Cindy Sherman Artist Biography

Cindy Sherman Artist Biography No other artist has ever made as extended or complex career of presenting herself to the camera as has Cindy Sherman. Yet, while all of her photographs are taken of Cindy Sherman, it is impossible to class call her works self-portraits. She has transformed and staged herself into as unnamed actresses in undefined B movies, make-believe television characters, pretend porn stars, undifferentiated young women in ambivalent emotional states, fashion mannequins, monsters form fairly tales and those which she has created, bodies with deformities, and numbers of grotesqueries. Her work as been praised and embraced by both feminist political groups and apolitical mainstream art. Essentially, Shermans photography is part of the culture and investigation of sexual and racial identity within the visual arts since the 1970s. It has been said that, The bulk of her workà ¢Ã¢â€š ¬Ã‚ ¦has been constructed as a theater of femininity as it is formed and informed by mass culture (her) pictures insist on the aporia of feminine identity tout court, represented in her pictures as a potentially limitless range of masquerades, roles, projections (Sobieszek 229). Born in Glen Ridge, New Jersey, Cindy Sherman grew up in suburban Huntington Beach on Long Island, the youngest of five children and had a regular American childhood. She was very self-involved, found of costumes, and given to spending hours at the mirror, playing with makeup (Schjeldahl 7). Cindy Sherman attended the state University College at Buffalo, New York, where she first started to create art in the medium of painting. During her college years, she painted self-portraits and realistic copies of images that she saw in photographs and magazines. Yet, she became less, and less interested in painting and became increasingly interested in conceptual, minimal, performance, body art, and film alternatives (Sherman 5). Shermans very first introductory photography class in college was a complete failure for she had difficulties with the technological aspects of making a print. After her disastrous first attempt in photography, Sherman discovered Contemporary Art, which had a profound and lasting effect on the rest of her artistic career (Thames and Hudson 1). Shermans first assignment in her photography class was to photograph something which gave her a problem, thus, Sherman chose to photograph her self naked. While this was difficult, she learned that having an idea was the most important factor in creating her art, not so much the technique that she used. While she was talented at copying with pencils and paints, this artistic method would not allow Sherman to express herself personally. But with a camera, Sherman could use her body as a tool (Sills 64). The young artist became fascinated by the way any image at all, simply being presented, activates a mysterious charge-neither subjective nor objective, but of both (Schjeldahl 7). In college, Sherman became active in the local avant-garde scene, the liveliest of two decades, and especially in Hallwalls, an artist-run alternative exhibition space (Heller 223). In 1975, while still attending college, Cindy She rman created her first series of five photographs entitled, Untitled A-E. Within these first photographs, Sherman attempts to alter her face with makeup and hats, attempting to take on different personas, such as a little girl in Untitled D, and a clown in Untitled A (Thames and Hudson 2). This first series is Shermans first attempt of documenting transformation. The Curator Linda Cathcart, saw the pictures at Hallwalls and put them at the Albright Knox Art Gallery (Heller 225). Because Sherman had such vivid imagination and became fascinated with self-transformation, Sherman often bought vintage clothes and accessories from thrift stores, which helped her to form and create different characters. So it just grew and grew until I was buying and collecting more and more of these things, and suddenly the characters came together just because I had so much of the detritus from them (Thames and Hudson 2 ). Sherman went even as far as wearing the costumes and dressing as different charact ers to gallery openings and events in Buffalo. She wore these costumes because she wanted to see how far she how transformed she could look (Haller 225). Yet, Sherman never considered dressing up for performance purposes because she was not maintaining a character but simply getting dressed up to go out (Thames and Hudson 2). Cindy Sherman began her famous series of Untitled Film Series at the end of 1977. The small black and white photographs are of Sherman impersonating female character types from old B grade movies, which speak to a generation of baby boomer women who had grown up absorbing these glamorous images ay home on their televisions, taking such portrayals as cues for their future (Thames and Hudson 1). Upon graduation of college in 1977, Cindy Sherman and her fellow student Robert Longo moved to Manhattan, New York together. She continued with her interest in role-playing and dressing up as different characters, and began to photograph herself in these different guises among different locations such as her apartment Untitled Film Still #10, in the Southwest in Untitled Film Still #43, and in Long Island in Untitled Film Still # 9. Shermans manipulation of lighting, makeup, and