Composer Artist Paper Essays - Adoration Of The Magi In Art

Composer Artist Paper The baroque period was characterized by a heroic, dramatic and emotional theme. With well know names like Rembrant, Bach, Pennini, Caravaggio, Bernini, Tintoretto, Velasques, Poussin, Handel, and Rubens, the period produced many popular pieces of music and art. The art of the period was filled with movement, light versus shadow, and the use of the whole surface. The composers incorporated new ideas into their music such as different major and minor scales, the use of the violin, a regular rhythm, a melody that was hard to sing to, terrace dynamics, the basso continuo, and instrumental music was now considered as good as vocal music. The baroque period was an important piece of history in the shaping of the music and art world. George Frideric Handel was a composer of amazing talents and abilities. Although in today's society he is not as well known as Bach, his work was kept in high regards by the people of the time. Both Handel and Bach were born in 1685 about a month apart, and together the world was stunned by the masterpieces created by these great minds. Handel, being born on February 23, in Halle, Germany, was not from a musical family. As a child he was introduced to the harpsichord by his aunt, and soon after he began to practice the art that he loved. His father showed no interest in Handel's music and disowned him saying, " Then let him be a clown, a tightrope walker, a minstrel or a bear trainer!" On a business trip, Handel accompanied his father to the city of Weissenfels, where he happened to slip away into the town church, and began to play an improvised rendition of the postlude to the service. After seeing the remarkable talent of the young boy, the duke of the church persuaded Handel's fa ther that "?to ignore this talent would be a sin against God."2 Handel began his lesson with Duke Zackow soon after, being instructed in the playing of the organ, the harpsichord, and the violin. At the age of 17, Handel experienced the loss of his father. He would quickly move on and enroll as a law student t Halle University. Shortly after beginning school, he became the organist at the protestant cathedral. After a year of school, Handel moved on into the world of the theatre. Handel was inspired to attempt his hand in composing an opera. Almira was Handel's first attempt at an opera, and was warmly welcomed by the audience. Almira was characterized by a nondescript libretto, German recitatives, and a small amount of Italian arias.2 This work was recognized by even the greatest of composers, notably Bach who admired the opera and borrowed part to put in his own works. The popularity of his first opera convinced Handel to write a second. Handel immediately followed up his first work by writing his second opera, Nero. unlike the first opera, this one was a complete failure, only being preformed three times. Although Nero was a failure, Handel pursued his career as an opera writer with such works as Agrippina, Joshua, and Israel in Egypt. Handle would move on to new and different types of music including many oratorios such as Handel's famous Messiah written in 1741. The Messiah is a piece lasting two and one half hours long and amazingly composed in only 24 days. Messiah was first preformed in Dublin, Ireland in 1742. The piece was very popular after it's premier, convincing Handel to take it to bigger and better places. He moved on, taking the Messiah into London, England. The first performance of the Messiah in London was poorly received by the audience due mostly because of religious opposition to the use of a Christian text in the theatre. Finally, after ten years of unpopularity, it began to become desirable in London. The Messiah consists of three parts. The first part begins with angels announcement of the Messiah's coming arrival and the birth of Christ. The second part has been described as "?the accomplishment of redemption by the sacrifice of Jesus, mankind's rejection of God's offer and mankind's utter d efeat when trying to oppose the power of the Almighty." The third part shows

