Embry Riddle Aeronautical Airport Landside Information Systems Case Study

i have ​matlab assignment and i need help with. i will list the assignment requirements

i have ​matlab assignment and i need help with. i will list the assignment requirements.

This project will focus on Automatic Character Recognition using Principal Component Analysis (PCA) is a simple method of identifying the principal components of a dataset, then aligning characteristics of test sequences to one of many classes. The results of this project are important! If you do well on this project, you will have about 20% of the Final Project complete as well. The goal is to introduce students a very basic form of machine learning using a familiar tool in MATLAB. Students may use Python if they are comfortable with it, though it is not required.Dataset: Chars74K DatasetThis is a database of handwritten characters. It includes both English Characters, and Kannada Characters. This project will focus on English Characters only.36 Classes (0-9, A-Z)55 Samples of EachConsists strictly of PNG imagesOriginal Paper: T. E. de Campos, B. R. Babu and M. Varma. Character recognition in natural images. In Proceedings of the International Conference on Computer Vision Theory and Applications (VISAPP), Lisbon, Portugal, February 2009.Project Steps: These are the High-Level Steps for This ProjectThe intent for these steps is to provide students with a High-Level roadmap for successfully completing this project. As a general guideline, completing one part each week is a pretty good pace for completion on time.Part 1: Convert the data to a usable form for performing PCA.Part 2: Isolate training data from testing data. Generate the Principal Components.Part 3: Project the testing data onto the Principal Components to determine the most similar classPart 4: Collect Statistics and show results.Project 1 DeliverablesPresent all files in a SINGLE zip file.Should include all MATLAB code used to execute the project.Final PresentationUSE THE TEMPLATE GENERATED AS PART OF HW 1!Required Sections:Problem IntroductionTechnical Solution ApproachImplementation and ResultsConclusionThe presentation should be about 10 slides, though length may vary.
i have ​matlab assignment and i need help with. i will list the assignment requirements

country analysis paper

custom writing service country analysis paper.

Selected Country: Tunisia Selected Product: Dry Wheat Task Description Each team member should look into any political, legal or economic/financial, technological/infrastructure issues related to entry in his/her country. Each team member should look at elements that would make that country particularly attractive such as economic growth, per capita GDP or size of the middle class..a suggested, but by no means inclusive list appears at the end of this document. Please note that your individual country investigations should be conducted such that when you proceed to your Week 5 assignment that you are comparing apples to apples. Some points to consider for your individual paper for Week 4: Host Country Issues to Consider Political stability: Is the country likely to remain politically stable? If not, a direct investment could be a very risky approach. Do not automatically equate democracy with stability. Many companies are doing very well operating in communist countries such as China or Vietnam or oligarchies such as Saudi Arabia and the United Arab Emirates. Legal protections: Is the legal system developed and open? Could you count on fair treatment if you had contractual disputes with local entities or partners? Your obligations to employees may also differ, adding significant costs to layoffs, for example. Openness to FDI: Does the government place restrictions on ownership? In some markets, you may have to have a local partner in order to be allowed to operate in the country, hence a wholly-owned subsidiary and complete control will not be possible. Even if a forma restriction is not in place, often governments will be more “welcoming” if there is some local ownership which can facilitate operations. Economic stability (including currency risks): Is the economy in a period of growth, is there runaway inflation, and is the currency likely to rise or fall in value which could negatively affect your costs and profits? Also verify that it is possible to repatriate your profits back out of the country. Economic development: Can the market actually afford to purchase your product? Per capita GDP and size of the middle class can give strong clues as to market potential for consumer goods. Social development: Are there educated and skilled workers available in the country? Would a caste or class system possibly inhibit your human resources flexibility? Cultural issues: Would your product be “culturally acceptable” to the market place? How could you find out if the subject matter of your product is not socially acceptable in your market? Products you take for granted, such as large refrigerators, wouldn’t sell in countries in which consumers prefer to shop almost daily for fresh foods. Technology issues: Is your product too advanced to be technically supported in the new market? Would a “de-featured” product be more appropriate, for example? Developed markets