Attitude and behavior towards internet shopping

Attitude and behavior towards internet shopping Studies on factors determining consumer attitude and behavior towards Internet shopping: Most of the studies conducted in the recent years in field of online shopping behavior and attitude have been focusing on the factors influencing the online shopping attitudes and behavior. But, different researchers have diverse opinions and focus, while studying the impact of these factors on the online consumer buying behavior and attitudes. For example, there is a segment of researchers who have tried to explain the consumer attitude and intentions for online shopping by taking theories like Theory of Reasoned Action, Technology acceptance model or Theory of Planned Behaviour as a basis and have tried to extend them further by adding more web specific factors to them(Cheung, Zhu, Kwong, Gloria, and Limayem, 2003), whereas there has been another segment who have derived relationships between various factors and customer satisfaction with reference to the Internet shopping experience in the form of dependent and independent variables. Further, there have been researchers who have f urther organized and compiled the previous researches done in this field so as to pave way for future researches. These researchers have also contributed in terms of designing structured frameworks for online consumer attitude, intention and buying behavior. Web experience The literature review done by Constantinides (2004) helps in identifying the web experience components and their role as the first step in shaping the online consumers behavior. He has added web experience as a controllable element in his model depicting factors that influence the online buying behavior. He has further explained web experience factor by classifying it in three sub-categories which are the building blocks of the web experience. These three sub-categories are Functionality factors (usability and Interactivity), Psychological factors (trust) and Content factors (aesthetics and Marketing Mix). The following figure as adopted from his article presents a brief description of the number of references in support of each of these factors: Source: Constantinides, E.(2004). Influencing the online consumers behavior: the web experience. Journal of Internet Research. Vol 14 No.2, pp. 114, figure 2. Literature review Li and Zhang (2002, p.508) have defined online buying behavior or Internet shopping/buying behavior as the process of purchasing products or services via the Internet; which according to Liang and Lai (2000), is similar to the traditional five steps process of consumer buying behavior (as cited by Li and Zhang, 2002). They have also defined online shopping attitude as the psychological state of the consumers in terms of Internet shopping (2002). Li and Zhang (2002) have analysed 35 empirical studies on online shopping attitudes and behavior conducted during the period of January 1998 to February 2002 and have finally identified 10 inter-related factors for which the reviewed studies have significant empirical evidences. These 10 factors have further been classified into five independent factors (viz. external environment, demographics, personal characteristics, vendor/service/product characteristics, and website quality) and five dependent factors (viz. attitude towards online shoppi ng, intention to shop online, decision making, online purchasing, and consumer satisfaction.) Another exhaustive literature review in this field has been by Cheung et al. (2003). They have examined a total of 351 articles in the area of online consumer behavior from 1994 to April 2002. They have attempted to link together the concepts of intention, adoption and continuance and form a base model- a Model of Intention, Adoption and Continuance (MIAC) for the development of an online consumer behavior framework. Further, the various factors as mentioned by various researchers in their study have been categorized under five major domain areas viz. individual/consumer characteristics, product/service characteristics, medium characteristics, and online merchant and intermediary characteristics. According to them, online purchase intention and adoption has been extensively studied and there are lots of empirical evidences available, but research on continuance or consumer online repurchase is in its infancy. The following figure describes the MIAC model as suggested by Cheung et al. Framework of online consumer behavior Source: Cheung, C.M.K., Zhu, L., Kwong, T., Chan, G.W.W. Limayem, M.(2003). Online Consumer Behavior: A Review and Agenda for Future Research. Proceedings of the 16th Bled eCommerce Conference, eTransformation. 194-218 A recent study conducted by Kuczmarski and James (April 2008) further contribute to the available body of literature by adding that consumers prefer online stores to actual stores due to potential reasons like convenience, cost and selection. Trust as a factor Studies also indicate that trust remains a crucial factor in e-commerce and in influencing the purchase decision of online shoppers. Consumers prefer to shop from trusted websites. Researches reveal that trust is a factor which also helps in forming long-term customer relationships (Dwyer, Schurr Oh, 1987; Gefen Straub, 2003; Kim, Xu Koh, 2004). Some researchers like Lee (2002), Liebermann and Stashevsky (2002), McKnight et al.(2002), Suh and Han(2002) and Liang and Lai(2002) have even argued that a new step has been added to the online buying process and that is the step of building trust or confidence (as cited by Constantinides, 2004). The available literature explains that trust facilitates e-commerce and online transactions, but at the same time the consumers lack of trust in online vendors continues to remain a hindrance in the growth of e-commerce. (Ba Pavlou, 2002; Gefen and Straub, 2003; Gefen, Karahanna Straub, 2003; Kim, Xu Koh, 2004; Lim, Sia, Lee Benbasat, 2006; P avlou Gefen, 2004). Gefen(2002) and Kim, Xu Koh (2004) have stated that a key challenge to e-commerce is that creating trust typically requires multiple interactions and superior service over a period of time(as cited by Lowry et al., 2008). Brand has also been established as one of the factors influencing the customer trust for a website (Bart, Shankar, Sultan Urban, 2005; Yoon, 2002). Ward and Lee(2000) conducted a research to examine whether consumers use brands as sources of information when shopping on Internet and they concluded that branding can facilitate consumers acceptance of e-commerce. Lowry, Vance, Moody, Beckman Read (2008) have studied the impact of branding alliances and web-site quality on the consumer trust of e-commerce websites. They explored the usage of branding alliances and website quality by the less familiar websites to enhance the consumer trust and suggested that branding and web-site quality can significantly increase the initial consumer trust in the e-commerce websites. Ballantine(2005) has studied the effects of interactivity and the amount of product information provided by an online shopping environment on consumer satisfaction. A web-based experiment was conducted where respondents were exposed to a simulated online retail store. Findings indicate that these two factors had a significant effect on the consumer satisfaction. Tangibility also remains an important factor in influencing the purchase process of Internet shoppers. Melian-Alzola and Padron-Robaina(2006) have analysed the role and importance of the tangible elements of purchase processes in business to consumer(B2C) e-commerce, and the impact on overall perceived quality and the customers attitudes. Their research concluded that that four attributes navigation, signposting, tools and explanation explain the tangible dimension in electronic commerce. They revealed that design was an important factor of overall perceived quality and the willingness to recommend the purchase experience to others. Security of transactions is another factor that remains as a matter of concern for e-commerce consumers. According to a study conducted by American Banker in 2007, one-third of Canadians refused to shop online due to fear of identity theft. Web assurance services help in building up the trust and confidence of such consumers. In an experimental study undertaken by Mauldin and Arunachalam (2002), the impact of web assurance services and retailer disclosures on purchase intent was studied. They have defined web assurance as the measures taken to reduce information risks and increase online purchasing by improving the reliability of certain information on the website. Their findings indicate that web assurance. In this research they considered TRUSTe, WebTrust and VISA web assurance services for the study. Their findings indicate that there were no significant differences in intent to purchase among the three assurance providers. Mauldin and Arunachalam have also studied the impact of product and retailer familiarity on the buying behavior of online consumers in the above mentioned study and they suggest that web assurance is insignificant when product familiarity is higher, or in other words, where product familiarity is lower, intent to purchase is higher with web assurance. Retailer familiarity is not fou nd to be significant in any of the conditions. Further, their study also reveals that retailer disclosures are sufficient to impact buying intention of online consumers; the web assurance services studied in