Discuss the two major divisions of the nervous system (central & peripheral). What is included in the central nervous system?

Many stories, whether from the oral tradition of the past, literary works of fiction or nonfiction from any time period, or current blockbuster movies follow the story of a Hero/Heroine.  The story usually presents challenges faced by the individual with the idea that overcoming adversity defines them as hero/heroine and perhaps persuades us to think differently.

Please write 8-10 sentences about an individual, real or fictional, that YOU feel is a Hero/Heroine in some way.  Why are they heroic, what about them do you like, do they inspire you in some way?

Do you feel that we as humans share a universal desire for a Hero/Heroine?

One of the earliest crimes under English common law was larceny. Today, larcenies much the same as it was under English common law. What are the elements of larceny under modern statutes? Today, we have a new law called identity theft. What are the elements for identity theft how do they differ from the elements of larceny?

Describe how Xavier manipulates the independent variable and the moderating variable in this study.

The moderating effect of involvement in product placement effectiveness

Xavier Gonzalez Garcia is a Business Administration student at a big, reputable university in England. Xavier loves to play soccer and tennis, he very much enjoys listening to music (he is a big fan of Muse), and he is fond of watching movies. He is a student with excellent research skills as evidenced by his academic record and the quality of his bachelor thesis.

The topic of Xaviers bachelor thesis was “product placement”. Product placement has been defined as the marketing practice in which a firm pays to have its branded product included in entertainment media, such as video games, movies, and television programs. This relatively new form of marketing took off in 1982 with the movie E.T., in which the alien is offered a piece of Reeses Pieces. Since then the number of product placements has increased rapidly.

After having spent the summer in his home country Spain Xavier has just started with his first year as a master student. During his holiday he has read more research papers on product placement which have further fueled his interest in this topic. Based on these papers and several discussions with his former bachelor thesis supervisor, dr. Casey Finneran, Xavier has decided to take on further empirical research into this issue. He has already discussed a research proposal and the theoretical background of his study with dr. Finneran, who has agreed to help him with this study. Now, he is ready to discuss the design of his study. Because he wants to establish causal connections between the variables in his study and because he wants to control for extraneous factors, Xavier has decided to set up an experiment. He has handed in the following outline for an experiment.

Introduction

Many researchers in the marketing field have examined the effect of product placements on memory, attitudes, and behavior. These studies have shown that product placements affect brand recall, brand recognition, and consumers attitudes toward the brand. The current study aims to investigate the moderating role of product involvement on the effects of visual and auditory product placements on brand preferences. The results of this study build on prevailing knowledge in marketing and help marketing practitioners who want to place their product in a movie, television program, or video game to decide whether they should do this visually or auditory.

Research question
How does involvement influence the effect of auditory and visual product placement on brand choice?

Hypotheses
Hypothesis 1: Auditory product placements are more effective for high involvement products than for low involvement products.
Hypothesis 2: Visual product placements are more effective for low involvement products than for high involvement products.
Method
Participants. The sample will consist of 80 to 100 university students. The participants are divided into four groups, with 20-25 students per group. They are randomly assigned to one of the experimental conditions. Participants age is measured in terms of years, and gender is measured as 0 and 1 where 0 is male and 1 is female.
Design. The study has a 2 (visual versus auditory product placement) x 2 (high versus low product involvement) experimental design. Participants are told a cover story; they are told that the goal of this study is to evaluate whether brand choice depends on the mood people are in. They are informed that mood is manipulated by a video clip, which will be either funny or sad.
Manipulations and manipulation check. Four short movies have been selected for the experiment, with four types of product placements. Each participant will only see one of these movies. One of the following movies will be shown to the participants of the study: (1) visual product placement of a low involvement product (a candy bar); (2) visual product placement of a high involvement product (sneakers); (3) auditory product placement of a low involvement product (a candy bar); and (4) an auditory product placement of a high involvement product (sneakers). The short movies will all come from episodes of the television show Seinfeld. To ensure that the involvement manipulations (candy bars versus sneakers) elicit the intended amount of involvement, this manipulation was carefully pre-tested with a separate sample of 77 respondents. Whats more, a manipulation check of involvement is also included in the study. Involvement is measured with a 7-point, multi-item scale adapted from Zaichkowski (1985). The scale is introduced with the following question: “How involved are you with this brand?.”
Control variable. Because the product placements in the four video clips differ in terms of prominence, we will control for band prominence. Prominent placements are those in which the product is made highly visible by virtue of size or position on the screen or its centrality to the action in the scene. Subtle placements are those in which the brand is not shown prominently, for instance, small in size, a background prop outside the main field of visual focus, lost in an array of multiple products or objects, or low time of exposure (Gupta and Lord, 1998). Following Gupta and Lord, brand prominence is measured with a 7-point, multi-item scale.
Dependent variable. Brand preference is measured by providing the respondents with a shopping list. The shopping list mentions twelve product categories (including those under study) and the participants are asked to pick one of the brands from each product category. They are instructed to act like they will need an item from each product category in the near future.
Discuss the principles of control and manipulation.
Describe how Xavier manipulates the independent variable and the moderating variable in this study.
Although Xavier has pretested the manipulation of product involvement, he has also included a manipulation check for involvement in his study. Why would he have done that?