normally want more features and functions, but without a service network in place, a less sophisticated product may have less faults and serve market needs better. Infrastructure Issues: Is there the infrastructure in place to allow for manufacturing, distribution, and promotion? Without a viable road, rail, or air network, how can you distribute your product? If the communications infrastructure is weak, how would you communicate with the home country when your business communications is Internet and telecommunications dependent? Market Issues to Consider Size of your market: Try to estimate the potential size of the market so you can verify that the venture could generate sufficient revenues and profits. Local competition: Are there local firms already competing in your market sector? Are they well-entrenched with strong brand awareness and loyalty? Foreign competition: Are your global competitors already in the market? Would they have first mover advantage, or could you effectively compete? Deliverable Each team member will upload a 4-5-page country analysis paper in APA format assessing the relative attractiveness of his or her country for the project, including a summary of the risks and the potential benefits of launching the team’s selected product into his or her country. Value: 10 individual Points
country analysis paper

Cinematography in Peter Bogdanovich’s, Mask

Peter Bogdanovich’s, Mask Section 1. If you can for a moment, try picturing yourself entering junior highschool as a larky, lonely, out of place kid, trying to find his way around in a new school. Your clothes match that of a roughed-up biker gang, your hair is long, red, yet neatly combed. You produce a smile that can sink a thousand ships. Sounds normal, right? What if we throw in one missing theme: Craniometaphyseal Dysplasia, “a rare bone disorder of unknown etiology characterized by overgrowth of the skull base and abnormal remodeling of the metaphyses of the long bones. (Kim, Young Ho) In non-scientific lingo we present, “lionitis”, the look of a lion. Yet, you are not an animal. You’re a 13-year old young male, discovering his place among the normal looking kids. Rocky Dennis, is an amazing young man whom overcame many obstacles in his life, transformed what such a disease could do, and made us realize that his disfigurement was all but unnoticeable once you got to know his kind hearted spirit. I chose Mask for one simple reason; my cousin Patron suffered this same fate that Rocky Dennis did. A disease since birth, that robs you of your sight, ability to feel normal, and your hearing. I would venture on a self-discovery that love has no boundaries and help educate a large school system that often-shunned kids with such alignments, thinking they were better presented for special education schooling. I learned how doctors, nurses, and medical staff are kind people whom truly care about your loved one and genuinely want to help you. I learned how cruel children can be; but came to understand they are just really scared and curious when being introduced to something they are unfamiliar with. Family is everything; they are in it for the long run. Rocky Dennis is an amazing young man whom captures your heart in the first scenes of Mask. The real Rocky Dennis is no different. His warm heart and acceptance of how he was born, would serve as no barrier in living his life to the fullest. Behind the makeup in the film Mask, his disfigurement all but disappears in your mind. (Washington Post) You are captivated by his spirit. He is a typical teenager whom collects Dodger baseball cards, succeeds highly in his academics, and fantasizes about taking a motorcycle ride all over Europe. Rocky was just 17 when he would lose his life to this awful disease. My cousin Patron was 16. Rocky was told at the age of 2 and half, he would not live long. My cousin Patron was told by doctors he would be lucky to see 18 months, never walk, talk, or be able to understand at a five-year old level. Director Peter Bogdanovich’s commitment and unvarnished reality of what life was like for Rocky, is remarkable. Though Rocky had a disease, he had a perspective. He was friendly, sensitive, and loved Bruce Springsteen. What touched me about most about Mask, was how we look at loneliness from the outside, and how it naturally comes from being on the outside. Bogdanovich does an excellent rendition conveying these motifs in this work of art. Section 2 After re-watching Mask, I was re-introduced to the stares, the isolation my cousin suffered in the school cafeteria, and the firsthand trauma of newness, that both my cousin Patron and Rocky Dennis would experience. This is what made the film so strong. It’s achievements sought to stir out our memories, bringing us up close and personal with the issues that Rocky dealt with on a day to day basis in our educational systems, when we do not fit the upper-class straights of society. I was now able to apply so many skills I learned in Dr. Matza’s cinema class. Bogdanovich does an excellent portrayal of mother and son, which pulls our emotional strings into highs and lows through-out this work of art. Bogdanovich displayed passion and criticalness to “Mask”. According to Eric Stoltz, whom played Rocky Dennis, Bogdanovich