dress make it difficult to believe that all of the characters represented were indeed the same person (Heller 225). A ll of the portraits are of her but none of the works are in any way a self-portrait of Sherman. They are portraits of an identity that Sherman shares with every female who thinks of her life in the way of a cheap movie. For this reason alone, is why her work has been looked at for special by feminist who hold the view that women do not hold theories, but tell stories. In the stills it is important to get a deep and true understanding that her use of photography is more integral to the performance then a photographic record of what took place. (Danto 10-11). Each of the stills is about the girl in trouble, but in the aggregate they touch the myth we each carry out of childhood, of danger, love, and security that defines the human condition. Desire mixed with nostalgia fuels the allure of the Untitled Film Stills-desire for the woman depicted as well as desire to be that woman, during that time (Thames and Hudson 4). Sherman said that the last thing she wanted her pictures to have was emotion. The still only provided a framework through which her deeper artistic impulses found expression (Danto 9). She was most interested in what a character was like when they were completely emotionless (Sherman 8). These black and white photographs were purposely grainy because Sherman wanted them to look like cheap publicity shots. While, Sherman takes most of her own photographs using a remote shutter-release, some of her pictures are also taken by her family and friends. This Untitled Film Series was first exhibited in 1995, in the Hirshborn Museum of Washington D.C. In each of the photographs, Sherman is depicted alone, As a familiar but unidentifiable film heroine in an appropriate setting (Thames and Hudson 2). Some of the many characters depicted are of a perky B-movie librarian in Untitled Film Still #13; a voluptuous lower-class women from an Italian neo-realist film in Untitled Film still #35; and a young secretary in the city Untitled Film Still # 21 (Thames and Hud son 2). In terms of the untitled film still #35 and Untitled Film still #15, both depict Sherman as a seductress, Sherman says To pick a character like that was about my own ambivalence about sexuality-growing up with the woman role models that I had, and a lot of them in films, that were like that character, and yet you were supposed to be a good girl (Thames and Hudson 2). Sherman encourages the viewers participation in constructing their own narratives of her Untitled Film Still #10, Untitled Film Still # 14, and Untitled Film Still #65 (Thames and Hudson 3) Sherman created sixty-nine photographs in total, presenting her works in an array of types. According to Judith Williamson, force upon the viewers that elision of image and identity which women experience all the timeà ¢Ã¢â€š ¬Ã‚ ¦ (Thames and Hudson 3). Cindy Shermans Untitled Film Stills are also seen as related to feminist performance work of the 1970s by artists such as Adrian Piper and Eleanor Antin. Sherman is also noted as being heavily influenced by these artists. The Untitled Film Series are not only photographic records of performance but performative accounts of filmic images (Thames and Hudson 4). Sherman ended her sixty-nine photograph scenes in 1980, when she began to realize that she was duplicating previously used characters, clichà ©s, and stereotypes. Cindy Shermans next series or collection of photographs was her first working color called the Rear Screen Projections, which exude the artifice of a television show. With her increasing desire to work at home, Sherman created her photographs in front of a projected screen, which she projected slides of outdoor and indoor scenes. Viewing the photographs one can obviously tell that the background is fake. The very realistic and sometimes quite closely cropped images of Sherman contrast with the blurry and substantial settings, heightening the artifice of the entire scene (Thames and Hudson 5). Her second series concentrates on the 1960s and 1970s rather then the 1950s depicted in the Untitled Film Series. Rather then female victims, the Rear Screen Projections depict women who are confident and independent, usually youthful, middle-class women in the real world. The characters of the Rear Screen Projections are best identified as being counterparts of women in the media of the 1970s s uch as Mary Richards character in The Mary Tyler Moore television series (Thames and Hudson 5). In 1981, after creating a portfolio of images for an issue of Artforum, Sherman became inspired by the magazines horizontal format and produced a series of works that refer to the photo spreads in photographic magazines. This is said to be Shermans first mature work. These large photographs are in color, are cropped and close-up with each image depicting a young woman looking off to the side with a vacant and vulnerable look. She keeps background details to a minimum allowing the attention to be drawn to the figure. Shermans horizontals suggest a profound transgression against form. Within these pictures have there is no coherent point of view (Sobieszek, 25). When Sherman showed this series, she was criticized by some for having created women that reaffirm sexist stereotypes, therefore Artforum rejecting this series. Critics have found Untitled #93 