the above study did not provide any additional assurance beyond the retailer disclosures. They have further emphasized that comfort with the Internet, general intent to buy online, and website design played significant role in influencing purchase intention. Although security is a major concern of online buyers, their study indicates that information risk generally did not significantly influence purchase intention, which explains why web assurance is generally not significant in their study. Bruce, Katherine and Murphy (2008) have further explored the prior studies on web assurance models to provide detailed explanation on current reporting requirements, differences among web assurance services and perceptions of consumers regarding these services. The study concludes that consumers give importance to web assurance services, but younger consumers place greater value on these services rather than older consumers. Technology Acceptance Model as a basis for research on Literature review In an attempt to design a structured framework for the effects of different factors on consumer attitude towards Internet shopping and their intentions to shop online, Monsuwe, Dellaert and Ruyter (2004) have reviewed the various researches conducted in the field. They have used Technology Acceptance Model (TAM) as a base and suggested a framework based on previous research on consumer adoption of new technologies and services. The Technology Acceptance Model (Davis, 1989) has served as a basis for various researches conducted in the Information systems field. In order to support the selection of TAM as a basis for their research work, Monsuwe et.al, 2004 have cited Chen et al.(2002), Moon and Kim(2001) and Lederar et al.(2000) who suggest that although this model is specifically designed to understand the adoption of a new computer based technology in the job/workplace, it has also proven to be suitable as theoretical foundation for adoption of e-commerce as well. The Technology Ac ceptance Model (TAM) suggests the usefulness, ease of use and the later addition of enjoyment (Davis et al., 1992) as the determinants of consumers attitude towards adopting a new technology. This attitude, further, has a strong and positive effect on consumers intentions to actually use the new technology or system (Bobbitt and Dabholkar, 2001; Davis, 1993). While redefining the three constructs in context of online shopping Monsuwe et.al.(2004, p.107) have referred to usefulness as the consumers perceptions that using the Internet as a shopping medium enhances the outcome of their shopping experience. Similarly, they have redefined ease of use as the consumers perception that the process leading to online shopping will require minimum effort and will be easy. Further, according to them, the enjoyment construct refers to the fun and playfulness of the Internet shopping experience. While usefulness has a weak direct link to attitude, it shows a strong direct link towards intention t o shop online (Davis et al., 1989). It is also linked with ease of use to determine consumers attitude towards online shopping. Hence, ease of use has a direct as well as indirect effect on consumers intention to shop online. Using TAM as a basis for the study, the framework proposed by Monsuwe, Dellaert and Ruyter(2004) not only includes the functional/utilitarian and hedonic dimensions like ease of use, usefulness, and enjoyment which affect the consumers attitude and intention towards Internet shopping, but they have also included some of the exogenous factors recommended by various researchers in the framework such as consumer traits(Burke, 2002; Dhabolkar and Bagozzi, 2002; Brown et al., 2001; Eastin and LaRose, 2000), situational factors(Wolfinbarger and Gilly,2001; Avery, 1996), product characteristics(Grewal et al., 2002; Elliot and Fowell, 2000), previous online shopping experiences(Shim et al., 2001; Eastlick and Lotz, 1999) and trust in online shopping(Yoon, 2002; Lee and Turban, 2001) Monsuwe et.al. in their research, have mentioned about the various researches done in order to extend the TAM by suggesting additional factors. For example, Venkatesh (2000), who has proposed integrating factors like control, intrinsic motivation, and emotion into the existing Technology Acceptance Model which are considered to be strong determinants for ease of use construct of TAM. Dabholkar and Bagozzi (2002) have given an attitudinal model of technology based self-service by suggesting two exogenous factors like consumer traits and situational influences. Further, they have cited OCass and Fenech (2002) who have added seven key consumer characteristics namely opinion leadership, buying impulsiveness, satisfaction with websites, web shopping compatibility, shopping orientation, Internet self-efficacy, and web-security to the model. Further, they have substantiated their model by citing the classification given by Hirschman and Holbrook (1982) who have categorised Internet shoppers in two categories; one is of the problem solvers and other category is of those seeking for fun, fantasy, arousal, sensory stimulation, and enjoyment. Monsuwe et al. suggest that this classification also supports the basic three constructs of TAM which affect the consumers attitude towards Internet shopping as ease of use and usefulness reflect the utilitarian aspect and enjoyment is in sync with the hedonic aspect of the model. The above explanation given by Monsuwe et al. is similar to the categorization of the shopping orientations by Bellenger, Robertson and Greenberg(1977) as convenience versus recreational orientation (as cited by Kim, LaRose, 2004) Various researches have been conducted to identify the underlying dimensions for the basic constructs of the TAM model. These latent dimensions can be further used to understand how these constructs get influenced by various exogenous factors. For example, Mathwick et al. (2001) have added two interesting latent dimensions to the usefulness construct Consumer Return on Investment(CROI), and service excellence. Monsuwe, Dellaert and Ruyter (2004) have defined CROI as a perceived return on cognitive, behavioural or financial investment made by the consumer. Whereas, service excellence evaluates the delivered promises against the performance. If both these dimensions are satisfied, then consumers will judge the Internet shopping performance positively (Mathwick et al., 2002) which adds to the perceived usefulness. Zeithamal et al. (2002) have stated that site characteristics such as search functions, download speed and navigation also acts as a determinant in shaping ease of use constru ct of the TAM model. But, Monsuwe et al. (2004, p.109) have a different opinion regarding this dimension. They have stated that these site characteristics merely influence the ease of use of a particular web site or online store, and not the Internet as a shopping medium in generalà ¢Ã¢â€š ¬Ã‚ ¦ Online Shopping orientations Kim and LaRose (2004) have defined shopping orientation as a shoppers attitude toward shopping activity that may vary with the situation rather than an invariant personality trait of the shopper. They have cited the categorization given by Bellenger, Robertson and Greenberg (1977) which classifies shoppers on the basis of their shopping orientation into convenience versus recreation oriented. Kim and LaRose (2004) also posit that shoppers may possess multiple orientations depending upon the expected outcome of a shopping experience and may demonstrate a regulated/utilitarian or an unregulated/recreational shopping orientation depending upon the environmental stimuli. Their study also shows that these two shopping orientations are not mutually exclusive and interactive web features may draw shoppers with convenience orientation into unregulated buying. Li, Kuo and Rusell(2006) have also studied the impact of shopping orientations on online consumer behavior alongwith other factors like demographics, channel knowledge and perceived channel utilities. Primary data was collected by a research company using an online survey of 999 U.S. Internet users. They have classified Internet users as frequent, occasional and non-buyers. Findings indicated that frequent web buyers have a higher degree of perceived channel utility for the purpose of communication, distribution and accessibility. Similarly channel knowledge also has a positive effect on the Internet buying and it also has a reciprocal influence on the perceived channel utilities. Their study also indicates that frequent web buyers value convenience more than experience(touch and feel of the product) whereas those who are non-web buyers have a higher degree of experience orientation. Recreation and economy orientation are found to be similar for the three types of Internet buyers. Th e study of the demographic factors revealed that male are more frequent web buyers than women, better-educated consumers shop more frequently online and consumers with higher income are more likely to be in frequent web buyer category. Age was not significant as far as frequency of web buying was concerned. Note: Most of the researchers feel that the classical consumer behavioral theories used for can only act as a starting point for understanding the online consumer behavior. There is no structured framework for explaining the online consumer behavior; the studies are mostly fragmented. Researchers have suggested different factors and frameworks, but there is a lack of a cohesive theoretical base to the online consumer behavior. Ba, S.L., and Pavlou, P.A. Evidence of the effect of trust building technology in electronic markets: Price premiums and buyer behavior. MIS Quarterly, 26, 3 (2002), 243-268. Gefen, D., and Straub, D.W. Consumer trust in B2C e-commerce and the importance of social presence: experiments in e-products and e-services. Omega: The International Journal of Management Science, 32, 6 (2004), 407-424. Gefen, D.; Karahanna, E.; and Straub, D.W. Trust and TAM in online shopping: An integrated model. MIS Quarterly, 27, 1 (2003), 51-90. Kim, H.