Militarhistorisches Museum is one of the latest designs added into his portfolio. The project of Jewish Museum Berlin is highlighting on Jewish history.[19] The design has known as â€Å"Between the Lines† and the title of design is named for various reasons, also it has selected in the design competition. The main building is characterized by two broad line-shaped.[20] The first line is a fragmented-linear outline of the main exhibition building; the second line is a theoretical straight line that cut across the building in conjunction with its thematically placed voids. The voids are used for indicting the presence of line by fitting in accordance with this line. There is also a garden of columns in this architec ture, where the cube forms rectangular model in the complete structure.[21] Hence, the architecture is designed with fragmented shapes and angles. Similarly with Frank Gehry and Daniel Libeskind, Zaha Hadid is another architect who used forms and shapes with deconstruction style in her architectural design. Hadid is an Iraqi-born architect based in London, United Kingdom, her design style is more to large fractal forms. Nonetheless, she is renowned for dramatic and organic style which is visible in her architectural design. One of her designs which designed with organic forms is the Phaeno Science Center in Wolfsburg, Germany that completed in 2005. The form of architecture is like a platform standing with angular forms. The architecture is built with stark concrete walls in smooth finishes, its faà §ade beautify with speckled outlined pattern windows. The shaped windows are mirrored throughout the interior of structure, which consist of platforms, stairwells, and doorways. Hence, the Phaeno Science Center is diverged from the other architecture and designed as the whole structure which enclosed within one organic and solid model. I have studied at several particular elements of the design between these museums as well as their exhibition spaces. In this research, I have identified the way deconstructivist designed museums and how deconstructivism affects the museum designs. Firstly, interior design of deconstructivism museum has affected the exterior design. This can be seen in most of the museums which I have researched. The design has movement effects from the exhibition areas to the benches along walls towards the interior of museum. I have noticed that the architectural trends of deconstructivism museums, the style how the deconstructivist designed the elements, such as doorways, benches, windows, mostly related to the background of museum. So, analyzing the interior of deconstructivism museum is essential, as a museum which designed in deconstruction style will affects the visitors’ perspective view of artworks which displayed in the space. [1] Wigley, M. (1993) The Architecture of Deconstruction: Derrida’s Haunt. Cambridge: MIT Press. [2] Ching, F. D. K. (2007) Architecture: Form, Space, and Order. New York: John Wiley Sons [3] Mandry, S. (2013) ‘Ordered Chaos: the Negotiation of Space in Deconstructivist Museum Buildings’, University of Puget Sound. [ONLINE] Available at: http://soundideas.pugetsound.edu/summer_research/202/. [Accessed 14 March 2014]. [4] Norris, C. (1987) Derrida. Cambridge : Harvard University Press. [5] Wigley, M. (1993) The Architecture of Deconstruction: Derrida’s Haunt. Cambridge: MIT Press. [6] Leach, N. (2005) Rethinking Architecture: A reader in Cultural Theory. London: Routledge. [7] Sallingaros, N. A. (2004) Anti-Architecture and Deconstruction. Germany: Umbau-Verlag. [8] Johnson P. and Wigley, M. (1988) Deconstructivist Architecture. New York: The Museum of Modern Art. [9] Sallingaros, N. A. (2004) Anti-Architecture and Deconstruction. Germany: Umbau-Verlag. [10] Newhouse, V. (1998) Towards a New Museum. New York: The Monacelli Press. [11] Norris, C. (1987) Derrida. Cambridge : Harvard University Press. [12] Newhouse, V. (1998) Towards a New Museum. New York: The Monacelli Press. [13] Giebelhauseun, M. (2006) â€Å"Museum Architecture: A Brief History,† A Companion to Museum Studies. Ed. Sharon Macdonald. Oxford: Blackwell Publishing. [14] Newhouse, V. (1998) Towards a New Museum. New York: The Monacelli Press. [15] â€Å"Fractal architecture model represents a hierarchical structure built from elements of a single basic design.† Tirpak, T. M., Daniel, S. M. LaLonde, J. D. and Davis, W. J. (1992) A Note on a Fractal Architecture for Modelling and Controlling Flexible Manufacturing Systems.IEEE Transactions on Systems, Man, and Cybernetics. [ONLINE]. Vol. 22, May/June, pp. 564. Available at: http://ieeexplore.ieee.org/stamp/stamp.jsp?tp=arnumber=155958[Accessed 08 April 2014]. [16] Newhouse, V. (1998) Towards a New Museum. New York: The Monacelli Press. [17] Cohen, J. L., Colomina, B., Friedman, M., Mitchell, W. J. and Ragheb, J. F. (2001) Frank Gehry, Architect. New York, NY: Guggenheim Museum Publications. [18] Dezeen Magazine. (2011)Dresden Museum of Military History by Daniel Libeskind. [ONLINE] Available at: http://www.dezeen.com/2011/09/29/dresden-museum-of-military-history-by-daniel-libeskind/. [Accessed 02 April 2014]. [19] Schneider, B. (2004) Daniel Libeskind: Jewish Museum Berlin. Munich, Germany: Prestel Books. [20] Jencks, C. (2002) The New Paradigms in Architecture. New Haven, CT: Yale University Press. [21] Schneider, B. (2004) Daniel Libeskind: Jewish Museum Berlin. Munich, Germany: Prestel Books.