invited him, Laura Dern, and other young actors to his house, where they screened old classics and would later elaborate in great detail about them. “Of course, he would point out scenes that related to the film that we were making, but it was a phenomenal learning experience for the entire crew, that ignited the love of the film.” (Stoltz) This is what made Bogdanovich so unconventional in his narrative. “When Mask came along, we were very tight on money, I was asked if I wanted to direct it, I really didn’t want to get into it, the more I did, the more I found it interesting. I really found that I had something to say and convey to my audience.” (Bogdanovich) Bogdanovich wants us to see Rocky as himself in the beginning of the film. He decided against shooting straight to the school scenes, as suggested by Producer Martin Starger, instead giving us a personal point of view appearance at Rocky doing what he loved most; pinning the map of places in Europe he so passionately wanted to venture using his motorcycle. Bogdanovich gives us many themes of his POV in Mask. Bogdanovich drew his imagination on how he exactly wanted both the music, his close-ups of characters, and even art direction to guide the audience in. We notice this in the opening scenes of bikers, Bob Seager music, and messages of a normal kid trying to be just that, normal. Bogdanovich perfects us to see Rocky through “his eyes”, a normal kid, going to school, and living life, like no handicap exists. What exactly gave Bogdanovich his inspiration for “Mask”? His girlfriend at the time, the late Dorothy Stratten. While in NYC they both attended a Broadway show about the Elephant man. She became so fascinated with this real-life character, that they both would later visit a book store and purchase a book on the real Elephant man. During the film’s documentary, Bogdanovich stated, “this is what gave me the inspiration for the start of this great work of art.” (Bogdanovich Mask Documentary) The biggest theme I felt was in the film, was the theme of bikers and the closeness of how they protected Rocky. This was conveyed craftfully when Rocky is taken to his new school for the first time. When Rocky enters the school building one of the students asks him to take his mask off, it’s not Halloween. His biker Uncle Dozer, runs to his aid and scares the kids off. Bogdanovich does an exceptional message of family strength and Rocky’s own personal strength, to overcome these transgressions, that hardly seem to affect him. Bogdanovich specializes in close-up shots to convey the scenes with Masks actors. Bogdanovich, whom had a rocky relationship with Cher, would often use close-ups, to show the sadness in Cher’s eyes, that themed so well with the film. When Rocky attends camp and leaves his mother all alone, she breaks down, uses drugs to numb her pain, and loses control. The shots Bogdanovich conveys in moments of sadness and stress, matched perfectly with Cher’s ability to turn so quickly into character and use the sadness of her eyes to bring the audience into such emotion, that you almost felt you were the actress. This was the trick of the performance according to Bogdanovich. To get close, so the eyes convey the real meaning of the scene. (Bogdanovich) Through-out the film, you will notice many scenes being used with mirrors. These mirrors represent the pain and life Rocky endures. In one scene while at the carnival, Rocky enters the Funhouse ride and appears in front of the three-way mirrors that changes your appearance. In the center mirror, Rocky is conformed into a teenager that looks “normal”. He shouts out to his mom and they share a tender moment on what Rocky’s appearance might have been, if he were not born with such an infliction as “lionitis.” We encounter one scene, where the bikers, bikes, music, and lighting perfect the mise-en-scene. Bogdanovich used over 100 fake motorcycles to carefully craft this mise-en-scene, to make the audience feel like there was a biker overload. (Mask Film Documentary) Sound was super important to Bogdanovich. Sound promotes the natural feel that builds the story around it. Without his knowledge or approval, the movie soundtrack was switched from Rocky Dennis’s idol, Bruce Springsteen, to Bob Seger. “The thing that is so frustrating says Bogdanovich, is that the critics tell me that they love the picture, yet, they never got to see my complete and full version of it.” (Bogdanovich) Bogdanovich insisted that Springsteen’s music was integral to the film’s texture and overall structure. Since Rocky was a huge fan of Bruce, he felt Bruce’s music was a very eloquent statement of Rocky’s true hopelessness in his life. (Bogdanovich) Many lawsuits would follow between Bogdanovich and Universal along with Columbia records. Though there were many conflicts on screen between Bogdanovich and producer Starger, and Cher, the messages were not hindered by these issues. The director felt like it was a constant negotiation between him and Starger. “Remove this and we will give you this.” (Bogdanovich) Cinematography was superb in Mask. Laszlo Kovacs provided exemplary work as the film’s cinematographer. Kovacs explained, “when I’m lighting, I like to feel that every light has a dramatic logic and function