-W.; Xu, Y.; and Koh, J. A comparison of online trust building factors between potential customers and repeat customers. Journal of the AIS, 5, 10 (2004), 392-420. Lim, K.H.; Sia, C.L.; Lee, M.K.O.; and Benbasat, I. Do I trust you online, and if so, will I buy? An empirical study of two trust-building strategies. Journal of Management Information Systems, 23, 2 (Fall 2006), 233-266. Pavlou, P.A., and Fygenson, M. Understanding and predicting electronic commerce adoption: An extension of the theory of planned behavior. MIS Quarterly, 30, 1 (2006), 115-143. Dwyer, F.R.; Schurr, P.H.; and Oh, S. Developing buyer-seller relationships. Journal of Marketing, 51, 2 (1987), 11-27. Everard, A.P., and Galletta, D.F. How presentation flaws affect perceived site quality, trust, and intention to purchase from an online store. Journal of Management Information Systems, 22, 3 (Winter 2005-6), 56-95 Kuczmarski, James (2008, Apr). JOURNAL-IST: Freedom of Choice. Fast Company, Issue 124, 43-43, 1/2p Runyan, B., Smith, K.T., Smith, L. M.(2008, Mar). Implications of Web assurance services on e-commerce. Accounting Forum (Elsevier), Vol. 32 Issue 1, 46-61 Gefen, D. Customer loyalty in e-commerce. Journal of the AIS, 3, 1 (2002), 27-51. Bart, Y.; Shankar, V.; Sultan, F.; and Urban, G.L. Are the drivers and role of online trust the same for all Web sites and consumers? A large-scale exploratory empirical study. Journal of Marketing, 69, 4 (2005), 133-152. Yoon, S.-J. The antecedents and consequences of trust in online-purchase decisions. Journal of Interactive Marketing, 16, 2 (2002), 47-63. Lowry, P.B., Vance, A., Moody, G., Beckman, B. Read, A. (2008). Explaining and Predicting the Impact of Branding Alliances and Web Site Quality on Initial Consumer Trust of E-Commerce Web Sites. Journal of Management Information Systems / Spring 2008, Vol. 24, No. 4, pp. 199-224. American Banker(2007, 17 Dec), Vol. 172 Issue 241, p17-17, 1/9p Monsuwe, T.P., Dellaert, B.G.C. Ruyter, K.D.(2004). What drives consumers to shop online? A literature review. International Journal of Service Industry Management.Vol.15 No.1, pp.102-121 Ward,M.R. Lee, M. J.(2000). Internet shopping, consumer search and product branding. Journal of Product and Brand Management, Vol.9 No.1, pp.6-20 Ballantine, P.W.(2005). Effects of interactivity and product information on consumer satisfaction in an online retail setting. International Journal of Retail Distribution Management, Vol.33 No.1, pp.461-471 Melià ¡n-Alzola, L. Padrà ³n-Robaina, V. (2006). Tangibility as a quality factor in electronic commerce B2C. Managing Service Quality. Vol.16 No.3,pp.320-338 Li,N. Zhang, P.(2002). Consumer Online shopping attitudes and behaviour: An assessment of research. Proceedings of the Eighth Americas Conference on Information Systems. 508-517 Constantinides, E.(2004). Influencing the online consumers behavior: the web experience. Internet Research. Vol 14 No.2, pp. 111-126 Cheung, C.M.K., Zhu, L., Kwong, T., Chan, G.W.W. Limayem, M.(2003). Online Consumer Behavior: A Review and Agenda for Future Research. Proceedings of the 16th Bled eCommerce Conference, eTransformation. 194-218 Li, H., Kuo, C. Rusell, M.G.(2006, Jun). The Impact of Perceived Channel Utilities, Shopping Orientations, and Demographics on the Consumers Online Buying Behaviour. Journal of Computer-Mediated Communication. 5(2). Retrieved July, 1, 2009, from http://www3.interscience.wiley.com/cgi-bin/fulltext/120837782/HTMLSTART Mauldin, E. Arunachalam, V. (2002). An Experimental Examination of Alternative Forms of Web Assurance for Business-to-Consumer e-Commerce. Journal of Information Systems. 16. 33-54 Abstract: Customers in an Internet shopping environment actually play dual roles. One is the role as a customer in a shopping place, and the other is the role as a user of information technology. In both cases, the level of satisfaction is of great concern. In this vein, a way of measuring the satisfaction level that takes both roles into account is needed. However, in past research indexes for consumer satisfaction and indexes for user information satisfaction have been developed separately in the fields of marketing and management information systems. Because of this lack of interaction between the two streams of research, an index for electronic commerce consumers that has its base in the dual roles has not been developed and tested. In this research, an instrument for measuring electronic commerce consumer satisfaction was proposed and validated using a sample of over 400 customers. The relationship between the index and consumers purchasing intention was also examined. Title: Development of electronic commerce user-consumer satisfaction index (ECUSI) for Internet shopping Author(s): Namjae Cho, Sanghyuk Park Journal: Industrial Management Data Systems Year: 2001 Volume: 101 Issue: 8 Page: 400 406 ISSN: 0263-5577 DOI: 10.1108/EUM0000000006170 Publisher: MCB UP Ltd Abstract: Purpose The purpose of this study is to investigate the effects of consumers shopping orientation on their satisfaction level with the product search and purchase behavior using multi-channels. Design/methodology/approach A total of 181 students in a large US mid-western university provided usable responses to the survey. Exploratory factor analysis and multiple regression analyses were employed to examine the research questions. Findings The results showed that more than three quarters of the respondents shopped via the internet and catalogs, and about 95 percent shopped at non-local retailers. About 60 percent reported that they never shopped from TV shopping channels. Confident/fashion-conscious shopping orientation and catalog/internet shopping orientation were found to be key predictors of customer satisfaction level with information search via multi-channels. Both confident/fashion-conscious consumers and mall shopping-oriented shoppers were more satisfied with store-based retail channels for apparel purchases, whereas non-local store-oriented shoppers and catalog/internet-oriented shoppers were more satisfied with non-store-based retail channels for their apparel purchases. Research limitations/implications The sample of this study was biased by gender and age. For the apparel retail industry, this paper offers practical knowledge about the relationships between shopping orientation and consumer search and purchase behavior in a multi-channel retailing context. Originality/value No study has utilized the shopping orientation framework to explain consumer behavior in a multi-channel environment. This study provides understanding of consumer product information search behavior on four dimensions (price, promotion, style/trends, and merchandise availability) via multi-channels. Title: The effects of shopping orientations on consumers satisfaction with product search and purchases in a multi-channel environment Author(s): Hyun-Hwa Lee, Jihyun Kim Journal: Journal of Fashion Marketing and Management Year: 2008 Volume: 12 Issue: 2 Page: 193 216 ISSN: 1361-2026 DOI: 10.1108/13612020810874881 Publisher: Emerald Group Publishing Limited Article Information: Title: Attitude toward internet web sites, online information search, and channel choices for purchasing Author(s): Yoo-Kyoung Seock, Marjorie Norton Journal: Journal of Fashion Marketing and Management Year: 2007 Volume: 11 Issue: 4 Page: 571 586 ISSN: 1361-2026 DOI: 10.1108/13612020710824616 Publisher: Emerald Group Publishing Limited Document Access: Existing customers: Please login above. You do not have rights to view the article Purchase this document: Price payable: GBP  £13.00 plus handling charge of GBP  £1.50 and VAT where applicable. Purchase Request this document: Print or e-mail a document request to your librarian. Request Reprints permissions: Request Abstract: Purpose This study aims to examine the influence of attitudes toward particular clothing web sites, specifically favorite ones, on information search at those web sites and on the choice to purchase items from those web sites and from non-internet channels after finding the items at the web sites. Design/methodology/approach Using survey data from 414 US college students who had online shopping experience and favorite clothing web sites that they especially like to visit, hypothesized relationships among attitude toward internet web sites, online information search and channel choices for purchasing were tested using path analysis. Findings Results showed that participants attitudes toward their favorite clothing web sites had a direct, positive effect on their intentions to search for information at those web sites as well as intentions to purchase clothing items from those web sites after finding the items there. Additionally, operating through information-search intentions at the web sites, participants attitudes toward those web sites had an indirect, positive effect on their intentions to purchase clothing items