The multiculturalism into which American Literature has developed

The multiculturalism into which American Literature has developed If someone had to inquire about the multicultural problem that we face today, then probably majority of the answers would still lie on the racial differences just as in the early settings. The answers would focus on issue of American foreigners who were incidentally native through their family link of various American generations.Advertising We will write a custom essay sample on The multiculturalism into which American Literature has developed specifically for you for only $16.05 $11/page Learn More The multicultural literature once dominated by white text has greatly transformed and many writers floods the same literature that has over the time accused various races in terms of ignorance, violence, crime, immoral, brutal, and uncontrollable feral passions among other forms of un-civilization. Currently, the syllabus on American literature has to meet the diversity enhancements as mandated in the university requirements. Revisions on career outline indicate that there is a wide difference between what students learn about the contemporary world, and the historical perspectives regarding multicultural settings. Students are today able to embrace all the current literature about culture because all the materials are new and are remarkably free from the historical prejudices. The world studied today is quite different from what existed in the past. There is lack of the exclusivities in teaching methods and literature learning in current American literature. There is an overwhelming change over the confined nature of past-institutionalized form of study where the teachers in the subject matter directed or were in control over the topics of discussions. The development is evident in current discussions, for instance it is possible to find authentic discussions regarding African-American studies, Lesbianism studies or even various forms of music evolution studies such as analysis of Jazz music evolution. Students have overcome the societal inequities brought about by the civil right era, which in some cases become more insidious especially during the last quarter of the twentieth century. Students are currently willing to have open discussions of multicultural issues and therefore the teachers conduct the proceedings non-dogmatically by allowing different point of views. There is development on language and aesthetic as well especially on issues relating to power of translating native languages. The current study of American literature provides excitement, satisfaction, surprise, criticism and doubt among readers, which maintain the zeal and anxiety over diversification of culture. Majority of recently written literature about multiculturalism voices the victims by giving them opportunity to share experiences.Advertising Looking for essay on american literature? Let's see if we can help you! Get your first paper with 15% OFF Learn More There is clear indication of how various cultures in Americ a enriches the society through sharing of cultural differences and arts. The mutual interaction and assimilation expands the multicultural perspectives through learning and appreciation of ethnic heritage. Current multicultural literature has a close description touching on assimilation of American cultures. Most of the current literature writes have explanation indicating their pride of belonging to a multicultural community while still being able to retain the unique heritage of their origin unlike prejudiced historical writings. Today’s literature indicates that there is evident push from Americans who advocate to participate in multicultural practices and experiences for instance through appreciation of foreign art, music or food. Literature writers immerse the American literature into the vibrant cultures by depicting the positive differences and benefits they represent. The past couple of decades have seen culturally related wars over the procedures of teaching American literature. Heated debates over multiculturalism have spread beyond the college books to news materials such as magazines, thus enticing mixed reactions. Some people feel that American literature is failing, while others see the situation is a transformation of teaching methods. Classical and traditional literature that writers forgot or overlooked is finding a transformation through modernized form of interpretation. There are hopes for the twenty-first century for the reason that more challenges will enrich the abandoned American literature and heritage with more positive or diverse analysis of the traditions.

Literary analysis paper from a historical perspective Essay

Literary analysis paper from a historical perspective - Essay Example Words used in the literary pieces also give away the race and perhaps the gender of the author as will be seen in this paper on the analysis of two of Langston Hughes’ poems. As a Harlem Renaissance writer, Hughes had his own taste of the bitter pill of racial discrimination in the field he had chosen where black poets were given few if not no chance at all for their works to be published (Hutchinson, 1995). As his people were fighting for equal rights as their white counterparts, Hughes definitely experienced the difficulties of such a situation; not to mention the troubles he met in his personal life. Hughes’ parents separated after his birth and he lived in several cities as a result of his mother transferring from one city to another to find a job. After high school, he went to live with his father who became a successful cattle rancher in Mexico, escaping the racism in the north where the young writer went back home after one year (. His works are reminiscent of su ch facts, picturing his life and background. Dream Deferred depicts the hopelessness brought about by weariness when a dream is postponed. Being recognized among the great poets in his time, Hughes most probably did not just speak for his own dreams but the ideals of his people as well.