Archimedes Essay examples -- Biographies Bio Biography

People have been aware of objects floating on water or sinking since before recorded history. It was not until Archimedes of Syracuse came along, that the theory of flotation and the buoyancy principle were defined. Archimedes was born at Syracuse on the island of Sicily in 287 BC. His father, Phidias, is thought to have been an astronomer who discovered the size and distances of the sun and moon. Archimedes might have been related to King Hieron the second, King Hieron definitely favored Archimedes as his first philosopher. As a young boy, Archimedes developed a life-long interest in the study of the heavens. As a teen he traveled to Egypt where he studied at the great Library of Alexandria, possibly under the followers of Euclid. Archimedes is often described as being absentminded, self-absorbed, and somewhat eccentric. Despite these personal attributes, he was recognized in his own time as a genius, and is revered today as one of the greatest figures in the history of science and mathematics. It is not known if Archimedes did marry or if he had any kids, Archimedes' first love was always mathematics. He is also known today to have been an experimental physicist, legendary philosopher, artistic engineer and a wise inventor. He would often spend days so intently fixed on solving a problem that he neglected both food and himself to a point that his friends would carry him kicking and fighting to the bath. He often stooped to the ground to work mathematical problems by drawing figures in the dirt. He is even said to have carried a small wooden tray filled with sand, which he used to draw his figures and work on his mathematical problems. You might think of this tray as our modern day lap-top or another recording device. Of course,... ... felt guilty to be so stupid to have send a soldier to get Archimedes from his studies. In his triumph he provided Archimedes with an honorable burial and befriended his dead relative. On Archimedes grave stone there is an inscription of Pi, I think his most famous discovery. Finally a sphere with a cylinder and the 2:3 ratio of the volumes (the solution to the problem), which he took pride as his greatest achievement. Finally, Archimedes lived from 287B.C to 212 B.C, spending most of his life in his home land. Not much is known about his childhood or about him growing up but without him or modern world wouldn't be the same. Thanks to him we have improved inventions and theories and/or formulas. Such as, the determination of circular area, he approximated more precisely than anyone to date, near development of the Calculus, Quadrature of the parabola, and many more.