You have just found out that the candy bar that features in the Seinfeld episode is very popular among women (92% of the consumers of this specific candy bar are women) but not among men. Hence, you suspect that gender is a nuisance factor in this study.

Based on the afore-mentioned research finding, please provide a detailed explanation of why and how gender might affect the results of the study if Xavier would not control for gender?
Explain (in detail) three possible ways in which Xavier can control for gender in this study.
Discuss the type of experimental design that Xavier is using.
Which factors affect the internal validity of Xaviers study given the experimental design he is using? Please provide justification.
Are the findings of this study generalizable to other settings. In other words, how do you justify the external validity of this study?
Xavier has indicated that he wants to give the participants a cover story. What could be the purpose of this cover story?
Do you believe that telling a cover story is ethical or not

Political Thought

For this discussion, please identify and discuss two of the major differences between Marxism and Capitalism. In your discussion, provide specific examples of how each are implemented or used today (cite your sources as necessary).

In our discussion of Newell's article on privacy we emphasized the types of privacy she listed (such as solitude). What types of privacy were mentioned in the article? Define each and explain how each is related to the concepts of choice and control. How do Evans and Cohen define stress? According to Evans and Cohen's article on stress, what effect would possessing these different types of privacy have on our experience of stress? Justify your answer.

Subject:EC230/EEC2225 Section 1 Guiding children's behavior. But I chose psychology to be easy. I need this answer by today.

Throughout this course, you've had the opportunity to learn about many concepts regarding guiding children's behavior.

Some of them include: Differences between guidance, discipline, punishment, and consequences Levels of Mistaken Behavior Rewards vs. Punishment Encouragement vs. Praise Behavior Guidance Behaviorist and Constructivist Theories The use of Timeouts Treating Children with Respect Building Positive Relationships

In a 2-3 page paper, written in APA format using proper grammar and spelling, address the following: Choose two (2) concepts from the course that you feel are the most important for an early childhood professional to understand and explain why. You may select from the list above or offer concepts not presented in the list. Explain how you can incorporate your two (2) chosen concepts into your work as an Early Childhood Professional. For each concept, describe a lesson or activity you could use with the children in your care. You can even create a game if you'd like. Be creative! Go back through this course and analyze the resources (videos, readings, and lectures).

Choose two (2) which resonated with you the most and that you will share with colleagues and/or parents. For each resource chosen, explain why it resonated with you and how you will use it with your colleagues and/or parents of children in your care.

please i need this as so as possible.

We think of the “traditional family” as husband, wife, and two kids, with the wife staying home to raise the kids. Yet, this family pattern has not been the norm for most societies or for most of U.S. history. Why do we call this the traditional family? What benefits and costs are associated with this type of family?

please at least 200 words response

Consider this case. Jack, a Ph.D. in biochemistry, has trouble finding a job in his field. He ends up taking a job as a gas station attendant just to make ends meet. But his family is large and they barely scrape by. A friend of his from college tells him about a new position opening up at some east coast company. He would be perfect for the position. However, he would be doing research that contributes to biological weapons. Jack was an activist against biological warfare in college. His friend argues that he should take the job anyway since someone else will take it if he doesn't. The weapons will be made whether he participates or not. But if he participates then he can take care of his family. Moreover, his friend tells him, the only other candidate is a man without a family and who already has a well-paying job.