Organizational Change Model Assignment Term Paper

Organizational Change Model Assignment - Term Paper Example While reductionist and normative approaches have their uses in managing projects, it is vital for managers in charge of implementing any type of change to learn of more responsive processes such as those involved in action research to improve their efficiency as project managers (Gustavsen, 2003). Understanding action science also helps in developing interpersonal within the organization. In larger contexts, such as that of XYZ Inc.’s expansion into Shanghai, China, action research is more political as well as complex, and tends to be coordinated across several change processes. In such a context, action research also includes a variety of stakeholders who have are invested in the organization. Kurt Lewin is believed by many to be the man who came up with the first form of an action research model (Gustavsen, 2003). The action research model is mostly used to implement organizational change in multifaceted social situations where the workers and customers whose lives or circum stances will be affected ought to participate in creating and implementing the change that will affect their lives. The action research also is being increasingly used for expansion objectives in international settings. In this case, XYZ Inc. is creating a branch in a developing nation with a thriving economy. The changes involved do not just mean relocating operations to a different geographical location, but also include taking into account new customer demographics, and cultural work values of workers from a different nation. In addition, the action research model is rooted in American notions of what change entails. For instance, the action research model actually perceives change in a different way from Eastern cultures such as that of China. Implementing this model of change will thus mean that a more deep-seated foundation is laid when the Shanghai branch is being created, as the action research model will even have to have its basic doctrines revised to fit in more with its society. In order to achieve success in such settings, the action research model is created to address different cultural assumptions when necessary. This model can also be applied to promote innovation and social change, as is evidenced by successful global social change projects. Its suggestions are also meant to rectify imbalances in resource allocations and power structures across different groups. This will be vital in traditionally bureaucratic societies such as the Chinese society as it will deal with any feelings of disgruntlement among workers. In recent times, the action research model has made adaptations such as the involvement of workers in any organization’s change process. This is referred to as ‘participatory action research’ in corporate circles. This is a big contrast from traditional approaches towards change where change practices are created and then implemented by hired consultants (Gustavsen, 2003). While XYZ Inc. is not headquartered in a nation that has bureaucratic leanings, it still has to change its structure so that it changes from being too management oriented to being more of a customer-centric institution. This can be made possible through the action research model. In addition, action research, as a method of organizational change, is likely to be accepted in the Chinese society which has a systemic understanding of the world. Nations with a large majority of Buddhist adherents, such as China, tend to be

SCADA Worm Essay Example | Topics and Well Written Essays - 750 words

SCADA Worm - Essay Example n facilities ranging from power plants to petroleum refineries, SCADA Worms can rapidly affect large scale industrial computer networks and IT operations. Moreover, SCADA Worms are highly sophisticated and capable of braking through different firewalls. These computer viruses infect Windows based operating systems and server environments, which are one of the most commonly used IT infrastructure equipment in USA. Next, SCADA Worms generally attack the Siemens based IT applications, which are again highly common in most of the US industrial automation and information environments. (Cherry and Langner, 2010; Kline and Krachenfels, 2010) According to most IT experts (e.g. Kim and Solomon, 2010) information security involves seven major domains. These are user domain, workstation domain, LAN domain, LAN-to-WAN domain, remote access domain, WAN domain, and system/application domain. General arrangement of these domains is shown in Figure – 1: Presently, industrial control systems are physically guarded at the workstation domain. User authentication systems and password policies are implemented at user domain. Anti-virus and Firewall software are used at the interface between the workstation domain (e.g. client side computers) and the remote access, LAN, or LAN-to-WAN domains (e.g. server side routers). But reports from Iran, India, and Indonesia show that these arrangements are essential but not enough to stop SCADA Worm (Kline and Krachenfels, 2010). Scientists like Coppolino et al (2012) suggest that Markov model based intrusion detection systems deployed at the system/application domain can be a useful deterrent against the SCADA Worm. The detection system at the industrial control engine must be both undetectable and modifiable. On the other hand, security providers like GarretCom put forward the idea of assimilating security tools from â€Å"a lot of disciplines working together to create industrial environments in a world that is increasingly connected† (Kline