Mccarthy Paper

Ubiquitous Love In the novels, The Road and All the Pretty Horses, by Cormac McCarthy, McCarthy shows through symbolism and setting, that ever-present love is a basic human need. In The Road, the boy symbolizes faith, and is the source of never-ending love. All the Pretty Horses, the horses symbolize an unfallen spirit, and is the basis of a deep love. In The Road, the desolate and godless world proves to be unforgiving, yet there is a beacon of light and love found through the boy. In All the Pretty Horses, the beautiful yet disappearing Wild West is a source of pain, but also love. McCarthy uses symbolism in both of his novels, to show an underlying importance, and to further enhance his overall theme of needing something concrete to love. In The Road, McCarthy shows how a father and son’s relationship is based off of the father’s unconditional love for the boy. McCarthy writes; â€Å"Can I ask you something? Yes. Of course you can. What would you do if I died? If you died I would want to die too. So you could be with me? Yes. So I could be with you. Okay† (McCarthy 11). This quote dives deep into how the man feels about the boy. Through this quote, the man fully expresses that he would not want to live if he had to live without the boy. The boy proves here to be the man’s only hope and the source of what keeps him going. The boy symbolizes faith in a godless and desolate world. In All the Pretty Horses, horses hold deep importance and meaning for John Grady Cole as he adventures away from home. McCarthy writes, â€Å"What he loved in horses was what he loved in men, the blood and the heat of the blood that ran them† (McCarthy 7). In this quote, John Grady Cole simply, but quite deeply displays his undeniable love for horses. John Grady Cole goes as far as to say that he loves horses equally as much as he loves mankind, and that both horse and man have similar qualities. McCarthy gives great symbolism to the horse, as it is being compared to mankind. Horses symbolize an unfaltering spirit that John Grady Cole so dearly idolizes as he experiences pain and anguish while his beloved Wild West slips through his fingers. The horses are the only thing that John Grady Cole can hold onto from the Wild West. He will hold on strong, no matter what happens to him, and will love horses as he loves mankind. In both The Road and All the Pretty Horses, McCarthy symbolizes holding onto something and never wanting to let go in both the boy and the horses. The boy and the horses prove to be something that is ever-present that the main characters in the novels can love unconditionally. McCarthy uses setting to further enhance plot and the theme that ever-present love is a basic human need. In The Road, McCarthy creates a desolate and destroyed world that the man and the boy find themselves trapped in. McCarthy writes, â€Å"When he woke in the woods in the dark and the cold of the night he’d reach out to touch the child sleeping beside him. Nights dark beyond darkness and the days more gray each one than what had gone before. Like the onset of some cold glaucoma dimming away the world. His hand rose and fell softly with each precious breath† (McCarthy 1). In this quote, McCarthy sets the stage for what the world looks like. He describes it as extremely dark, and uses the simile of glaucoma to physically describe the Man and Boy’s experiences. The sight of this new, harmed world basically deteriorates your sight, as the world is no long worth looking at. McCarthy also uses strong and consistent word choice with dark, darkness, gray, cold and dimming. These words give rise to the depressing setting that the Man and the Boy are in. Also in this quote, describes the man’s love and protectiveness for the boy. McCarthy uses juxtaposition here to show that despite the dark, dreary and ever discouraging world they are in, there is a strong and deep love that can overcome any type of desperation. In All the Pretty Horses, McCarthy paints a beautiful country whose culture is slowly diminishing. McCarthy writes, â€Å"They rode out along the fence line and across the open pasture-land†¦The light fell away behind them. They rode out on the high prairie where they slowed the horses to a walk and the stars swarmed around them out of the blackness. They heard somewhere in that tenantless night a bell that tolled and ceased where no bell was and they rode out on the round dais of the earth which alone was dark and no light to it and which carried their figures and bore them up into the swarming stars so that they rode not under but among them† (McCarthy 30). In this quote, McCarthy sets up John Grady’s world with incredible imagery, describing the open fields, prairies and the abundance of stars that consume them. John Grady’s world is picturesque and seems quite perfect as the feeling of this quote is quite calming. But, in the face of this beauty, John Grady is still faced with the ever-present disappearance of the Wild West culture. Although McCarthy finds sadness in the beauty, John Grady is yet again placed with his horses. McCarthy describes the men and their horses as â€Å"they† showing an unbreakable bond. In both The Road and All the Pretty Horses, McCarthy uses contrasting settings to ultimately unite them by showing that ever-present love can be found no matter where you are. In the novels, The Road and All the Pretty Horses, McCarthy shows through symbolism and setting that ever-present love is a basic human need. He cleverly displays this by providing similar and contrasting elements. Humans need to know that they have something constant and concrete to love in order to survive. People tend to struggle when faced with challenges alone. The presence of something to love; whether it is a son, or a horse, is essential. This love is what drives the human race to overcome obstacles and barriers throughout life. McCarthy, Cormac. All the Pretty Horses. New York: Knopf, 1992. Print. McCarthy, Cormac. The Road. New York: Alfred A. Knopf, 2006. Print.