as the most suggestive of all her works. This photograph shows a woman with messy hair and smudged makeup in bed covering her eyes, whil e looking toward the light that shines in her eyes. Although Sherman has stated that She was imagining someone who had just come home in the early morning from being out partying all night, and the sun wakes her shortly after she has gone to bed (Thames and Hudson 6). Critics on the other hand have read this photograph as a rape portrayal. Misreading of the centerfolds became very common because people tried to create stories from them, discovering hidden meanings where none were present (Schjeldahl 9). Much like her earlier works, the centerfolds mimic and repeat mass media modes. In the Pink Robe series, Sherman uses herself once again to imitate the stance of porno models, choosing to pose only in a pink chenille bathrobe. This series conveys a state of loveless intimacy, intimacy without understanding or personal tenderness (Schjeldahl 10). In this series, Sherman responds to the criticism of the centerfold series, and switches to a vertical format in order to do away with the vulnerability of the characters. Yet, the Pink Robe Series is just a continuation of the Centerfold series because Sherman thinks of these images as depiction of the porno model during breaks between posing for nude shots (Thames and Hudson 7). Sherman sits in front of the camera deciding to appear as un-sexy and without makeup or wigs, staring directly toward the viewer. Many critics interpret this series as the real Cindy and most revealing of all of her photographs (Thames and Hudson 7). Sherman has produced four groups of works that quote from fashion photography. In Shermans fashion series, she reminds the viewer that that fashion allows us to create and display a wide range of appearances as if we each possessed a wide range of identities (Sobieszek, 253). Her first fashion series was commissioned in 1983 for a spread in Interview magazine. Provided with designer clothes such as Jean-Paul Gaultier, Sherman undoubtedly provided an antithesis of a glamour ads. The models look silly but utterly delighted in their high fashion frocks. Her second commissioned fashion photographs are even more bizarre from the previous works, with the models looking dejected in Untitled #137, exaggeratedly wrinkled in Untitled #132, and even homicidal in Untitled #138. It appears inevitable that Sherman would be drawn to fashion spreads because fashion is yet another means of masquerade for women, and ads for clothing promise to convert the buyer into a more perfect version of herself ( Thames and Hudson 8). Like all advertisements, fashion photographs manufacture a desire in a woman that could never be filled. Sherman uses her fashion photographs to undermine the desirability of such images by emphasizing their manipulating nature (Thames and Hudson 8). In the fairy tales and monster series, Sherman reminds us of the monsters from childhood memories and may be suggesting through these photographs that everyone harbors a secret, repressed self that can shift form and shape at will (Sobieszek, 253). The undercurrent turned, rather startling in the 1980s into a torrent of gore and rage when she switched to using a larger format and often lurid colors, and to concocting increasingly horrific and surreal images (Kimmelman 142). These images represent a time in her career when her images truly become strange and surreal. These photographs are unusual not only because of their horrific images, but also because a viewer is unaccustomed to seeing such stories represented in photographs. The strangest scene appears in Untitled #150, In which an androgyn with a huge, extended tongue fills the foreground, and tiny figures stand in the landscape behind it, making it seem like a giant among Lilliputians (Thames and Hudson 9). Shermans Fairy Tales do not depict a specific example, but evoke a narrative form. By the early 1990s Sherman had tired of creating these shocking images turning to art history for inspiration. The result was a series of photographic portraits of her returning as the model, transformed by her usual false noses, bosoms, into both male and female figures as painted by various old masters of Western painting (Heller 225). Even when Sherman was creating history portraits she worked out of books, with reproduction, she says that Its the aspect of photography that I appreciate, conceptually: the idea that images can be reproduced and seen anytime, anywhere, by anyone ( Kimmelman 145). Just like all the rest of her works, the history paintings do not depict a particular painting but depicts types for the history genre. Sherman creates the most memorable and humorous pictures of women. Often spoofing the awkward depictions of the female anatomy of the Old Masters paintings. Understanding how ridiculous these history paintings are helps the viewer understand that Sherman is mocking the Western canon and its depiction of royalty and religious figures (Thames and Hudson 12). Shermans next career move was to a raunchy pornographic depiction of individuals called the Sex Pictures. Using mannequins and body parts form medical catalogues, she constructs hybrid dolls. Rather then showing the dolls having sex, Sherman proudly shows the sex. Sherman created these works in response to the controversy over the National Endowment for the