from non-internet channels after finding the items at the web sites. Research limitations/implications Results cannot be generalized to the larger population of young consumers and to other consumer groups. Future research should include other population groups. Practical implications This research provides insights into how college students attitudes toward internet web sites affect their information search at the web sites and their channel choices for purchasing. Our results suggest potential benefits of multi-channel retailing for online clothing retailers targeting US college students and the importance of building effective web sites to elicit those consumers positive attitudes toward the web sites. Originality/value This study is the first to investigate young adult online shoppers attitude towards internet web sites and their information search and channel choices for purchasing. Keywords: Consumer behaviour, Information retrieval, Internet shopping, Purchasing, United States of America Article Type: Research paper Article URL: http://www.emeraldinsight.com/10.1108/13612020710824616 Article Information: Title: Do determinants of online shopping differ for personal shoppers and professional shoppers? Author(s): Amit Bhatnagar Journal: EuroMed Journal of Business Year: 2007 Volume: 2 Issue: 1 Page: 87 102 ISSN: 1450-2194 DOI: 10.1108/14502190710749974 Publisher: Emerald Group Publishing Limited Document Access: Existing customers: Please login above. You do not have rights to view the article Purchase this document: Price payable: GBP  £13.00 plus handling charge of GBP  £1.50 and VAT where applicable. Pu

Theatre Essay: Site Specific Performance

Theatre Essay: Site Specific Performance Site Specific Performance: How has the nature of site-specific performance as a hybrid art-form influenced approaches tosite-specific work in Britain over the last decade? SECTION 1: INTRODUCTION Site-specific performance emerged out of the radicalartistic milieu of the late 1960s and early 1970s that also gave birth tosite-specific work generally. It represents perhaps the most ambitious andrevolutionary re-interpretation of theatre and performance devised in thetwenty-first century. Site-specific performance has influenced site-specificwork in Britain in the past ten years in many ways. This dissertation examinesthree especially strong influences: (1) site-specific performance and its useof audience (2) site-specific performance and its internal debate as to whethersite-specific art is site-exclusive or site generic, and (3) site-specific practitionerstheory of the selection of sites. Before these three principal investigations arediscussed the dissertation briefly reviews the history and origins ofsite-specific performance and its key practitioners. The first major section of this dissertation investigatesand analyses the relationship between site-specific performance and itsaudience. The questions and debates that have arisen from the novel andintimate participation between site-specific performers and their audienceshave had considerable influence upon site-specific work as a whole. Site-specificperformance understands the audience as a vital element of the total productionand not merely as paying members of the public who are isolated from thecreative process. Many performances depend intimately upon the energy andmutual fascination of the subject that exists between performers and audience.Often the audience are part of the performance itself. This intimacy points toa basic philosophical and professional principle of site-specific performancethat reacts against the perceived coldness, frigidity and eliteness oftraditional theatre buildings and instead maintains that theatre andperformance ought to be a socially-levelling ent erprise. The dissertation thereforeasks the prominent questions: Can audience self-identity be altered by aperformance? And: Can original and multiple spectator identities be created bysite-specific performances? The answers to these questions have beeninfluential throughout the whole of the site-specific world. The second-subsection of this section explores therelationship between site-specific performance and the community from which itsaudience is drawn. The success of site-specific performance theorists andpractitioners in showing the great extent to which the community in which aperformance is situated affects the ambiance and attitude of the audienceechoes throughout the site-specific world and informs it of vital lessons. Thisinvestigation of community and audience also highlights how site-specific performancecan work to bring theatre to the masses in an inclusive format that protestsagainst the elitist forms of the past. The final sub-section of this sectionreviews some of the problems variability and limitations of audience forinstance experienced by site-specific performers with respect to audienceand then suggests how these may teach valuable lessons to the rest of thesite-specific world. The second major section of the dissertation examines thekey debate in the literature of site-specific performance as to whether suchperformances should be site-specific or site-generic. That is, whether suchperformances should be free to tour and travel or not? The answers anddiscoveries furnished for this question by site-specific performers arerelevant and influential upon this same debate which penetrates the whole ofthe site-specific community. This debate reaches to the philosophical centre ofsite-specific performance and threatens to bring about a fundamental changewithin the genre. At the heart of the issue is the question of whether aparticular performance, conditioned as it is by the particular environment inwhich it is created, can be moved either physically or spiritually to anothersite. Vehement arguments have been made on both sides of the debate, with manypro-tour performers refuting Richard Serras famous dictum that to removethe work is to destroy it.The dissertation considers as one solution the theoretical postulate of apure model of site-specific performance from which various performancesdeviate in healthily diverse ways. The dissertation then considers in depth theproposal of Wrights Sites whether that the solution to this dilemma mightdepend upon a change in terminology and vocabulary of site-specificperformance. Such a shift of terminology provides site-specific performancewith a greater subtlety of definition and self-identity and therefore overcomesthe apparent impasse suggested by the site-specific site-generic dispute. The final major sub-section of the dissertation considersthe use of space by recent site-specific performers and the influences ofthis use upon site-specific work as a whole. The space within which atheatrical performance may take place was given its most radical revision andprogressive drive in the twentieth- century by the practitioners ofsite-specific performance. Space, in terms of performance, had before theadvent of site-specific theatre been confined near exclusively to traditionaltheatre buildings and to their conventional shapes. The outstanding achievementof site-specific performance has been to vastly extend the range and types of spaceand venue in which a theatrical performance can take place. The dissertationconsiders the implications for performance of such a radical break with thepast, as well as looking at the notions of uninhabitable space and culturalspace. The discoveries made about space by site-specific performers arerelevant for the whole of site-specific work i n Britain. The dissertation concludes with an evaluation and summing-upof all the previous discussion and with an analysis of the future influence ofsite-specific performance upon site-specific work as a whole. SECTION 2: SITE-SPECIFICPERFORMANCE HISTORY It is important to know something of the history ofsite-specific performance when seeking to determine its influence uponsite-specific work in the past decade in Britain. Such a glance at the historyilluminates the evolution of ideas within the genre and shows how they came totake their present form in the twenty-first century. Site-specific performance originated as an outgrowth ofsite-specific artwork movement that began in the late 1960s and early 1970s.Site-specific artwork was a form of art that was created to exist in a certainspace and was conditioned in form by the environment and space of that place.At the centre of the site-specific artwork movement was an attempt to take artout of what was perceived to be the affected and pretentious atmospheres of thegalleries and theatre buildings and to transpose them upon a wider variety ofoutdoor and indoor venues. One useful definition of site-specific performanceis that of the Dictionary of Video Art which states Locations andenvironments may have some kind of drama or meaning for ordinary people butthis has no significance for the bourgeoisie until interpreted by theheightened sensibilities of the director.In other words, the purpose of site-specific performance and its reason forexistence is to make the public aware of the artistic merits of ordinarybuil dings and spaces that have always been of interest to ordinary men butpassed over by the elitist and institutionalised artists of the past. Site-specificperformance often involves a (more or less) political decision to workagainst the dominant discourse of London, its theatre buildings, and itstheatre tradition.Site-specific performance is about a fundamental reorientation of space awayfrom