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Utica College Resources for Domestic Violence Discussion

Utica College Resources for Domestic Violence Discussion.

Resources for Domestic ViolenceDomestic violence (DV) is a problem throughout Florida. Most people have either been victims of DV or know someone who was a victim.Describe a DV situation you are aware of (either personally or professionally). What signs of DV did you notice or hear about? Were you surprised to hear about the violence? Did the person seek help?Describe how you could offer help to a person experiencing DV and give details of 2 Florida resources for persons to get help for DV.Do not forget you need to include at least one scholarly source to support your comments.
Utica College Resources for Domestic Violence Discussion

Biology homework help

Biology homework help. This is a paper that is focusing on the student to perform an Interpersonal communication CMS04220 assignment paper. The paper also provides additional information to use in the writing of the assignment paper. Below is a brief description of the assignment:,Interpersonal communication CMS04220 assignment paper,CMS04220 – Interpersonal Communication, Assignment 4 – Job Application Paper,This assignment is worth 40 points., In this assignment, you have two primary tasks to complete:,  Firstly, locate THREE job postings online for the ONE type of job that you would most like to have at some point during your ,post-college career,., o This doesn’t need to be something you could do right after graduation and doesn’t need to be in the U.S., o The links for all three job postings must be included at the end of the paper., Secondly, write a four part essay that includes:, An introduction setting up the main points of the essay, A brief statement identifying the job that you would like to have and a description of the duties and skills necessary for the job, A three section discussion of how understanding concepts from different modules in this course would help someone do this job better., Thirdly, you will select three bullet pointed concepts from the lists at the end of this document.,  Each of your three chosen bullets must be from a different module., o A conclusion wrapping up the take-away points of the essay, This is to be done under the following rules:,  You must have an introduction that sets up the focus of the paper, and a conclusion wraps up the take-away points.,  You will select THREE of the bullet-pointed concepts or principles as your topic of, discussion, following any specific instructions provided for the selected bullet. Each bullet MUST come from a different module. Although other concepts may have been discussed in the chapters, only the concepts in the list are eligible., Lastly, you are to use headings to delineate where sections begin and end. The headings should be the concepts, assumptions, or principles as described by the selected bullet point. So each of your three bullet-pointed concepts of principles that you have chosen from the different modules to discuss, you must have a heading for.,Attachments,Click Here To Download,Biology homework help