arts ands the debates over the constitute obscenity in the arts. Typically, pornography portrays sex as anonymous, but in Shermans series she depicts sex as ridiculous (Thames and Hudson 14). It Shermans work, the notion of self is completely abandoned, replaced by the concept of multiplicity, dissociation, and fluidity. Yet, her portraits do not appear as performances only unstable representations in ambiguous non-narratives making brief appearances, caught in a moment of ambivalent emotional expression (Sobieszek, 253). Much of her work is clearly meant to be ambiguous. Her pictures have been interpreted as feminist indictments of gender stereotyping, but Sherman insists that she is not political (Heller 226). References Danto, Arthur C. Cindy Sherman: Untitled Film Stills. New York: Rizzoli, 1990.. Heller, Nancy G. Women Artists and Illustrated History. New York: Abbeville Press, 1987. Kimmelman, Michael. Portraits. New York: Random House, 1998. Schjeldahl, Peter. Cindy Sherman. New York: Pantheon Books, 1984. Sherman, Cindy. The complete Untitled Film Stills. New York: The museum Of Modern Art, 2003. Sills, Leslie. In Real Life: Six Women Photographers. New York: Holiday House, 2000. Sobieszek, Robert A. Photography and The Human Soul 1850-2000. Los Angles: MIT Press and Los Angles County Museum of Art, 1999 Thames and Hudson. Cindy Sherman Retrospective. Chicago: Museum of Contemporary Art, 1998.

Peoples Attitudes towards Climate Change

I. IntroductionClimate Change or Global warming is the increase of the average temperature of earth’s atmosphere, oceans, and landmasses. Scientists believe earth is currently facing a period of rapid warming brought on by rising levels of heat-trapping gases, known as greenhouse gases, in the atmosphere (Harvey, 2012). Ironically, â€Å"It is not climate change that is our problem, but the attitude of people that should be addressing the problem† (Fernandez, 2012). Most previous studies evaluating the cause of awareness to the people towards the climate change is the effects of people’s attitude towards climate change (Gallup, 2008; Barret & Dannenberg, 2012).Most of the studies confirm the explicit and implicit attitudes towards climate change suggest targeting hidden thoughts a better way to change people’s behavior (Corner, 2010; Kormos & McIntyre, 2011). There are also findings that proved the countries to firm one another to build human activities to wards climate change.This paper is intended to transport cognizance on the necessary ideas on what are the people’s perception towards climate change that have been affected the existence of the of the mother nature and all the life form that exist in this world.A. ObjectivesThe students intend to:1. To Discuss the nature climate change and its causes;2. To provide data supporting that there are causes and effects in every peoples attitude towards climate change;3. To determine the authenticity of the claim that there are causes and effects in every peoples attitude towards climate change; and4. To associate the findings to the personal lives of parents and children in particular and to the people in generalB. Significance of the studyThis study aims to expound the effectiveness of people’s attitude towards climate change in enhancing human activities for the global benefit of the world. It creates a goal to the students, instructors, children and parents which provide them more intellectual improvement in their years of existence.People’s attitude towards climate change evidently influences many positive effects although there are also negative effects, in order to explain the level of peoples attitude towards climate change, this paper would like to be evident to the fact that climate change does exist to the occurrences of people’s conditional attitude towards climate change.C. Definition of termsIn order to understand clearly the subject matter, we define the following key concepts:Climate change is a significant and lasting change in the statistical distribution of weather patterns over periods ranging from decades to millions of years, it may be a change in average weather conditions , or in the distribution of weather around the average conditions (example: more or  fewer extreme weather events).Implicit Association Test (IAT) is a measure within a social psychology designed to detect strength of a person’s automatic association between mental representations of the objects (concepts) in memory. Anthony Greenwald, Debbie McGhee, and Jordan Schwartz introduced the IAT in scientific literature in 1998.Peoples Attitude is determine more by their immediate situation or surroundings than by any internal characteristics, it is to say that surroundings and situation have great impact on people’s attitude.Socioeconomic Status (SES) is an economic and sociological combined total measure of a person’s work experience and of individuals or families economic and social position in relation to others, based on income, education and occupation.II. Nature of Climate ChangeIt is clear from extensive scientific evidence that the dominant cause of the rapid change in climate of the past half century is human-induced increases in the amount of atmospheric greenhouse gases, including carbon dioxide (CO2), chlorofluorocarbons, methane, and nitrous oxide.Hence, estimates of the earth’s changing carbon dioxide (CO2) concentration (top) and