its traditional understanding in British theatre. Site-specific performance has emerged out of this generalartistic milieu in the works of artists and directors such as Peter Brook,Ariane Mnouchkine, Deborah Warner, Gof Brith, Janet Cardiff and in festivals orproduction companies such as Grid Iron, Wrights Sites and the EdinburghFestival. Other recent practitioners include Mac Wellman, Meredith Monk andAnne Hamburger. From the first list two names in particular have been pivotalto the development of site-specific theatre: Peter Brook and Deborah Warner. PeterBrook was one of Britains greatest theatre directors and much of thisgreatness came from his radical style and use of stage both of which are seenas pre-cursors of modern site-specific performance. Brook was deeply influencedby the Theatre of Cruelty by Antonin Artaud and this lead to dramaticproductions such as Jean Genets The Screens in 1964 and Peter Weisss Marat/Sadein 1964 a huge success after its sharp and revolutionary break withtheatre style to that time. Brook brough t a new philosophy to the theatre thatimbued it with a new sense of potential and manipulation of space andenvironment shown well in his productions of Senecas Oedipus and TheEmpty Space. More recently, Deborah Warner has made further developed theseearly origins of site-specific performance with radically different productionssuch as Titus Andronicus (1987), Richard II (1995) and JuliusCaesar (2005). SECTION 3: SITE-SPECIFIC PERFORMANCE: AUDIENCE (A) Audience: General Perhaps the singlegreatest contribution of site-specific performance as a hybrid art-form tosite-specific work as a whole has been the radical transformation andre-constitution of the concept of audience and of how audiences experience liveperformance. When site-specific art first emerged in the late 1960s it appealedto audiences primarily because of the novelty of the form and the novelty ofthe viewing experience. Nonetheless, site-specific art, whilst novel in itself,did not go make any profoundly novel contributions to the nature, identity andconstitution of its audiences. Site-specific work had no yet developed asite-specific critique or paradigm, and this was left in large measure to thepioneers of site-specific performance. The great advantage and breakthroughachieved by modern site-specific performance is that it draws the audience ofinto an intimate participation with that performance; the audience become anessential part of the performance itself. Notable historical examples haveincluded Sirens Crossings Trace and Flight (2000), Wrights SitesThe Quay Thing (1998), Anne Marie Culhanes Night Sky (1997) and TheWhalley Range All Stars Day of the Dummy (1999). Consequently, withsite-specific performance, both performers and spectators reach a profounderdepth of empathy and understanding with the performance that they havewitnessed, than with traditional theatre and even from site-specific work as awhole. In this sense, site-specific performance represents an evolution of thegeneral site-specific art-form towards a level of greater spectator-involvementand identity.The philosophy and theory that underpins this evolution has much to do with areaction against the perceived coldness and unnaturalness of the traditionaltheatre (where the audience are always separated from the performers) and itstendency to promote the values and aims of elite members of society above theaspirations of the ordinary citizen. Site-specific performance however can besaid to be an equalizing art-form: it holds as a basic philosophicalprinciple the belief that the members of the audience are of equal importanceand significance for the meaning and successful execution of a particularperformance as the performers themselves. As such, site-specific theatre andperformance have taught and continue to teach practitioners of site-specificwork generally be it site-specific conceptual art, community art,installation art, public art etc., that the greater the participation andsense of involvement of the audience, the greater will be the efficacy of thatperformance upon both performer and viewer. Site-specific work therefore hasmuch to learn from the techniques, literary interpretations, scene-designs andso on of site-specific performers. This use of audienceby site-specific performers has achieved for the first time, according to FionaWilkie, the sense of a collective audience identity, a knowing audiencethat constructs itself appropriately as an interpretative body via a cumulativeframework of contemporary framework experiences.Thus, site-specific performance asks of the audience members themselves certainbasic existential and artistic questions. For instance: how is an audiencessense of self forged? How and in what ways is an audiences purpose decided?The extent to which site-specific performance achieves this intensive audienceself-interrogation is perhaps unrivalled in all twentieth-century performance art-formsand promises to be one of the few genuinely unique artistic discoveries ofrecent years. Traditional theatremaintains a clear space between audience and performer no matter how elatedor ecstatic a spectator may feel during a traditional performance he is alwaysnonetheless still a mere spectator with no direct influence upon the directionor outcome of the performance. Site-specific performance radically reverses theaudience situation and role and instead makes them central actors in theperformance itself. Site-specific performance also raises the questions of: Canaudience self-identity be altered by a performance? And: Can original andmultiple spectator identities be created by site-specific performances?On the first question it is noted by authors such as Williams and Kwon that theunique process of audience participation in site-specific performance oftenleaves the audience with changed perceptions of identity once the performanceis completed. On the second question, it is also clear from the growingliterature that now surrounds site-specific performance that the form ha s thepotential to create new audience identities as well as to leave differentgroups of the audience with different identity perceptions at the end.From these various observations of audience participation in site-specificperformance it is evident that site-specific work has benefited and learnt anenormous amount about the role of audience and its possible stages oftransformation. Moreover, the far more diverse nature of members ofsite-specific performances alters the mood and atmosphere and perceptions ofthat audience. Rather than being an elite experience attended by only one classof people with, broadly speaking, a single artistic attitude and expectation,the audience is instead a diverse melting-pot of different classes andprofessions of people. (B) Audience Community Site-specificperformance has also raised for general site-specific art the notion of theimportance of the community in which a particular performance or art exhibittakes place. One particular site-specific performance company, The Olimpias,base their work upon questions of site ownership and in line with the theme ofdisability. According to Petra Kuppers, company director, site-specificperformance ought to be attentive to the local community and its ways of inhabitingits environment the company (The Olimpias) work with the community to takenew forms of site, re-interpret the site, keep its history and presence alive.Community then is a crucial extension of the audience and the site factorsinvolved in a site-specific performance. It is the community about a specificwork that is most intimately affected by a performance since that performancethrows new light on and reinterprets that communitys existence in a particularway. Site-specific performance can help to re-invigorate and breathe life intoa community by making it more aware and perceptive of the sites that itoccupies. So too the site-specific performances of Wrights Sitesis interested in the place and in the people who meet us in this place. Thecompany Welfare State International have also expressed a commitment todrawing in local energies and leaving behind a residue of skills and confidenceafter the companys withdrawal .For many companies then site-specific theatre is a performance that takes placein the living space of a particular community and is enacted alongside andwithin the working life of the community. Thus there is an experientialauthenticity that is unique to site-specific theatre. (C) Issues WithAudience Nonetheless, somewriters such as Jan Cohen-Cruzhave argued that taking theatre from established buildings in specific placesto a specific-site does not necessarily create a more intimate audienceenvironment or sense of identity or multiple identities. On this Cohen-Cruzstates: Space is always controlled by someone and exists somewhere, so itis inevitably marked by a particular class or race and not equally accessibleto everyone. one must question whether access to a broader audience really isa difference between performance site-specific and in theatre buildings.Cohen-Cruzs quotation is useful because it sounds a note of caution tosite-specific performers who automatically assume that by merely creatingsite-specific performance of any sort they will immediately achieve a deeper ormore profound sense of audience participation and diversity than would be foundin a traditional theatre. Site-specific performance is a relatively newart-form that is treading into new territory especially with respect to