in the composition.” (Kovacs) The cinematographer has to be a strong leader according to Kovacs. The aesthetic heart of his work shows in many scenes throughout Mask. In one particular scene where Rusty is high on drugs, she is shown throwing the baseball with her dad on the coach. You can feel the intensity in the room. The lighting reflects perfectly opening up Cher’s eyes, making you feel her lack of empathy to her father, and the quickness of the photography as the ball is thrown, reflects so vividly back to the father. Kovacs photography in the bar scene with Rusty and the prostitute she wants to hire for her son Rocky, once again brings to life the characters and their actions. Here Kovac used hard lighting and soft-tones to convey his message of eagerness on the Actors end. The cameras ability to move quickly and provide the close-up, low angel shots, really benefits the scene. What made Kovac and Bogdanovich such a forceful team, was the classic Hollywood style they both conveyed; discreet tracking shots, invisible editing in scenes, no camerabatics, no emotional up-close tears of blackmail action, but raw talent, with raw acting. (Kovac) Masks themes continue to supply us with a sturdy, disposable feel to its messages. Love, family, pain, intolerance, drug abuse, and coming of age, all wrapped perfectly. When questioned about the color of the film and its unusual brightness and sunny aurora to it, Bogdanovich explained, “the color was all wrong. Laszlo and I worked harder than ever, trying to maintain a certain depth of focus with color.” While Bogdanovich was angry and fighting the music issues of the film, the producer went to Technicolor lab and alerted them to print the picture five points brighter throughout the film. “This color mishap ruined everything. Vincent Canby wrote that the makeup didn’t look convincing. I said, you are damn right, that is why everything looks so out-of-focus in the background.” (Bogdanovich) This one particular scene is when Rocky is with Laura Dern at the horse ranch. You can see the makeup is portrayed to bright and seems wax like. The film according to Bogdanovich was to appear much darker. More like Daisy Miller. Many people actually felt the color of the film made it more TV like and not so much film like. There is no denying that Mask takes on a visceral effect with its music and makeup. Due to the music lawsuits, Bogdanovich felt the emotional impact of the film was damaged. One scene you notice this type of mix up is when the truck is pulling up to the cemetery, in which the song should be playing “Born in the USA” on the radio, to let the audience know it was not Rocky’s funeral. Instead, it was a Bob Seger track. The depth of the field was another important factor both Bogdanovich and Kovac needed. Film speed is much faster now so it easier to do in today’s filming, but back then, you really had to use your depth of field wisely. Barbara Ford, the daughter of distinguished filmmaker John Ford, was a perfect choice for the film editor in Mask. There is no denying that one reason Mask was so successful, was the standup perfection of Ford’s development in editing. “By doing over audience screening events with over 150 people, you really get the feel with what lacks and doesn’t stand out in your films.” (Bogdanovich) You see many glimpses of Ford’s success in editing during the round up meeting at night in the hills. Here the bikers, Rocky, Rusty, all gather, singing songs and being united as one. The film has aged well over the years. Sadly, bullying and acceptance are still a long way off in the mainstream. Rocky would likely encounter just as many issues with attending school as he did back in the 80’s. Many schools are now using sensitivity training and collaborating with parents of students with disabilities. These allowed students to build productive relationships with students’ families. Within the first 20 minutes of the film, we see Cher take on clueless school officials and insensitive doctors. There is still a huge gap to close in educating the school system on children with disabilities, especially those similar to Rocky and my cousin Patron. The film has grossed over 48,000 million. According to Bogdanovich, it easily would have grossed over 100 million if the Springsteen would have been the original soundtrack like he intended. (have bolstered his film. Section 3 How was the film made? Bogdanovich’s issues with budget constraints, music lawsuits, color not matching, scene deletions without his consent, all played a role in the film’s total success. Bogdanovich never let this dampen his film and its outlook, but there is no denying his harsh feelings of resentment on the film’s changes. In an interview with Film Quarterly, Bogdanovich explains the music being changed, the color, and lack of consultation on the producer’s part, limited his dream of the perfect film. (Bogdanovich) Universal Films produced the film with great success. There is no denying how successful the acting chemistry was for Mask. According to Sam Elliott, whom played Gar, Rusty’s on and off again lover, “Rusty is Rocky’s one true story, one of courage, achievement and hope.” (Elliott) I loved Cher, stated the actor. “She’s one of the most outrageous people I’ve