Postmodernism in the media

Postmodernism in the media Introduction to postmodernism, the media and the real The increasingly mediatised culture we live in today has lead us to be dominated by and dependent upon the production and consumption of images. Notions of objectivity and empiricism in the photographic have long since disappeared, but can we still locate our sense of the real in images? This dissertation will use many theories and ideas that discuss the role of photography, postmodernism and the real within todays culture and media. It will start with a discussion of the reasoning for the initial shift back towards the real. This shift mainly stemmed from postmodernism and the media. Postmodernism dealt with the idea of never ending reference and the fear about post-modern culture was that this never ending reference meant that all grip on reality had disappeared. There was a wish to return to something more stable and basic: the real? Photographers started to try and return to the purely descriptive photography from the times before the mass referencing of postmodernism. Due to pos tmodernism, we are constantly searching for meaning and analysis in images. This constant analysis of images has exhausted our trust and interest in the photograph; there was a need to create images different from the ones we see every day in the media in order to re-find our trust in the image as truth and as art. Which will lead onto looking at how, due to advances in technology and developments in photography, the new fast changing everyday image led to our relationships and emotions becoming mediatised. We re-live events and experiences through images, which leads to a loss of the real. We remember the image rather than the event. The media have a huge influence on events, advertising even our emotions and relationships. I will look at how some photographers can play a part in the manipulation and influence from the media that seems so much to control us and shape our world. But some photographers began to step away from the media, and postmodernism, older, slower technologies b egan to re-emerge. The single image produced from these methods of working could bring back the processes of our memory that have been complicated due to the sheer amount of information we get from other technologies. This leads onto the main question posed in this dissertation: can we ever (re)find the real? How much is this notion of the real influenced and shaped by the media influence in our world? Some would say that even photos that appear to be descriptive cannot escape being subjected to analysis and placed within a context of viewing. Maybe they can never be void of reference and construction? Maybe images can never provide the clear, stable version of reality that we want from them? Will we continue to be consumed by images, or is there a future beyond the cycle of referencing left by postmodernism? Can we ever (re)find authenticity, originality and a true form of photography that can direct us to the real? How has this affected our media? And how has it influenced the media to change and shape our world? Chapter One What caused people to lose a sense of the real? Postmodernism emerged as an art form in the mid to late 1980s and seemed to grow from and relate to the modernist movement. Postmodernism simply rejected the idea of originality; the original, new element within a photograph was replaced with the concept of reference and quotation. Finding something authentic and original as an idea was discarded. Essentially, postmodernism is the end of the new as something new within Postmodernism is looked upon as the byproduct of re-combining one or more different elements from within an already existing culture. An image has to refer to, use or quote another image or text, which will have referred to another image, which will have referred to a further different image and so on; a never-ending reference has begun and we begin to lose a sense of the real. Postmodernist culture enjoyed this play with signs of never ending reference, where the more you played the less anyone seemed to know what reality it was touching (Bate 2004)(1) Some early Postmodernist photographers include Andy Warhol, David Hockney, Edward Weston and Cindy Sherman. Shermans untitled films stills refer to trashy Hollywood films. These early works of hers were cleverly named Untitled then Film Still no indicating that they can be given any meaning and could refer to an actual specific existing film. The viewer is given a reference which leads to yet another representation, not reality itself. In short: here is a picture from a film, but I am not going to tell you which one, a message complicated by the fact that the photographs were not actual films stills. (Bate2004)(2) The factor that was feared about postmodernism is that the never-ending reference meant that all grip on reality has disappeared and this lead to a wish to return to a simpler, more stable and basic way of working. We have lost a sense of what is real within art and culture due to reality being discarded in favour of mass inter-textual referencing. But the fear about post-modern culture was that there no longer an anchor to reality at all, that reality had disappeared into an endless chain of other representations. (Bate 2004)(3) There began to be a wish to return to the values of the straight and pure photograph of modernism and everything that post modernism had rejected. A wish to return to something stable and basic, a wish to take a purely descriptive photograph. Some photographers managed to create purely descriptive work, an example of this could be Justin Partykas work The East Anglians. This ongoing body of work about the rural and agricultural area of East Anglia is a purely descriptive study of the landscape and people, who live, work and own the land in it. But the title The East Anglians could refer to Robert Franks The Americans a post World War II look beneath the surface of American life. Is anybody of work free from this postmodernist trap every photographer seems to fall into. The rise in postmodernism lead to photography being used more as an art form, and began to become popular with both artists and the public. It was no longer a low form of art and became widely accepted. Photography was used more by everyone and so began to develop