Critical Regionalism, Interplay and Formalism

java assignment help Critical Regionalism, Interplay and Formalism. Critical regionalism, interplay and formalism This essay discusses the inherently rich means of describing and thinking about architecture seen in Gadamer’s notion of interplay and Frampton’s notion of critical religionism, comparing them briefly to a formalist way of characterising architecture. The phrase ‘critical regionalism’ is not proposed to express the vernacular as this once naturally formed by the combined interaction of climate, culture, myth and craft. Rather, the phrase is used to identify architecture that primarily aims to reflect and serve the limited constituencies in which they are grounded. Among other factors contributing to the development of regionalism of this order is not only a certain property but also kind of anti-centrist accord – an inspiration at least to several arrangement of economic, cultural and political independence. Over the past two centuries and a half, regionalism has dominated architecture in almost every country. By definition, it can be said that it endorses the distinctive and local architectonic qualities in contradiction of further universal and abstract ones. However, it can be argued that regionalism signifies ambiguity. This is due to the fact that it has been correlated with the developments of liberation and reform. Conversely, it has also been proven to be an influential tool of repression and nationalism. Undoubtedly, there are limitations when it comes to critical regionalism. The commotion of the populist movement – an advanced form of regionalism – has exposed its restraints. The probability of new architecture surfacing is very low when it is deprived of new kinds of relations between the designer and client without a new variety of programs. Notwithstanding these boundaries, critical regionalism is a bridge over which any humanistic architecture of the future has to surpass. Twentieth century German philosopher, Hans-Greog Gadamer’s notion of interplay has been significantly influential to architecture. He also had a vast role in regards to aesthetics, specifically ‘the concept of play’. In accordance to Gadamer’s belief, he states that the concept of play is not a derivative from the subjective meaning which is believed by philosophers such as Immanuel Kant and Schiller. This is because for them it governs the entirety of modern aesthetics and the philosophy of man, along with the ethics involved. If we were to discuss in regards to the experience of art, we state play, which refers to neither the approach or the thinking of the designer or of those observing the art. It also doesn’t refer to the autonomy of subjectivity articulated in play. But rather, it refers to the mode of existence of the work of art itself. If one were to explore aesthetic awareness, they will be able to acknowledge that the theory of aesthetic awareness opposed with an object doesn’t correspond to the existent situation. That is the reason as to why the concept of play is very significant to Gadamer’s theory. For architects, Gadamer’s thinking allows countless possibilities for understanding how structures nowadays can be rich with humanistic meaning, connecting to architecture’s history in conducts that don’t just repeat nor repudiate that history. This can be expressed using Le Corbusier’s chapel Notre Dame du Haut at Ronchamp, France (1950-1955). This structure has captured a considerable amount of remarkable complexity of various historical constructions. The forthcoming observer of this structure is aesthetically encouraged to explore the multitude of façade arrangements. A reputable collection of texture of the structure, along with the light and shadow creating remarkable silhouettes, continuously holds the observer’s attentiveness before they enter the structure, where a new unit of forms and spaces await them. Le Corbusier, Chapel Ronchamp, France (1950-1955) Formalism is an indistinct term that can be interpreted into several different things in architecture. Typically, it is corresponding to its most commonly acknowledged meaning, something negative. For example, this could be a particularly necessary element being absent in a work of architecture, such as the meaning, purpose etc. it was articulated in Judith Wolin’s words as the lack of “social responsibility, emotional content, or originality”. The notion of regionalism in architecture endorses to create a robust sense of place for developing countries and could demonstrate vital in moulding their social structure, economic stability and environment consciousness. Kenneth Frampton propositions a theory that can direct to form an enhanced correlation to place whilst conforming with contemporary necessities. Frampton’s theory of critical regionalism was put forth in “Towards a Critical Regionalism: Six Points for an Architecture of Resistance” (Frampton 1983) and then reviewed again in “Ten Points on Architecture of Regionalism: A Provisional Polemic” (Frampton 1987). Frampton bases his thinking on, French philosopher, Paul Ricoeur’s essay “Universal Civilisations and National Cultures” (Ricoeur 1961) to construct his argument. Ricoeur believed that the universalisation of human culture has become unavoidable around the world, and along with the increase of one-world civilisation derives the decreasing of diversity and loss of native traditional cultures that he believed to be the artistic core for expressing place. This occurrence becomes further substantial in developing countries, as their want for a more developed environment demands a subtle balance between being rooted to place and the capability to contribute in modern civilisation. The imposition of universal culture is inevitable. Conversely, weakening and almost completely terminating the relations to the cultural past (Frampton 1992, p.314). For both Kenneth Frampton and Paul Ricoeur, in order for architecture to preserve its social value, the developed environment built has to strive to reserve the importance of the past, but also be in accordance with the demands of the future. According to Frampton, his critical regionalism isn’t equal to vernacular architecture. He believed that early and modern cultures aren’t the result of a sole heritage, but rather they are hybrids of numerous cultures discovered in a region’s past. Consequently, regional culture should be appreciated as instinctively enforced by place but somewhat, nurtured and demonstrated through the developed environment. It is because of this that Frampton believes that the Ricoeur indicates that “regional or national cultures today must be locally inflected manifestations of world culture” (Frampton 1992, p.315). It is important to Frampton that there is an emphasis on an architectural language that revitalises indigenous results, whilst also reinstating the technological capabilities of modernism. For Frampton, this metaphorical statement of the past revived through the use of modern methods and indigenous material has been accomplished by numerous architects. To exemplify critical regionalism, Frampton uses the work of Tadao Ando. He claims that the architect employs modernistic methods and language in order to demonstrate regional diversity and distinctive lifestyles (Frampton 1992, p.324). Frampton clarifies that Ando’s recurrent delamination of space through concrete walls. While it may be geometrically ingenuous and abstract, it suggests certain conservational and cultural qualities, which postulates a familiarity and distinctiveness to buildings. Ando presents his work using the surface of concrete instead of its mass. This is to accentuate spatial elements in accurately detailed symmetrical arrangements, which demonstrates intense shadows and light off the exteriors to enhance the experience of place. Ando defends this further and also describes his Koshino House (Frampton 1992, p.325): “light changes expressions with time, I believe that the architectural materials do not end with wood and concrete that have tangible forms but go beyond to include light and wind with appeals to the senses…details exist as the most important element in expressing identity…thus to me, the detail is an element which achieves the physical composition of architecture, but at the same time is a generator of an image of architecture.” Koshino House, Hyogo Prefecture, Japan (1981) Koshino House, Hyogo Prefecture, Japan (1981) Tadao Ando’s work postulates framework of references which creates a parallel between forming relations to cultural tradition and regional aspects in harmony alongside the present universalised civilisation. In acknowledgement of this, it could be said that Frampton’s critical regionalism is not a style, rather, it’s a process of adaptation. An analytical classification that allows us to establish collective qualities and elements, through distinctive fundamental arrangements, developing a contemporary architectural language. This all leads to the reinforcement of regional individuality and forests a link between place and culture. In conclusion, formalism in architecture cannot be interpreted as one genealogical line, despite observed conventional formalist traditions. It makes more sense to evaluate it as a hybrid that was strongly influenced by such traditions, but rather it is tied down to its own established tradition. Furthermore, Frampton’s theory on regionalism argues that architecture should not be taken for granted as a structural accomplishment that allows a profounder mindfulness of place. This demonstrates the opportunity to reflect culture in a contemporary, without depriving its existing individuality and cultural tradition. That is the fundamental core significance of critical regionalism. References Kidder, P. (2012). Gadamer for architects. 1st ed. London. Paul Ricoeur. (1961). “Universal Civilisation and National Cultures”. History and Truth. pp. 276-7. Anay, H. (2012). (Epistemological) formalism and its influence on architecture: A Concise review. Eskişehir Osmangazi University, Faculty of Engineering and Architecture, Eskişehir, Turkey. Orozco, J. C. (2007). A Comparative Analysis of Kenneth Frampton’s Critical Regionalism and William J. R. Crutis’s Authentic Regionalism as a Means for Evaluating Two Houses by Mexican Architect Luis Barragan. University of San Carlos, Guatemala. Gadamer, H. G. (2004). Truth and Method. 2nd Revised Edition, Continuum. P. 118, P. 263. P. 432. Gadamer H. G. (1998). The beginning of philosophy. New York: Continuum. Frampton, Kenneth (1987). Ten Points on Architecture of Regionalism: A Provisional Polemic. Center 3, New Regionalism p. 20-27. New York: Rizzoli Frampton, K. (1983). “Towards a Critical Regionalism: Six Points for an Architecture of Resistance” in The Anti-Aesthetic: Essays on Postmodern Culture. edited by Hal Foster, Bay Press, Port Townsend Frampton, K. (1996). Modern Architecture a critical history. London. Thames and Hudson. Gadamer, H. (1999). Hermeneutics, religion and ethics. New Haven: Yale University Press. Arthos, J. (2013). Gadamer’s Poetics: A Critique of Modern Aesthetics, London: Bloomsbury. Images https://www.inexhibit.com/mymuseum/notre-dame-du-haut-le-corbusier-ronchamp-chapel/ https://www.gq.com/story/9-brutalist-wonders-of-the-architecture-world http://www.cgarchitect.com/2017/10/the-koshino-house1 https://www.archiweb.cz/en/b/dum-koshino http://evank1193.wixsite.com/evansk/represention?lightbox=image6za Critical Regionalism, Interplay and Formalism