ever spent time with, and she’s wonderful to work with. It was just a glorious period of time making Mask.” (Elliott) The acting of singer/songwriter Cher brought the character to life of Rusty. She was impeccable in her approaches, close-ups, and empathy she shared with her son, Rocky Dennis. Though it was no secret that both Cher and Bogdanoich had a rocky relationship. Cher felt he choreographed her every move. He would go in great detail over how she played in every scene. Often, Cher would ignore him and do it her way. Cher stated, “Bogdanovich was my worst”. (TCM) According to the documentary on the director’s cut of Mask, Bogdanovich tells us Stoltz was the perfect actor to play Rocky. He offers an amazing variety to the set, his humor, and absolute lack of self-pity that draws Rocky the way he does in spirit to the audience. (Bogdanovich) Bogdanovich would later explain that Stoltz would often eat lunch with over 14 layers of makeup and broken teeth prosthetics. All, while in a 100 degree weather. To prepare for his role as Rocky, Stoltz would wear the mask of Rocky riding LA Metro public buses, to obtain the reactions from people. This drew Eric into the character and enabling him to understand what Rocky must have endured when being confronted in public. The challenge of the role is obvious- one layered with 14 covers of makeup, without being able to express much emotion. Eric had to rely on his keen talents of physical acting, to the bouncy walk, that innates Rocky’s good sense of humor, even the flipping of his wrists, when he bolts through the door, often asking Rusty what is to eat. Eric is so successful in driving the audience beyond the disfigurement of Rocky and uplifting his presence through his spirit. Mask would never be an academy award winner for best makeup without the artistic genius abilities of Michael Westmore and Zoltan Elek. While many people will never likely encounter the disorder, makeup artist Michael Westmore took his magic to another level. He brought the condition of “lion disease” to the attention of the public. (Haithman) The mask made for Eric Stoltz was molded using three separate pieces of foam latex, applied to Stoltz’s face and blended over and over with makeup. Stoltz wore dentures to simulate Rocky’s deformed teeth. (Haithman) Rocky’s eyes were forced about 3 ½ inches apart in reality; while Stolz’s mask had to be reduced to 1 ½ inches so the actor would be able to see. The hard work won the Oscar for best makeup. Mask would not have been so successful without the exceptional work of Laszlo Kova’s intuitive, fluid camerawork and zest for photography; Michael Westmore’s impeccable and flawless makeup design; Norman Newberry’s art direction, which perfectly opens the oppressiveness of a biker home, filmed to close to traffic, and Eva Gardo and Barbara Ford’s nicely systematic and rhythmed editing. Rocky was an amazing young man, whom stood up to adversary and took on his disease with a strong left hook. He never once let his disease defy him, or limit his capabilities for the life he was dealt. And like my cousin Patron, he zoomed with so much love and passion, never once letting the actions of others, bring him down or wish he were born differently. Rest in Peace Rocky and Patron, and while you are at it, play some Boss up in heaven, riding bikes through-out Europe. Citation Benson, Sheila. “MOVIE REVIEW :

Street Arts: Arguments on it as a Form of Expression

Street Arts: Arguments on it as a Form of Expression. Street Art, A Form of Expression Art is defined in the dictionary as the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power. Creating art seems to become an issue when the word “street” is added in front of it. In my modest opinion, street art should be continued and expressed for it is a way that someone shows their ideas and creativity. Individuals believe street art should be banned and consider it as vandalism. In addition, civilians say that street art is trashy and makes their communities look uninviting. On the other hand, some argue that street art is expressive. Activists, regarding matters beyond measure, even say that street art is a form of commentary on societal issues. The list goes on. The issue that arises most, is that street art is simply just vandalism. Street art is created mostly on side-walks, buildings, and tunnels. Not all street art is done by painting. Methods such as yarn bombing are used, which involves covering surfaces in knitted patterns. It can also be expressed through stickers and stencils to make a statement. Street art is usually shown in urban areas, and yes, it falls within the lines of graffiti to an extent. This type of art usually is created with the intent of conveying a message. The intent of one’s act is the distinguishing factor regarding graffiti vs. street art. Both acts are a form of expression that aren’t always done with permission. This is where the issue of vandalism comes into play. Graffiti is usually done with the intent of giving a message to an individual or specific group; no intent of public understanding. Whereas, street art provokes discussion and calls for a reaction. An issue proposed, is that graffiti and street art are the same thing, however, that topic is debatable. From