further, leading to major advances in technology. With the invention of mobile phone cameras and the internet and email, it is easy to take a photograph and send it anywhere in the world in seconds. These new technologies mediatised our relationships and emotions. Yet despite the idea that these mobile technologies bring us all closer to each other, we are caught up in a contradiction, since they increasingly mediatise our relationships to one another. To look at something it has to be kept at a distance. (Bate 2004)(4) With digital technology today, there is no longer a need to wait for photographs to be processed, no need to wait until the end of a holiday or event to see the photographs and an less limited amount of photographs can be taken on that one camera as opposed to the 24 or 36 with the most commonly used 35mm negative film. This means people are taking so many photographs of everything rather than considering what particularly they would like photographs of. An unlimited sense has been brought into photography. This has lead to a loss in the real, and a loss in the value of photography. Previously at an important event such as a holidays, birthdays or weddings, families would use probably just one camera and probably only one or 2 films per event, some families using just one film per year for every event, resulting in a few photographs being taken which would then be put in an album and often reviewed. Now with digital technologies, people tend to have many cameras per family and at eve ry event, small or large, hundreds of photographs can get taken, the difference being these would then be put on a computer and most would never be looked at. This is where we have lost the value of photography, before digital it was precious, every photograph was considered, thought about and enjoyed afterwards. This has also lead to us remembering the photograph of the event rather than the actual event. If we spend all day photographing what is going on around us, we will remember just those photographs and not what was actually happening; we remember the image rather than the real. Perhaps to properly look at something you have to take a step back, away from our fast pace society. The loss of the real in postmodernism and now in the digital era has left artist and photographs wishing to go back to simpler times. New art is often now made up of redundant processes which are older and slower which then sets this new art form apart from the images and photographs we see in everyday media culture. New technologies are being left in favour of older and slower ones which are apparently more real. More traditional and simple methods of photography seemed to be linked to the concept of the real, as they are different from the photographs we see every day on the news and in the media. Hal Foster in his book The Return of the Real says he feels that we have not left postmodernism completely, it has become what is normal to us; we have a postmodernism realism. The consequence of this that we change the way we want reality to be constructed. Foster feels that simply postmodernism has become dà ©modà ©. (Foster 1996)(5) Photography now draws on elements of film, advertisements, postcards etc. to create imagery that is inter-textual and referential to those other pictures, these new images create the realism of this visually mediated culture; post-modern realism is now the normal. Along with the development of photography, video and film also began to expand and change. Photography was the only way of stopping time, a photograph was a moment captured in time on film forever. Now a freeze frame like that can come from any number of sources. Photographs began to be pulled from existing moving images a video. This is achievable by anyone as DVDs or VHSs or even live television can be paused, creating a freeze frame a moment, captured in time. What was once the sole privilege and product of the photograph is now equally likely to be the result of a cinema or video freeze-frame (Bate 2004)(6) This has changed photography, as now instead of the image being of an actual event, they were now selected from the way the event had already been interpreted. Newspapers and news channels were no longer using photographers to capture the perfect picture; they were using video and selecting the image from the video. This is called second order realism. Selecting the decisive moment is still dependant on a person knowing when to push a button, but is now selecting a still from an already decided and produced moving image. A photograph is supposed to be a moment locked in time but now it is more often than not pulled out of an image bank full of video freeze-frames. Film and video has stolen what makes photography special the decisive moment. Therefore the specificity and specialness of photography has to find itself in some other attribute of photography. Chapter 2 How does the media shape our world and the concept of real? Mass media is a huge part of our lives today, and has to influence us in some way. Images have become our reality due to the media. A news story would not impact without an image, and as soon as an image is shown it is a reality and remembers as if the viewer was at the event themselves. Guy Debord in Comments on the Society of the Spectacle talks about how developments in photographs and mass media have contributed to what Debord describes as the society of the spectacle. In the spectacular world images and representations become our reality and everything exists as and for images. Real-life experiences become repressed and events take place in a mediated, pseudo-reality. Experience, events, and even our emotions, both on an individual and public scale are heavily mediated. Where images refer to one another endlessly the originality and authenticity of them are abolished. As a result of this, it is claimed we have lost any relation to the real. The spectacle has now spread itself to the point where it now permeates all reality (Debord 1988) (7) Victor Burgin studied people who believed that media events were their own memories in Possessive, Pensive and Possessed. Sociologists at the University of Provence found that people can become confused and merge their own personal memories with memories from scenes of films or other media productions. I saw at the cinema would simply