What, according to utilitarianism, should Jack do? Explain and justify your answer.

What would a Kantian say Jack should do and why? Explain and justify your answer.

Most crimes involve victims however, there are crimes that are victimless according to the definition. Please explain why they are victimless, provide at least three examples of victimless crimes in the elements for those crimes.

Temporality and Public Art -By Patricia C. Phillips

mmutability is valued by society. There is a desire for a steadfast art that expresses permanence through its own perpetualness. Simultaneously, society has a conflicting predilection for an art that is contemporary and timely, that responds to and reflects its tempo- ral and circumstantial context. And then there is a self-contradicting longing that this fresh spontaneity be protected, made invulnerable to time, in order to assume its place as historical artifact and as concrete evidence of a period's passions and priorities. For the Venice Biennale in 1986, Krzysztof Wodiczko projected a collaged photographic image of a 35mm camera, a gun belt with a grenade, and a large tank for several hours onto the base of the 600-year-old campanile in the Piazza San Marco. Besides providing a critique of tourism and politics, Wodiczko's project offered a potent dialectic on the ambivalent requirements for stability and preserva- tion, and change and temporality. To make these points, it required both the unyielding permanence of the campa- nile and the ephemerality of projected light. Public art is about such dynamic issues; public life embodies such contradictions.

The late twentieth century has thrown these questions of time and expectation, change and value into high relief. It is an accelerated, acquisitive, and acquiescent age in which the pres- ence of enduring objects has become as quixotic as time itself. What is substan- tial-what is coveted and depended on with some certainty, what endures across generations-is often no longer expressed or communicated by the same symbols. The visual environment trans- poses as rapidly as the actions of the mind and the eye. In both private and public life the phenomenological dimensions of indeterminacy, change, and the temporary require aggressive assimila- tion, not because they are grim, una- voidable forces but because they suggest potential ideas and freedoms.

Coming to grips with the temporary does not require a fast, desperate embrace of absolute relativity; both strong lessons and substantial ideas can be discovered in the synapses, the alter- natives that occur between, and concep- tually connect, discrete phenomena. The reality of ephemerality is perhaps most persuasively and unmistakably felt in the vast public landscape. The private can offer some quiet refuge, some con- stancy of routine, but public life has become emblematic not of what is shared by a constituency but of the restless, shifting differences that com- pose and enrich it. Public life is both startlingly predictable and constantly surprising. As Richard Sennett and others have suggested,2 the private is a human con- dition, but the public is invented-and re-created by each generation. In retro- spect, there has been a discernible public life in most societies throughout time, but the idea of public is mutable and flexible. The notion of public may, indeed, be the most quixotic idea encountered in contemporary culture. It is redefined not just by the conspicuous adjustments of political transition and civic thought but by the conceptions of private that serve as its foil, its comple- ment, and, ultimately, its texture. The challenge for each person is to uphold this dynamic interplay of personal and public identity, to embrace the often stimulating and always difficult nature of this important dialogue, and to be as fully engaged in the world as with one's own psychic territory.

These developmental ideas about the public frequently run parallel to the current enthusiasms for public art that have overrun most cities and towns in the United States. It is as if the literature and legacy of the public process and the interest in public art production were separate entities, spontaneous eruptions uninformed by, and perhaps unaware of, the other. Discussions of public art frequently consider specific communities but rarely the public at large. There seems to be an implicit assumption that everybody knows what "public" means, and concerns turn to more observable, more easily calculable issues. Much has been said about the failures or successes of public art, but very little about the philosophical ques- tions a public art may raise or illu- minate, or even about whether the idea of a public art requires significant intel- lectual inquiry and justification in the first place. I think that the problem is that public art has sought to define itself without assembling all of the data and before entertaining all of the complex and potent variables it must accept and can express. Public art has been too often applied as a modest antidote or a grand solution, rather than perceived as a forum for investigation, articulation, and constructive reappraisal. Although it is at an exploratory stage, public art is treated as if it were a production of fixed strategies and principles.