theunderstanding of audience participation and identity. It is therefore to beexpected that a certain exuberance and robust enthusiasm amongst its performersmay sometimes lead to idealizations of the potential of the art-form; that is,a tendency to assume that site-specific performance is a panacea for all limitationsexperienced by traditional-theatre audiences in past centuries. It is prudenttherefore to agree with writers such as Fiona Wilkie that the potentialaudience range and diversity of a site-specific performance is decided not byonly by the nature of the genre itself but by the particular features of thesite itself. Access to such site-specific performances depends nearly entirelyupon the location and type of site chosen for a particular performance.If, for instance, the site chosen for a particular performance is an abandonedwarehouse or factory floor close to several housing estates or residentialareas then it is likely that that performance will be accessible to many peoplewho would be traditionally excluded from a theatre experience. If, however, asite-specific performance is held in a country-estate or at the top of acommercial tower-block then it is far less likely that the audience thatattends will be as diverse and kaleidoscopic as at the performance of in theabandoned factory or warehouse. For instance, the site-specific performancecompany K neehigh Theatrehave reflected how their performance of Hells Mouth in the ClayDistrict of Cornwall a poor and dilapidated area encouraged a far broadersection of the community to attend than would have done the traditionaltheatre. In Kneehighs words: In Hells Mouth last summer, bikers from thearea performed the English/Cornish skirmishes in the Mad Max style Cornwall ofthe future. This theme and reasonable ticket prices, encouraged a stronglocal percentage of audience, who would not normally see the companys work ortheatre of any sort.So too the breadth of the audience of any site-specific work will be determinedalso by the theme and nature of the performance. A site-specific performancethat deals with an esoteric or abstruse subject will not guarantee for itself abroad audience simply by virtue of the fact that it is a site-specific performance. Several site-specificperformance companies have sought to maintain the diversity of their audiencesin the following ways. The Lions Part company, for instance, seek to escapethe bureaucracy of the theatre buildingby providing free access to all performances and free financially also. InFiona Wilkies eloquent phrase: The notion of the performance moves away from thehigh-brow associations of the theatre and closer to reaching a publicwell-versed in the popular culture of gigs, festivals and celebrations. Itemphasizes the significance of the spatial encounter and is conceived as awhole experience for the spectator Wilkie here identifiesa key strength of site-specific performance: its ability and capacity tosynthesize myriad different forms of contemporary art, culture and society andto fuse them into a relevant and meaningful whole. Moreover, site-specificperformance has the unique advantage of being able to manipulate space inwhatever way it likes. A traditional theatre is severely limited in the sensethat its performance can only take place within the predetermined and setdimensions of the theatre building; these dimensions remain the same for everynew production no matter how different such productions might be from eachother. The space and dimensions of a site-specific performance are howeverdetermined and limited only by the space and dimensions of the site itself andthey therefore have a far greater range and flexibility than traditionaltheatre. For instance: a windmill, an abandoned factory, a coffee shop, adoctors surgery, a former nuclear silo all offer different and uniqueexperiences of space for the audience. So too, a site-specific performance mayeven have two separate audiences: one that pays admission and is conscious ofthe performance and another that attends the event for free and is an integralpart of the performance itself. To take an example: when Grid Iron held thesite-specific performance Decky Does a Broncoin numerous childrens playgrounds some audience members bought tickets whilstthe children (attending free) that played in the playground were urged tocontinue their activities and so became part of the setting and the performanceitself. Ben Harrison, director of Decky Does a Bronco, recalls howchildren came to and fro different parts of the performance depending upon thelevel of excitement raised for them by a particular moment or scene from thatperformance; when bored the children would retire to the quieter parts of thepark. In Harrisons useful phrase, this double audience adds to thecomplexity of the event. SECTION 4: SITE-SPECIFICPERFORMANCE: SITE-SPECIFIC ORSITE-GENERIC? Site-specificperformance has contributed significantly to the site-specific as a whole onthe pressing question of whether site specific art should be site-specific or sitegeneric. That is, whether site-specific work should remain rooted in at theexact site of its creation or whether the idea created in a particular site maybe transferred to other similar sites. This question is perhaps the mostvociferously argued debate in site-specific work at present. At stake is thephilosophical and intellectual basis of the movement itself. Site-specific workemerged in the late 1960s as an art-form that made a unique use of site andsite features to influence the shape and form of the design: these sites wereusually highly different or unique from all others and so each sculpture,art-work or performance had its own unique characteristics. Traditionalsite-specific artists of this old-school therefore refute the idea that theidiosyncratic features of a particular site can simply be uprooted andtrans ferred to another site no matter how similar to the original. In RichardSerras famous phrase to remove the work is to destroy the work.In other words: once a site-specific art-piece has been torn from its originalcontext it loses the one thing that made it powerful and unique. Nonetheless,in recent decades such notions of the immovability from and inseparability of asite-specific work from its original setting have been assailed by artistsdriven by market forces and institutional changes in attitude. In one criticswords: Site specificity has become a complex cipher of unstablerelationships between locations an identities in the era of late capitalism.Miwon Kwons work One Place After Another: Site-Specific Art and LocationIdentityis of enormous importance in elucidating the contours and features of thisshift in the direction of site-specific art. The internal movementsof site-specific performance have done much to inform and influence the widersite-specific art of the last decade. In site-specific performance the keyquestion of recent years has been: Can site-specific performance travel? Or:Does Site-specificity mean site-exclusivity? Within the site-specificperformance community this debate as to exclusivity of site has been arguedwith near equal tenacity by both opponents and supporters. Thus, in many ways,the debate appeared recently to have come to a standstill. One way found by site-specificperformers to step beyond this impasse has been to define levels ofsite-specificity. For instance the company Red Earthhas stated: Someprojects are completely site-specific, i.e., they could not take place anywhereelse without losing a strong thread of meaning and connection; while other moreflexible projects may work around a certain sense of place, i.e., the spirit orconcept at the heart of the project would work in several but not all -locations. This quotation then suggests that the term site-specifichas a degree of inherent relativity and flexibility. At one end of thespectrum, the term stands for certain performances that are absolutely rootedin the exact and unique site and community features in which they are set; forsuch performances there is no possibility of moving their ideas to differentsites. At the other end of the spectrum, certain performances can be moved fromsite to site if they preserve or enhance the spirit or primary idea thatbegan the original performance. Between these two poles are various types ofsite-specific performance whose transferability rests upon ambiguous or dubiousprinciples. Justin McKeown of the Whalley Range All Stars suggests that thisrelativity should be defined in terms of site-specific performances that are directlyderived from a chosen siteand therefore have to remain at that site indefinitely, and on the other handbetween performances that can be transferred since they acknowledge and expandupon the inherent meanings within a site. Paul Pinson, of Boilerhouse,has argued further that the relativity of site-specific performance isconditioned by the way that the company engages with the space that it occupiesat a particular site. Pinson suggests further that a performance can bepartially site-specific and partially of another genre and that this hybridity thereforejustifies a company to tour its performances. Pinson states: You canrecreate a work in response to a number of different sites, which is totallyvalid in itself and is an element of site-specificity but is different frommaking a piece of work in response to one specific site. The site-specific or site-generic debate and is plethora ofinterpretations have raised questions about the present purity ofsite-specific