become I saw. (Burgin 2006)(8) This is called a screen memory, where you remember something from a film instead of from real life. It is in place of and conceals a similar suppressed memory. In the past, big events did happen but people knew less about them as there was no type of media production to let them know. It rarely went beyond those involved. Now because of media we all know about every event, and add these events to our memories, even though we have not actually physically experienced them. We forget our real experiences and replace them with events from the media. For example, the 9/11 terrorist attacks in New York City will be remember by everyone worldwide, but only a small number of people actually experienced and saw the event, but everyone will remember the event and visualise it from the images they saw. When thinking of these terrorist attacks many people will think of this and many other images which were taken at the event. These images will be in their memory as if they were in New York City on that day, meaning they remember events from a media production which has now become their own memory which relates back to Burgins study into screen memories. Our reaction to big events such as the 9/11 terrorist attacks is to experience and re-live the event through the images which are presented to us. Thomas De Zengotita talks of how there is a bubble of mediated representation which he calls the blob. In the world of the blob, momentous catastrophes such as the 9/11 terrorist attacks are almost poignant enough to burst the bubble, Something like that will feel as if it might be sharp enough, as if it might pierce the membrane and slice the pulp. (De Zengotita 2007)(9) With the developments in digital photography and manipulation we can find that we re-live and experience events that did not even happen. We look at a manipulated image, take it to be the truth and believe what is in there. The media can now influence us to believe something that is not true. Once we have seen the images, manipulated or not it is not surprising that our reaction is to experience and re-live the event through those images, adding them to our bank of mediated events in our memory. In other words, it all becomes part of the spectacle. Conclusion In this dissertation I have looked into postmodernism within photography and how this has changed what is the real and how the media influence the real and our emotions and shapes our world today. The rise in postmodernism meant a no-ending reference for every photograph, film etc. On photograph refers to another photograph which refers to a video, which in turn refers another photograph and so on. There was nothing new; post modernism was the end of the new. This results in a loss of the real, a loss of just purely descriptive photography. This loss of the real within photography is only enhanced by developments in photography making it accessible to everyone meaning the value of a photograph and photography is not as high. Which in turn is was not helped by the development in video and film, anyone being able to create a freeze-frame, a moment trapped in time by pausing their DVD, VHS or live TV player. Photography has lost what was special about it the decisive moment. Therefore, older more traditional photographic methods have begun to be used again, in a search for the real within photography. Furthermore, the media document every event and present their interpretation of this event to people in images. People experience and re-live that event through the images the media presented to us, and add those images into their own memories even though they did not actually experience the event themselves. This leads to losing what we know as reality. In my opinion, postmodernism and the no-ending reference meant that we are now always looking for analysis of a photograph and a reason and reference behind it. We cannot appreciate the beauty of a photograph if we are looking for something else within it, and that is where and why we end up losing a sense of the real. Developments in photography and film also have not helped with this, and a limit on the amount of photographs we take would mean the images can assist our memory not be our memory. This sense of the r eal is not lost, but could be forgotten within photography, and taking a step back just to look at a photograph as a whole would bring back the real into that photograph. References Postmodernist culture enjoyed this play with signs of never ending reference, where the more you played the less anyone seemed to know what reality it was touching (Bate 2004) In short: here is a picture from a film, but I am not going to tell you which one, a message complicated by the fact that the photographs were not actual films stills. (Bate2004) But the fear about post-modern culture was that there no longer an anchor to reality at all, that reality had disappeared into an endless chain of other representations. (Bate 2004) Yet despite the idea that these mobile technologies bring us all closer to each other, we are caught up in a contradiction, since they increasingly mediatise our relationships to one another. To look at something it has to be kept at a distance. (Bate 2004) Postmodernism has become dà ©modà ©. (Foster 1996) What was once the sole privilege and product of the photograph is now equally likely to be the result of a cinema or video freeze-frame (Bate 2004) The spectacle has now spread itself to the point where it now permeates all reality (Debord 1988) I saw at the cinema would simply become I saw. (Burgin 2006) Something like that will feel as if it might be sharp enough, as if it might pierce the membrane and slice the pulp. (De Zengotita 2007) Bibliography Books FOSTER H; The Return of The Real; The Avant-Garde at the End of The Century; 1996 DEBORD G; Comments on the Society of the Spectacle; 1988 DE ZENGOTITA T; Mediated: How The Media Shape Your World; 2007 Essays BATE D; After Thought, Source 40: 30-33; Belfast: Photo Works; 2004 BATE D; After Thought II, Source 41: 34-39; Belfast: Photo Works; 2004 BURGIN V; Possessive, Pensive and Possessed; The Cinematic, London, Whitechapel Ventures Ltd 2007 Websites http://www.esquire.com/features/ESQ0903-SEP_FALLINGMAN http://www.justinpartyka.com http://www.cindysherman.com/index.php http://www.lensculture.com/bate1.html