Antarctic temperature (bottom), based on analysis of ice core data extending back 800,000 years. Until the past century, natural factors caused atmospheric CO2 concentrations to vary within a range of about 180 to 300 parts per million by volume (ppmv).In addition, warmer periods coincide with periods of relatively high CO2 concentrations. Atmospheric CO2 concentrations have increased by almost 40% since pre-industrial times, from approximately 280 parts per million by volume (ppmv) in the 18th century to 390 ppmv in 2010. The current CO2 level is higher than it has been in at least 800,000 years. Some volcanic  eruptions released large quantities of CO2 in the distant past. However, the U.S. Geological Survey (USGS) reported last 2011 that human activities now emit more than 135 times as much CO2 does as volcanoes each year.However, human activities like greenhouse gases, currently release over 30 billion tons of CO2 into the atmospher e every year.This build-up in the atmosphere is like a tub filling with water, where more water flows from the faucet than the drain can take away.Moreover, methane is produce through both natural and human activities. For example, natural wetlands, agricultural activities, and fossil fuel extraction and transport all emit CH4.Methane is more abundant in Earth’s atmosphere now than at any time in at least the past 650,000 years. [2] Due to human activities, CH4concentrations increased sharply during most of the 20th century and are now more than two-and-a-half time’s pre-industrial levels. In recent decades, the rate of increase has slowed considerably.Nitrous oxide is produce through natural and human activities, mainly through agricultural activities and natural biological processes. Fuel burning and some other processes also create N2O. Concentrations of N2O have risen approximately 18% since the start of the Industrial Revolution, with a relatively rapid increase t owards the end of the 20th century.In contrast, the atmospheric concentration of N2O varied only slightly for a period of 11,500 years before the onset of the industrial period.III. How does Climate Change Work?The Kyoto ProtocolThe Kyoto Protocol to the United Nations Framework Convention on Climate Change (UNFCCC) is an international treaty that sets binding obligations on industrialized countries to reduce emissions of greenhouse gases. The UNFCCC is an environmental treaty with the goal of preventing â€Å"dangerous† anthropogenic (example: human-induced) interference of the climate system.One hundred ninety countries are United Nation members, except Afghanistan, Andorra, Canada, South Sudan and the United States. The United States signed but did not ratify the Protocol and Canada withdrew from it in 2011. The Protocol was adopt by Parties to the UNFCCC in 1997, and entered into force in 2005.As part of the Kyoto Protocol, many developed countries have agreed to legally binding limitations/reductions in their emissions of greenhouse gases in two commitments periods. The first commitment period applies to emissions 2008-2012, and the second commitment period applies to emissions 2013-2020. The protocol was amended in 2012 to accommodate the second commitment period, but this amendment has (as of January 2013) not entered into legal force.On the other hand, 37 countries with binding targets in the second commitment period are Australia, all members of the European Union, Belarus, Croatia, Iceland, Kazakhstan, Norway, Switzerland, and Ukraine. Belarus, Kazakhstan and Ukraine have stated that they may withdraw from the Protocol or not put into legal force the Amendment with second round targets.Moreover, Japan, New Zealand, and Russia have participated in Kyoto's first round but have not taken on new targets in the second commitment period. Other developed countries without second-round targets are Canada (which withdrew from the Kyoto Protocol in 2012 ) and the United States (which has not ratified the Protocol).Thus, international emissions trading allow developed countries to trade their commitments under the Kyoto Protocol. They can trade emissions quotas among themselves, and can receive credit for financing emissions reductions in developing countries. Developed countries may use emissions trading until late 2014 or 2015 to meet their first-round targets.Developing countries do not have binding targets under the Kyoto Protocol, but are still committed under the treaty to reduce their emissions.Actions  taken by developed and developing countries to reduce emissions include support for renewable, improving energy efficiency, and reducing deforestation. Under the Protocol, emissions of developing countries are authorized to grow in accordance with their development needs.The treaty recognizes that developed countries have contributed the most to the anthropogenic build-up of carbon dioxide in the atmosphere (around 77% of em issions between 1750 and 2004), and that carbon dioxide emissions per person in developing countries (2.9 tons in 2010) are, on average, lower than emissions per person in developed countries (10.4 tons in 2010).Because, a number of developed countries have commented that the Kyoto targets only apply to a small share of annual global emissions. Countries with second-round Kyoto targets made up 13.4% of annual global anthropogenic greenhouse gas emissions in 2010.