What Is the Relationship Between Technology, Scien

Assessment 3: Final Essay Question What is the relationship between technology, science and the visual? Analyse a text of your choice (Transformers 3: Dark of the Moon) in a way that demonstrates your understanding of the connections between bodies, technologies and visual reproduction. Josephine Polutea, Transformers 3: Dark of the Moon (2011) The relationship between technology, science and the visual I believe is that they all interconnect with each other. The technological invention of the lithographic device for example enabled numerous visual reproductions for magazines and newspapers. This then opened up the door to the revolutionary technological shift in visual reproduction from lithography to photography that enabled replications to cater for the masses. This ability to produce multiple copies of any one image came about with the revolutionary development of the ‘negative’. (Lecture 5 / Technologies of the Visual Reproduction, 2011) This is evident in the movie Transformers 3: Dark of the Moon where the use of the images and footage from the Apollo 11, Lunar Landing are used to encapsulate the viewer to identify and empathise with the historical event that is used as a â€Å"spectacle† in the movie. Science wise this was a breakthrough in all history of mankind although there is speculation and scepticism that the event in fact never took place (Lecture 5 / Visuality, History, Event Spectacle, 2011) in an effort to gain capital for funding of the NASA space program approximately estimated at thirty billion dollars. (Lecture 14 / Visuality, History, Event Spectacle, 2011). On the contrary this is problematic in any evidence documented in history for history although makes for a good story line in a movie about technology, science and the â€Å"bodies† involved in this visual reproduction of the â€Å"historical event†. As this event spectacle was used in the movie as the basis of the visual narrative which was what I gathered to be that the American government discovered an unidentified object that crashed on the moon’s surface and the Presidents reaction to send the astronauts to the moon as he quotes in the movie â€Å"You get there before the Russians† and â€Å"Well you tell NASA to move heaven and earth. † Gives the impression that Mr President is very patriotic and based on â€Å"actions speak louder than words†? There is a sense of urgency where one would assume that there was a conspiracy to cover up a â€Å"top secret mission† to discover if there really were any alien life forms present on the moon or to cover up discoveries of such encounters. A reason of state would account for the manipulation of such evidence to enforce the protecting public morality, educating the population, looking after national interests and promoting community values. (Schirato, Webb 2007, p 174). The news media’s job is to report the facts clearly, with as much accuracy as possible. Unfortunately this isn’t the case. Science and reason are a good arsenal to have in the battle against pseudoscience, but in most cases they take a back seat to history and tradition. Plait (2002) These technological experiments and discoveries speak from the investigations of science and other certain unexplained issues for example extra-terrestrial, the supernatural or the unexplained â€Å"other† unidentified flying objects or mechanical beings. The images of an â€Å"alien† life form are visual reproduction of a circulated urban myth ‘so to speak’ rather there are no actual scientific evidentiary to substantiate claims from victims of the so called alien abductions or alien encounters. The descriptions given are used to form this visual that an alien has a big coned head, with big black oddly shaped eyes, a mouth and no nose but seem to be smaller in height then an average person. The greatest influence over visual practices in the contemporary Western world are what we call normalisation, which is associated with the fields of science, bureaucracy and government, and capitalism. (Schirato and Webb 2004) So why is it, that in the movies they look familiarly tall and strong and awfully unattractive? Or those in Transformers that are referred to as aliens? The â€Å"other† bodies I will refer to the ‘transforming robots’ in the movie Transformers and the government â€Å"bodies† that are directly involved in this highly classified special operations task and the power role they play in the movie. According to Schirato and Webb (2004) scientific categories of truth and reality are circulated throughout popular culture, particularly in the media. This is the main reason why we have used the term â€Å"normalising† rather than ‘scientific’ to designate this particular visual regime. The movie begins with the notion of a race soon to be extinct by war. In an opening statement that says, â€Å"We were once a peaceful race of intelligent mechanical beings, but then came the war. † A war between the Autobots and Dicepticons on their planet called ‘Cybertron’. This ‘mechanical being’ or what post-modernist film directors