Survival Tips For Small Businesses :: essays research papers

You may be in Mail Order, Direct Mail, or you may be a local merchant with 150 employees; whichever, however or whatever... you've got to know how to keep your business alive during economic recessions. Anytime the cash flow in a business, large or small, starts to tighten up, the money management of that business has to be run as a "tight ship." Some of the things you can and should do include protecting yourself from expenditures made on sudden impulse. We've all bought merchandise or services we really didn't need simply because we were in the mood, or perhaps in response to the flamboyancy of the advertising or the persuasiveness of the salesperson. Then we sort of "wake up" a couple of days later and find that we've committed hundreds of dollars of business funds for an item or service that's not essential to the success of our own business, when really pressing items had been waiting for those dollars. If you are incorporated, you can eliminate these "impulse purchases" by including in your by-laws a clause that states: "All purchasing decisions over (a certain amount) are contingent upon approval by the board of directors." This will force you to consider any "impulse purchases" of considerable cost, and may even be a reminder in the case of smaller purchases. If your business is a partnership, you can state, when faced with a buying decision, that all purchases are contingent upon the approval of a third party. In reality, the third party can be your partner, one of your department heads, or even one of your suppliers. If your business is a sole proprietorship, you don't have much to worry about really, because as an individual you have three days to think about your purchase, and then to nullify that purchase if you think you don't really need it or can't afford it. While you may think you cannot afford it, be sure that you don't "short-change" yourself on professional services. This would apply especially during a time of emergency. Anytime you commit yourself and move ahead without completely investigating all the angles, and preparing yourself for all the contingencies that may arise, you're skating on thin ice. Regardless of the costs involved, it always pays off in the long run to seek out the advice of experienced professionals before embarking on a plan that could ruin you. As an example, an experienced business consultant can fill you in on the 1244 stock advantages. Getting eligibility for the 1244 stock category is a very simple process, but one with tremendous benefits to your business. The 1244 status encourages investors to put equity capital into your business because in the event of a Survival Tips For Small Businesses :: essays research papers You may be in Mail Order, Direct Mail, or you may be a local merchant with 150 employees; whichever, however or whatever... you've got to know how to keep your business alive during economic recessions. Anytime the cash flow in a business, large or small, starts to tighten up, the money management of that business has to be run as a "tight ship." Some of the things you can and should do include protecting yourself from expenditures made on sudden impulse. We've all bought merchandise or services we really didn't need simply because we were in the mood, or perhaps in response to the flamboyancy of the advertising or the persuasiveness of the salesperson. Then we sort of "wake up" a couple of days later and find that we've committed hundreds of dollars of business funds for an item or service that's not essential to the success of our own business, when really pressing items had been waiting for those dollars. If you are incorporated, you can eliminate these "impulse purchases" by including in your by-laws a clause that states: "All purchasing decisions over (a certain amount) are contingent upon approval by the board of directors." This will force you to consider any "impulse purchases" of considerable cost, and may even be a reminder in the case of smaller purchases. If your business is a partnership, you can state, when faced with a buying decision, that all purchases are contingent upon the approval of a third party. In reality, the third party can be your partner, one of your department heads, or even one of your suppliers. If your business is a sole proprietorship, you don't have much to worry about really, because as an individual you have three days to think about your purchase, and then to nullify that purchase if you think you don't really need it or can't afford it. While you may think you cannot afford it, be sure that you don't "short-change" yourself on professional services. This would apply especially during a time of emergency. Anytime you commit yourself and move ahead without completely investigating all the angles, and preparing yourself for all the contingencies that may arise, you're skating on thin ice. Regardless of the costs involved, it always pays off in the long run to seek out the advice of experienced professionals before embarking on a plan that could ruin you. As an example, an experienced business consultant can fill you in on the 1244 stock advantages. Getting eligibility for the 1244 stock category is a very simple process, but one with tremendous benefits to your business. The 1244 status encourages investors to put equity capital into your business because in the event of a