One way that artists and agencies can continue to generate public art and remain analytical about its purpose, its composition, and how it is to be distinguished (or not) from other crea- tive enterprises is to support more short- lived experiments in which variables can be changed and results intelligently and sensitively examined. Public art requires a more passionate commitment to the temporary-to the information culled from the short-lived project. This pro- posal is offered not as an indictment of or indifference to permanent public art, but rather as an endorsement of alterna- tives. The temporary not only has a certain philosophical currency, but it permits art production to simulate the idea of the research laboratory. This proposal is conservative: a suggestion to take time, to study, to try more modest projects, to express what is known about the contemporary condition. It requires a comprehension of value based on ideas and content rather than on lasting forms, a flexibility of procedures for making and placing art, and a more inventive and attentive critical process. In his book on geological time, Time's Arrow, Time's Cycle,3 Stephen Jay Gould explores the dual nature of time in Western thought: temporality is experienced both cyclically and consecu- tively. The Western mind relies on con- ceptions of time that explain both the security of constancy and continuity and the stimulation of progress and change. The public is shaped by similar coinci- dental and contradictory ideas. People return cyclically to annual public events even when these seem empty and reflex- ive; they provide a fixed point of refer- ence. But public life must also accom- modate the actions of progress; on this depends the enhancement of democratic values and the enrichment of life. Linearity enables the public to rally its strength and vision to work for improvement and revision. These opposing conceptions of temporality are intrinsically connected to public life-to expectations that guide actions, to the events and occurrences that constantly define and transform experience. And these potent, problematic ideas are what art has traditionally addressed through its formal and temporal manifestations. Public art is like other art, but it is potentially enriched and amended by a multiplicity of philosophical, political, and civic issues. It need not seek some common denominator or express some common good to be public, but it can provide a visual language to express and explore the dynamic, temporal condi- tions of the collective. Clearly, public art is not public just because it is out of doors, or in some identifiable civic space, or because it is something that almost everyone canapprehend; it is public because it is a manifestation of art activities and strategies that take the idea of public as the genesis and subject for analysis. It is public because of the kinds of questions it chooses to ask or address, and not because of its accessibility or volume of viewers. This is, of course, a far more difficult and obscure definition of public art, and the methods and intentions of production and criticism are less pre- dictable, more unruly. It requires a com- mitment to experimentation-to the belief that public art and public life are not fixed. There are many variables; time is perhaps the most crucial and the least frequently addressed.

If the "public" in public art is construed not as the audience for the art but as the body of ideas and subjects that artists choose to concentrate on, then public art cannot be examined for its broadness of communication, for its popular reception, for its sensitive siting. A temporal public art may not offer broad proclamations; it may stir controversy and rage; it may cause confusion; it may occur in nontraditional, marginal, and private places. In such an art the conceptual takes precedence over the more obvious circumstantial. Public art is about the idea of the commons-the physical configuration and mental landscape of American public life. The commons was frequently a planned but sometimes a spontaneously arranged open space in American towns, but its lasting significance in cultural history is not so much the place it once held in the morphology of the city as the idea it became for the enactment and refreshment of public life-its dynamic, often conflicting expressions.

Summarize the article in your own terms. DO NOT PLAGIARIZE.  

Critique the article. This is where you can state your opinion on what you have read- what did you agree with? What did you dislike about what you read?

Lastly, reflect upon the article.

1)“Race has been a social construction that has allowed US to set apart racial minorities from European immigrants” (9). Explain how this adds to social construction. Give examples. Agree? Disagree?

W3T2 Censorship in film has played an important role in commercial movie making. Do you think the film you watched for this week’s first discussion question would have been allowed to release with the same exact content under the Hays Code? Why or why not? Be explicit and support your claim with verbiage from the Hays Code itself.