Saudi Electronic University Saudi Healthcare Challenges Discussion

Saudi Electronic University Saudi Healthcare Challenges Discussion.

I’m working on a health & medical discussion question and need guidance to help me learn.

I’m working on a hospitality discussion question and need guidance to help me understand better.please avoid plagiarism and use APA tamplate the topic isWhat are three major challenges facing healthcare organizations and healthcare managers in Saudi Arabia when thinking of the changes being initiated by Saudi Vision 2030? Explain how organizational theories provide insights into the solutions to these challenges.In developing your initial response, be sure to draw from, explore, and cite credible reference materials
Saudi Electronic University Saudi Healthcare Challenges Discussion

Complete Social Work Discussion (Walden)

Complete Social Work Discussion (Walden). I’m studying and need help with a Sociology question to help me learn.

Social workers who utilize the solution-focused model are mindful of how their conversations with their clients, families, groups, or even community members facilitate their thinking about solutions. The client is always the “expert,” and therefore social workers ask questions to explore how the client perceives the problem and situation.
Social workers may use solution-focused questions such as the miracle question. For example, “Suppose you woke up one morning and by some miracle everything you ever wanted, everything good you could ever imagine for yourself, had actually happened—your life had turned out exactly the way you wanted it. What would be different in your life?” When clients are asked this, it forces them to reflect on what they want or would like to achieve. By projecting themselves into the future, clients are more likely to imagine what is possible rather than focusing on the past and their failures. This allows for the possibility of developing solutions.
In this Discussion, you apply the solution-focused model and solution-focused questions. You provide other solution-focused questions, similar to the miracle question that was provided for you.
Although the textbook provides actual examples of solution-focused questions, always think about your client—you may have to modify the question a bit to take into account the client’s age, cognitive and developmental stage, culture, etc., so that the question makes sense to the client.
To prepare:

Recall a case from your fieldwork experience to use for this Discussion.
Review and focus on pages 520–521 in your textbook.

By Day 3
Post:

In 1 to 2 sentences, briefly identify and describe the problem as perceived by the client, family, or group that you dealt with in your past fieldwork experience.
From the list of solution-focused questions on page 520 (e.g., exception questions, coping questions, scaling questions, and relationship questions), identify two different types of questions, and ask each question as if you were actually asking the questions to the client. (Remember, do not use the miracle question.)

Remember that the goal of these questions is to assist clients in identifying a solution

Explain how asking these two questions would help the client in coming up with the solution.
In 1 to 2 sentences, reflect and explain how asking these questions made you feel and perhaps how the client might feel.

Complete Social Work Discussion (Walden)