would call â€Å"aliens† freely roam the universe and eventually take refuge on planet Earth. This concept of machine life and human life co-existing and living in harmony is reinforced in the movie as a political opportunism point of view. For instance their alliance with the autobots to serve and protect America and the world from breach of national and international security. Optimus Prime quotes â€Å"In a year since our arrival, our new â€Å"home† Earth has seen much change. Energon’ detectors guard its cities now. Long range defense systems watch the skies. So now we assist our allies in solving human conflicts, to prevent mankind bringing harm to itself†. The normalisation of scientific revolution and bureaucratic power only serves a purpose that politically we as a society, a community we don’t really have a say in what happens but only that we are shaped and influen ced to conform to what we should be expected to behave, believe or feel towards a certain situation. This brings to surface the subjectivity that we are familiar with in our everyday lives. For example if we are pulled over by a policeman for a random breath test or for surpassing the speed limit we autonomously adjust our attitudes and stature to address the officer because we know that the ‘body’ or ‘other’ serves a purpose to the law and its people and therefore the power relationship is automatically referenced to the officer. This power relationship between the bureaucracy and the people is displayed in the movie when Sam is attacked by laser beak, a side kick of Megatron and escapes in his efforts to assist the autobots before the decepticons take over the world. He is confronted by Director of National Intelligence Miriam who questions Coronel Lenick. â€Å" I know his name, I wanna know who gave him clearance? † and later argues â€Å"we cannot entrust national security to teenagers unless I missed the policy papers, are we doing that? I didn’t think so†. As Schriato and Webb explains (2004) when a soldier saw something that signified a superior officer (a particular uniform, stripes), he was required to behave, quite automatically, in a submissive manner. Similarly, the idea was that when the population saw signs of state’s authority (buildings, functionaries in uniforms, titles, letter-heads) they would see, without questioning or hesitation, something that was greater, more powerful and more knowledgeable than themselves, and adjust their behaviour to comply with these manifest signs of the state. In the movie these signs are visible especially in reference to the government bodies, President and the Pentagon – Bureaucratic and Political Division, NASA – Science Division, and the National Security Intelligence – Defence Division & Department of Health & Human Services which is signified as a body that serves a purpose to the people although take authority from the government, science, and defence divisions. As global cultural flow of images are circulated through the public media sphere and as such the Lunar Landing were celebrated through the United States and the world as a great historical accomplishment. We are conformed to believe this is true because we generally believe that â€Å"seeing is believing† and that the images provided we take as ‘photographic truth’. The mechanical nature of image-producing systems such as photography and film, and the electronic nature of image-making systems such as television, computer graphics, and digital images, bear the legacy of ‘positivist’ concepts of science (Lecture 6 / Technologies of Visual Reproduction, 2001). Plait (2004) states that people confuse the far side with the dark side. You almost never hear the phrase â€Å"far side of the moon†. It’s always â€Å"dark side of the moon†. This phrase isn’t really wrong but it is inaccurate. If movies were the only purveyors of scientific inaccuracies, there would hardly be a problem. After all it’s their job to peddle fantasy. In conclusion the connections between science and technology is a relationship between the global media sphere and the reason of state that governs all scientific, bureaucratic, political and capitalist fields that form and shape our views of how we perceive the world we live in. Therefore my understanding is that science and technology have a strong relationship in the realm of the ‘visual regimes’ and there connections to our world views of government ‘bodies’, scientific technologies and the shift in technological visual reproductions. The reference list Plait, P C 2004, Bad Astronomy Misconceptions and Misuse Revealed, from Astrology to the Moon Landing â€Å"Hoax† John Wiley & Sons Inc. , New York. Schirato, T & Webb, J 2004, Reading the Visual, Allen & Unwin, Crows Nest. CLT120, Vision, Visuality and Everyday Life, Lecture 5 – Technologies of the Visual Reproduction, Macquarie University, 2011. CLT120, Vision, Visuality and Everyday Life, Lecture 6 – The Myth of the Photographic Real, Macquarie University, 2011. CLT120, Vision, Visuality and Everyday Life, Lecture 14 – Visuality, History, Event Spectacle, Macquarie University, 2011