[27] Many developing countries have emphasized the need for developed countries to have strong, binding emissions targets. At the global scale, existing policies appear to be too weak to prevent global warming exceeding 2 or 1.5 degrees Celsius, relative to the pre-industrial level (King, D., et al., 2011;)IV. Providing Data Supporting the Claim that there are Causes and Effect in every people attitudes towards climate change.In the study conducted by The World Bank’s World Development Report 2010 on Climate Change an d Development commissioned on international poll of public attitudes to climate change their findings indicate that attitudes on international cooperation on climate change results in one thought, that if their countries acted, other countries would be encouraged to act as well. Should an agreement on cutting emissions emerge from the Copenhagen meeting, very large majorities in all 15 countries said their nation should commit to cut emissions as part of the agreement.Then, if such an agreement does not emerge, majorities in 14 countries and a plurality in one still thought their nation would have a responsibility to act.Effect of one country’s example on others one overhanging question in  the difficult global process of forming measures against climate change is the power of example and mutual efforts: if some nations lead, will others be inclined to follow—not only on a world scale, but also regionally, or among neighboring countries?Furthermore, respondents were asked whether they thought, â€Å"That if our country takes steps to deal with the problem of climate change, other countries would then be more willing to act, or do you think it wouldn’t make much difference?.Similarly, in 14 of 15 countries, majorities thought the example of their country acting would affect other countries’ willingness positively—and in Russia, a plurality thought so (47% to 32%).For that reason, an average of 68% in all 15 countries thought other countries will be affected by their example, and only 24% did not developed countries that have smaller majorities believed in the power of their example, while many developing countries showed much more confidence in it.Thus Bangladesh, Senegal, Kenya, Indonesia and Vietnam all had majorities of 79% or higher who thought that if their country took such steps, other countries would be then more willing to act.In addition, Mexico, Iran and China were almost as confident (all at 73%). Egypt (66%) an d India (61%) had substantial majorities thinking so; France was similar at 63%.However, Japan, the United States and Russia were all significantly less confident that their example would make any difference. In Japan, 54% thought their example would encourage other countries, while 46% did not; in the US 52% thought it would make a difference, while 46% did not; and in Russia 47% thought it would, and 32% that it would not.WhereasGallup conducted the first comprehensive survey of global opinions about climate change, posing two questions to respondents in 128 countries: 1) how much you know about global warming or climate change.Moreover 2) How serious of a threat is globalwarmingto you and your family?Gallup finds that a majority of the world's adult population is aware of the climate change issue, but a substantial minority is not aware.Further, those who are aware are more likely to say climate change poses a serious threat to themselves and their families. Results vary by regio n and among each of the top five greenhouse gas-emitting countries, underscoring the challenges leaders face in reaching a global climate agreement.Regionally, people in Europe and the Americas (which includes North, South, and Central America) are the most likely to be aware of climate change. More than 8 in 10 adults in Europe and the Americas say they know at least something about climate change.Fish Ponds Cause the brunt of typhoons â€Å"Pedring† and Quiel†.It is one of the major reasons of a prolonged flooding in residential and rural areas in the plains of Bulacan and Pampanga because of the proliferation of fishponds and aquaculture projects in the major waterways, thus, this result to the slowed flow of the water from the typhoon and dams.On the other hand, cities of Butuan and Cotabato experiencing the prolonged flood because of the rivers that is clog by water lilies.Similarly, the city of Cotabato experienced the said problem because of the industries that p olluted the river with nitrates which induce the growth of lilies to cause a certain scenario.Implicit Association TestUsing the Implicit Association Test (IAT), developed in the 1990s and now widely used in social psychology, Geoffrey Beattie and Laura McGuire at Manchester University asked whether people's â€Å"explicit† attitudes (the responses people give in surveys and opinion polls) or their â€Å"implicit†Ã‚  attitudes (which can only be revealed by people's reaction times on a specially designed task) best predicted the amount of attention they paid to iconic images of climate change.Situational SurveyParticipants were asked to rate how much they agreed with statements such as: â€Å"I prefer a product with a low carbon footprint†. But they also completed an IAT where they had to assign a series of positive or negative terms to the target category of â€Å"low carbon footprint†. The researchers then showed them a series of images, some of which w ere iconic negative images of climate