my perspective, graffiti is the rebellious and care-free act of expression, usually done with the intent of little to nothing. In addition, artist who perform graffiti, have no consideration of property or the law. Street art is a form of creative expression with the intent of portraying one’s feelings or perspective on matters they feel are important to share. The legality of the two seems farfetched, since some cannot determine the differences between street art and graffiti. In this light, I can understand the concern and problems that may arise. For example, when does art become too expressive or even out of hand? Who determines what is significant enough to be “acceptable”, by means of street art. However, who are we to determine what is important to someone or not? What exact harm is being done? As more questions emerge, I believe that it is an issue of respect and acceptance. Art is made to project and express feelings. It is a form of therapy, communication, and even an act of connecting with people. The point of street art is not to diminish or destroy buildings and the community, but to make it a community where voices and points can be made without regulation or fear. Also, most street art is not made to take away from the already, “beautiful building”. Artists aren’t doing their works to take away from the picture, but to enhance and promote ways of change; in a positive way. Some things are too vast and wonderful to confine! Contrary to my beliefs, Heather MacDonald, a contributing editor of City Journal, says street art is vandalism. MacDonald stated that “Graffiti is something that one celebrates, if one is juvenile enough to do so, when it shows up on someone else’s property but never on one’s own (“Graffiti Is Vandalism”). To my understanding, I do not believe that McDonald is an open minded individual when it comes to the realm of art. I make these assumptions based off multiple reasons. The editor makes several comments on the invasion of privacy. “If your home were tagged during the night without your consent, would you welcome the new addition to your décor or would you immediately call a painter, if not the police” (MacDonald). She explains that graffiti and street art isn’t art at all. Although I can understand her point regarding one’s personal property, it seems like she has no understanding of self-expression. Artists are not going to individuals houses involuntarily, especially with a goal to harm. Most artists do think about the place in which they are using. MacDonald focuses more on the negative aspects of street art, and not the true meaning of what it is. The argument proposed is that graffiti is not artistically compelling and that it is a crime. In Heather Macdonald’s perspective, she sees street art, graffiti, and tagging as the same. Tagging is the practice of ownership by writing your name or a group on surfaces. Again, street art does not aim at ownership, but more so creating a message. Although this is one’s property, there are laws that protect the performance of street art. The Copyright Act is a law that gives artists the rights to their expression, “criminal acts”, AND freedom of choice. The law imposes, “… the sole right to produce or reproduce the work or any substantial part thereof in any material form, to perform the work or any substantial part thereof in public, or if the work is unpublished, to publish the work or any substantial part thereof…” The Copyright Act also states, “to produce, reproduce, perform or publish any translation of the work; to reproduce, adapt and publicly present the works a cinematographic work; to communicate the work to the public by telecommunication, to present at a public exhibition, for a purpose other than sale or hire.” This means, regarding street art, that it is legal to display, produce, and commercialize these works. Regardless if the work is anonymous or not, the work lies in the hands of the creator. Although there are rights that protect property, The Copyright Act still protects these artists. As mentioned before, street artists do not create their works with the intention of vandalism. Most artists consider where they are creating their masterpieces; the placement of art contributes to how the art is presented. MacDonald mentions a politician named John Lindsay, who “declared war on graffiti” in 1972. To the politicians understanding, he associated graffiti with disorder and law-breaking. The point proposed, is one criminal act being accepted implies that other criminal acts are also accepted. Some examples include stealing, assault, and drug usage. MacDonald uses Lindsay’s theory to justify her own, by pulling unrelated criminal acts into the picture. Macdonald associates street art, “vandalism” in her mind, as the beginning of unlawful acts. It is almost as if MacDonald associates these criminal acts towards a specific group of people. The editor’s understanding and mindset seems to be extremely minuscule, regarding street art. Instead of looking at it as forms of communication and self-expression, she associates it with criminal activity. To my understanding, MacDonald is solely focused on her own self and her property, as if artists will specifically choose her as a subject. MacDonald looks at