performance. Above all: is it possible for theoreticians andpractitioners of site-specific performance to find or derive a pure model ofsite-specific performance, against which hybrid forms of this model might becompared? That is: can one set up construct an ideal paradigm of site-specificperformance and then show how variations of this paradigm are beneficial intheir individual ways? Miwon Kwon has suggested that one definition of thispure model might be To make a truly site-specific piece means it sitswholly in that site in both its content and form, otherwise if moveable, itbecomes more about the site as a vehicle.Variations from this pure model are healthy natural growths from themother-model; the work of site-specific theoreticians is to define thesevariations and to ascribe to each of them independent areas of operation. An alternative to this model of deriving variations ofsite-specific art from a pure or perfect model is to invent a new terminologyfor the art-form. Wrights Siteshave suggested that the terms In theatre building, Outside theatre,Site-Sympathetic, Site-Generic and Site-Specific beused to describe the various degrees of theatre performance. The first two ofthese are clearly beyond the pale of any generally accepted definition ofsite-specific performance. Interestingly however Wrights Sites propose athree-fold division of the genre of site-specific performance. The advantage ofsuch a hierarchy is that it allows greater freedom and subtlety of descriptionwhen deciding to which exact genre a performance of site-specific work belongs.The term site-specific is accordingly reserved for performances that have aprofound and absolute relationship with the specific site in which theperformance is prepared and enacted. Such performances work only at one site,never tour or travel, and do not use pre-existing props or scripts.Nonetheless, one major problem of such a terminology is the difficulty ofassigning the large number of performances that seem to fall between thecategories of site-generic and site-specific. These disputes about definitions and terminology that havearisen in the particular field of site-specific performance are or considerablerelevance and have been of considerable influence upon similar disputes insite-specific work generally. The central question of the debate cansite-specific performance tour is equally relevant to all others types ofsite-specific work, be it sculpture, community art, painting and so on. Byadopting a similar terminology to that of site-specific performancesite-specific work generally might clear up many of its own internal disputes. SECTION 5: SITE-SPECIFIC:TYPES OF SITE Internal debates within the literature of site-specificperformance as to what kind of site to select for its performances hashad considerable influence over similar decisions within site-specific workgenerally. What then can site-specific work generally learn fromsite-specific performance? Above all, perhaps, is the extensive andcomprehensive analysis and exploration of the medium of space undertaken byleading site-specific performers. Richard Schechnerhas stated that theatre places are maps of the cultures where they existand Hetheringtonthat Certain spaces act as sites for the performance of identity. Artisticmanipulation of space is vital to successful site-specific performance, and theunique development in this quest has been the exploration of alternatives typesof space and site in which to perform site-specific theatre. Theatre had forcenturies been largely confined to theatre buildings of one sort or another;the advent of site-specific theatre saw the use of a plethora of differentvenues for performance from coal mines, to hospital wards, to libraries, tocoffee shops and so on ad infinitum. These ventures into alternativesites for performance raised amongst scholars of site-specific performance thekey questions: What are the consequences of such diverse selection of sites?What association will each site bring to the site-specific genre? What are thecommon themes that bind such eclectic choices of venue? On the last question,some attempts have been made by figures such as Hetheringtonto classify these venues in groups: for instance, parks and childrens playareas can be classed with beaches as public spaces. Cohen-Cruzhas argued that such spaces allow site-specific performers to use space that isnormally thought of as publicly inhabitable to entice passers-by to attendthe performance therefore symbolising for the performers the theme of makingperformance accessible. The spaces found in venues such as museums, churchesand galleries are used somewhat differently however. In contrast to p

E-mail Privacy At Work :: essays research papers

E-mail Privacy at Work E-mail at our company is for work purposes only. The computers and software are company property, and therefore are used for everyday office use only. We reserve the right to monitor all e-mail use, even if you are using a private e-mail account. This is to ensure that our employees are acting in a professional manner, and not giving out any company secrets. Also, employees should never consider anything they write as private, no matter what the circumstance. If you write it on the company’s computers, it is considered public, even if you place the e-mail in a private folder. According to NOLO.com, a Texas court ruled that unlike a private employee locker where an employee can expect a certain degree of privacy, they have no expectation of privacy in a â€Å"private† folder. Another example, is if you are on your own time, but still at work, such as a lunch break. Regardless of when you write the e-mail, if you write it at work, it is public. You may be asking, â€Å"What is appropriate e-mail?† Obviously, slandering other members of the company or clients, as well as e-mails that contain secret information is prohibited. A good rule of thumb is this. If you are not, for whatever reason, comfortable with printing the e-mail out on your computer and then leaving it on your desk so anyone can read it, then you probably shouldn’t write or send that e-mail. Consequences If an employee, through e-mail, is found to have violated one or more of the company’s policies, appropriate action will follow. Depending on the case, the employee may even be terminated. In fact, a company in Pennsylvania assured its employees that e-mail would not be intercepted and used against them. Despite this claim, the company reviewed e-mails from a supervisor and used it as a basis for termination. According to the Federal court in Pennsylvania, that was perfectly legal (NOLO.com). The court ruled that the company’s interest in preventing inappropriate or illegal activities outweighed the employee’s right to privacy. Also, any e-mail can be used against our company in court. A judge can use any private or personal e-mail against us, and it would be legally upheld.

Internet as a Research Tool Essay -- Expository Web Internet Essays

Internet as a Research Tool Because of its speed and convenience, the Internet has quickly become one of the most-used resources for gathering information. The Internet allows people to have access to a lot of information in one place, and in the convenience of their own homes. However, many problems arise when students use the Internet as a research source for school assignments. Many students are typically under the false assumption that everything on the Internet is valid; if it’s written it must be true. Problems that emerge from using the Internet as a research tool are the quantity of information, the quality of the information, issues of plagiarism, and additional problems with general Internet usage. The issues discussed in this paper are mostly referring to the information found on the Internet when students used it to do research. Most of these problems mentioned often do not apply to publications that are found in both the print form and in an online form. A misconception many students often have is the belief that everything can be found on the Internet if provided with the right tools to find it. In reality, however, Marylaine Block asserts in her article entitled â€Å"Getting Students Beyond The Net†, that â€Å"the Net represents, at most, perhaps 12% of the world’s accumulated store of information† (Block, 2003, What’s Not on the Net section, para. 1). Because of various circumstances, such as â€Å"the prohibitive cost of digitizing, lack of interest, and copyright issues†, the majority of this information is not and will not ever appear on the Internet (The Second Largest Source: Books section, para. 1). Very few periodicals earlier than 1980 have been digitized for these reasons. Therefore, most of the peri... ... March 2, 2004 from Academic Search Premier database. Mash, S. D. (2003). Libraries, Books, and Academic Freedom. Academe, (89)3, 50-54. Retrieved March 1, 2004 from Academic Search Premier database. Matthew, K. I., Varagoor, G. (2001). Student Responses to Online Course Materials. Journal of Research on Technology in Education, (33)5. Retrieved March 4, 2004 from ERIC database. Minkel, W. (2002). Web of Deceit. School Library Journal, (48)4, 50-53. Retrieved March 4, 2004 from ERIC database. Sidler, M. (2002). Web Research and Genres in Online Databases: When the Glossy Page Disappears. Computers and Composition, (19)1, 57-70. Retrieved March 4, 2004 from ERIC database. Towson University Infotutor. Retrieved March 4, 2004 from http://cooklibrary.towson.edu/infotutor/www/web7b.cfm.