vandalism, street art, and graffiti as one, and believes it is a juvenile act. This means MacDonald sees anyone who practices the art, as an adolescent and childish. In conclusion, we can see that Macdonald lacks understanding of what street art is and why it is practiced. Although there are individuals strongly against street art, there are still people who are highly supportive of this medium. Urban art specialist, Mary McCarthy, believes that street art is a tool for change. McCarthy states that street art speaks as a form of spiritual survival and starts at a place of rebellion. “It was often the only tool of the poverty stricken, the disenfranchised, to communicate their stories, their sense of place” (“Street Art as A Tool for Change”), says McCarthy. The Urban specialist explains that when you have little to nothing, being able to “claim” something as yours, gives you ownership of your community, or place. Street art is a mark of identity and serves as a medium for the future. McCarthy believes that the Street Art Movement has gone beyond all art movements to date. “Stylistically, politically, and socially it has inspired, challenged and changed people’s lives positively across the world” (“Street Art as A Tool for Change”), implies McCarthy. She notes that artists are now using their environments as canvases, and that street artists create their works “from walls to railings, from wood to metal, from buildings to vehicles”. McCarthy describes this act as unprecedent. Like other supporters of street art, she agrees that it has a political affect. With the streets as a medium, individuals can express their opinions and broadcast their voice. In agreeance with McCarthy, this type of communication has an influence on rhetoric and opinion; throughout the community to the people. The Urban specialist uses many examples to show how influential street art can be. One example given, is Shepherd Fairey’s “Hope” image, that was reproduced across the world by pro Obama supporters. When the voices of individuals are expressed through street art, places across the globe transform. Mary McCarthy does a wonderful job at capturing the true purpose of street art; influencing change and making a statement. The activist takes Miami for an example. The Goldman family, from a dangerous part in the city, changed their community greatly. McCarthy explains that the Goldman’s “good hearted” (Street Art as A Tool for Change”) program, encouraging street art, has been transformed. As a result, the once dangerous area, is now an “international tourist attraction and affluent neighborhood in its own right”. Finally, another influential example of street art is JR’s artwork in the favelas. Mrs. McCarthy sees this as an “encouraging sense of pride” within disenfranchised residents of Rio. Mary McCarthy not only appreciates the art, but clearly has done her research. Many people may think that not everyone can relate or understand street art, so it proposes the question; what is the point? McCarthy put into words, “One of the main reasons why this art has been so accessible and popular is the artist’s ability to relate to the here and now- to live in the moment and to express a personal, a social and a political rhetoric “(“Street Art as A Tool for Change”). Pursuant to her belief, this is a rhetoric that can be understood and relates to all. The streets give an artist a canvas that all can see. An example given, is Banksy’s Mobile Lovers. McCarthy explains that Mobile Lovers had a double impact on the community; where it took place and the message. The artist of this work points out that modern technology distracts us from our company. Banksy’s artwork was done in a dark doorway at the end of a dead-end street. McCarthy emphasizes the usage of glow-in-the-dark spray paint, which she claims, “added weight to the idea that this piece is intended to be only ‘half seen’” (“Street Art as A Tool for Change”). The artwork was done behind a club in Bristol. In later findings, I was shocked McCarthy knew Banksy. She was responsible for the sale of Mobile Lovers, with permission, that had a powerful impact in Bristol. Broad Plain, a Rugby Football Club, purchased Banksy’s artwork and its proceedings went to the club where the art was located. Banksy spent most of his time in this club and was ecstatic when he found out that his artwork helped it from foreclosing! McCarthy concludes that this is a prime example of how street can affect many people in various ways. Street art is a form of expression and communication across the world that has both negative and positive effects. It is becoming more popular in our modern-day society and is becoming a voice regarding political, social, and personal issues. Street art has the power to change society, people, and even the energy within places. Although some opinion may differ, through street art, we are all heard! Works Cited MacDonald, Heather, “Graffiti Is Always Vandalism.” The New York Times, (2014) https://www.nytimes.com/roomfordebate/2014/07/11/when-does-graffiti-become-art/graffiti-is-always-vandalism McCarthy, Mary, “Street Art as A Tool for Change.” Huffington Post, (2017) https://guce.oath.com/collectConsent?brandType=euStreet Arts: Arguments on it as a Form of Expression