The Nature of Power Essays -- Literary Analysis, Joy Kogawa

In the book, Obasan, Joy Kogawa uses imagery to convey different symbolic meanings in Naomi's life. Naomi goes through a journey in the novel to uncover the truth of her past. One of the many literary elements that the novel possesses is animal imagery that emphasizes meaning and contributes to the novel's theme. Several animals are mentioned throughout the novel to represent Naomi's emotions and her journey. Kogawa utilizes the several instances of animal imagery in her novel, Obasan, to reveal the nature of power, both physically and emotionally, and the victim of power—Naomi. Animals such as the chicks represent Naomi's helplessness and innocence as she lived in a world without her mother or knowledge of her history. The animals that Kogawa uses, kittens, chicks, and birds, are not strong enough against humans. They are not lions or tigers that can do harm upon other animals or human beings, therefore this makes them easily threatened and killed by power. Throughout the novel, the animals are controlled by humans, the same way Naomi is controlled by the adults around her. Naomi relates to the animals and often dreams about them; for example, she dreams of an encounter with a couple who owns a beast. It is either a dog or a lion, Naomi does not know, but she knows that it "belongs to the man. Its obedience is phenomenal" (35). The word "phenomenal" signifies how much the man has control over his dog—so much that the creature turns out to be a robot. It has no feelings and is easily manipulated, it cannot run away or fight back—the same way Naomi is in the novel. An adult who frightens Naomi greatly with domination over her unlike anyone else is Old Man Gower. He forces himself on her, using his hands and words, both physical... ...og is able to escape with its healed leg; the frog is able to move on from its past unlike Naomi. Kogawa's strategy to use animals in her novel, Obasan, is for a reason, as well as what kinds of animals. The animals and Naomi live in an unjust world where power is used to dominate them, ends the animals' lives, and affects Naomi for a long period of time. Naomi goes through a journey but does not overcome the nature of power that has haunted her since childhood. She remains the victim of power even as she finds out the truth about her mother and goes back to the coulee at the end. By using the animals, Kogawa shows how complicated Naomi's journey is, how she is has to remain silent, she is excluded from her family, and carries the past with her even at thirty-six. Kogawa is sending the message that animals are just as fragile and easily threatened as humans. The Nature of Power Essays -- Literary Analysis, Joy Kogawa In the book, Obasan, Joy Kogawa uses imagery to convey different symbolic meanings in Naomi's life. Naomi goes through a journey in the novel to uncover the truth of her past. One of the many literary elements that the novel possesses is animal imagery that emphasizes meaning and contributes to the novel's theme. Several animals are mentioned throughout the novel to represent Naomi's emotions and her journey. Kogawa utilizes the several instances of animal imagery in her novel, Obasan, to reveal the nature of power, both physically and emotionally, and the victim of power—Naomi. Animals such as the chicks represent Naomi's helplessness and innocence as she lived in a world without her mother or knowledge of her history. The animals that Kogawa uses, kittens, chicks, and birds, are not strong enough against humans. They are not lions or tigers that can do harm upon other animals or human beings, therefore this makes them easily threatened and killed by power. Throughout the novel, the animals are controlled by humans, the same way Naomi is controlled by the adults around her. Naomi relates to the animals and often dreams about them; for example, she dreams of an encounter with a couple who owns a beast. It is either a dog or a lion, Naomi does not know, but she knows that it "belongs to the man. Its obedience is phenomenal" (35). The word "phenomenal" signifies how much the man has control over his dog—so much that the creature turns out to be a robot. It has no feelings and is easily manipulated, it cannot run away or fight back—the same way Naomi is in the novel. An adult who frightens Naomi greatly with domination over her unlike anyone else is Old Man Gower. He forces himself on her, using his hands and words, both physical... ...og is able to escape with its healed leg; the frog is able to move on from its past unlike Naomi. Kogawa's strategy to use animals in her novel, Obasan, is for a reason, as well as what kinds of animals. The animals and Naomi live in an unjust world where power is used to dominate them, ends the animals' lives, and affects Naomi for a long period of time. Naomi goes through a journey but does not overcome the nature of power that has haunted her since childhood. She remains the victim of power even as she finds out the truth about her mother and goes back to the coulee at the end. By using the animals, Kogawa shows how complicated Naomi's journey is, how she is has to remain silent, she is excluded from her family, and carries the past with her even at thirty-six. Kogawa is sending the message that animals are just as fragile and easily threatened as humans.

Essay on School Field Trips

Can teachers and students imagine all year in class without a chance at a hands-on experience? Field trips should continue throughout the remainder of the school year, because students can put skills into action, learning in new environments, and enhance the curriculum. The way students can put skills into action is by working together with classmates to achieve one goal. If field trips are abolished students that do not learn well in the classroom may lose interest in a particular subject. Field trips teach students that they can learn everywhere. To begin with, field trips are a great way for students to put skills they learn in the classroom into action. There are three different types of different methods of learning, including visual, auditory, and tactile. By taking field trips away tactile learners would not learn as well as the visual and auditory. Tests and classroom education may not work so great for some children, field trips put every student at the same level. The learning is experience rather than taught. Additionally, learning in new environments can provide challenges for more individualize learning. During field trips students can learn as much information as they want to, but in the classroom restrictions apply because of the different learning styles. Field trips expose students to new experiences which may lead to new interest or talents. This can be helpful to the students in the long run because they have seen what they like and enjoy doing; therefore they can get an education and pursue that interest. Above all, field trips enhance the curriculum for the students. The students, by field trips, are aware that they can learn from anywhere and everywhere on earth. Field trips are simple tasks, but they teach students so many useable things in life that are needed in the future workplaces. Some of these things include: problem solving, analytical thinking, theory making, and critical thinking skills. These skills will stick with them for the rest of their life, but if students do not get to go on field trips no skills will be experienced. In conclusion, field trips are expensive, however if we want our students to experience skills that will stick with them we must continue to go on educational field trips. Financial restrictions are a burden to the school system even if the admission is free. Gas, bus driver, and food is what pushes the cost up. Money is not everything in life when it comes to education we must put everything else aside and put students first. That’s why our school does not need to cut field trips for the remainder of the year, because it puts our skills into action, lets students learn in new environments, and enhances the curriculum. While books can teach and computers can instruct, but they do compare to hands-on experience.

Hiv (Si Heidi, Si Ivy at Si V) Draft

David Kyle N. Laggui BSM – 1A (CS) Reaction Paper # 1 HIV (Si Heidi, Si Ivy at Si V) Documentary film maker Gil Bustamante (Jake Cuenca) is commissioned by the Department of Health to create a documentary for their HIV / AIDS awareness program. By means of the San Lazaro Hospital as a backdrop, he weaves a story that combines the numerous stories of people who are infected with the virus. Among those having their story told are heterosexuals, homosexuals, prostitutes, and intravenous users of drugs. His documentary focuses on three major characters: Heidi (Ma. Isabel Lopez), an ordinary housewife who contracted the virus from her philandering former husband, an overseas contract worker who died in Saudi Arabia eventually three years ago. Leaving her alone to care for their 9 year old son, Victor (JP Mesde) is also a patient of HIV. Ivy (Iza Calzado), a young call center agent who discovers she is HIV positive when she tries to make a claim for work abroad. She's discombobulated how she contracted the virus. Though she has X feckless and relaxed boyfriend (Will Devaughn), Ivy is far from being reckless and promiscuous. Her plans for a new life in another country shattered, she must now play against the world, her work, family, and friends – a misstep from her past. Vanessa (IC Mendoza), a merry young gay and stand-up comedian who engages in a variety of sexual pleasures with manifold partners. He, with his very supportive parents, is geared up and raring to go to shares her story. Merrily though keen for the exposure, Vanessa is careless and still sleeps around with anonymous strangers. One day, he gets beaten by a band of thugs while cruising the streets. For his own reasons, Gil is gripped with finishing the documentary, even though some of his key subjects have either died or backed out of the project. He learns that the fight against HIV / AIDS is not just the responsibility of government – this is a fight that requires responsible action from each individual. In the end, he is exultant in finishing the documentary as well as being able to play against his own greatest fear†¦