change (for example, a stranded polar bear), some of which were positive images of nature (for example, a field of sunflowers), and some of which were everyday household objects. Intermingled across a series of slides, participants could choose which images to look at.The results were striking:Only implicit attitudes predicted how long people looked at iconic images of climate change. It did not matter if people had expressed a positive explicit attitude towards low-carbon products. Only people with strongly positive implicit attitudes (i.e. the people with quick reaction times between positive terms and the low carbon footprint category) chose to linger on the climate change images.These findings suggest that even people who express a high degree of concern about climate change, or who claim a great deal of interest in low-carbon products, may actually be unconsciously shielding themselves from imagery associated with climate change and by exte nsion, a deeper reflection on how to change their behavior in response to it.What about interpreting the Climate Change as an emergency?People also reject climate change because of other commitments in their life. If climate change is real, that might mean we need to change how we live. If  we don’t want to change, that can influence our thinking all the way back up to whether we consider the issue a problem. Broadly, you can call this motivated reasoning(Nordhaus, and Shaw, 1994)Psychologists recognize that people have a complex set of social identities based on their age, gender, religion and many other groups. These memberships drive attitudes, feelings and behavior. Social identity exists whenever a person feels they are a member and feels a sense of psychological identification with a group (Latane,& Darley, 1968)Political party is a powerful social identity that informs how people think about themselves and the world. Following this very brief description of social id entity theory, consider how political party shapes how we process incoming information. It’s not easy to go against your political party, because you can be derogated and excluded from the group. It’s uncomfortable to feel social influence and not go along. Political identification matters in evaluating information on climate change (Frant & Mayer, 2009).V. Implication of the studyPeople cannot change their attitude towards climate change if their socioeconomic status (SES) priority on climate change is not on their list of commitments in life. Someone must encourage them to change their belief in their attitudes towards climate change. Through the interaction with the media, people in the society will be aware on how climate change got worst in this time of decade.Hence, creatinga law that will be a major concern of the people, and implement it to all citizens that live on a certain country that implement such law. As a result people may continue their attention and c ould gain more as they interact with the intellect of climate change just like a footprint in wet cement, it hardens as it goes by, thereby, and there should be a good footprint to leave so they could have much better through thedevelopment.VI. ConclusionWe arrived with a conclusion that Global Climate Change is a fact, although there are skeptics in no way a majority group. That is why governments around the world have reacted to this growing threat nearest major climatic changes that may put their economies at risk.People Attitudes towards Global Climate Change, on the other hand, has made it very clear globalization of pressing environmental issues if it is not a company that involves all nations. Population pressure and development taken by most developed nations along with developing nations placed increasing pressure on natural resources and environmental systems on land.At present, the self-regulatory capacity of the atmosphere are carried to their limits and according to man y, surpassed. It is not sound policy, for humanity, let the search for solutions for the future or if they are strongly needed. The atmosphere and the processes that maintain their characteristics are not very fast reaction times compared with the periods humans.

Top Advice on Fictional Narrative Essay Topics

Top Advice on Fictional Narrative Essay Topics Using Fictional Narrative Essay Topics There's, obviously, a limit on the variety of pages even our very best writers can produce with a pressing deadline, but usually, we figure out how to satisfy all the clients seeking urgent assistance. The reward of the listed topics are that they are rather broad and so might be developed into many diverse stories. Your very first step is to choose two subjects that is easily contrasted and compared. There are a few factors which you will need to think about before you select your subject. The Importance of Fictional Narrative Essay Topics Even then you're not able to discover the informative and accurate details. It's personal enough, it permits you to play with words, and it's both interesting and edifying for the general public. Two different variant of the exact same event. Do not be hesitant to use the info. 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The Creators Of Salt Of The Earth - 1223 Words

The creators of Salt of the Earth â€Å"had a consciousness of radical activism† (Aptheker 2015). Paul Jarrico, Michael Wilson, and Herbert J. Biberman made connections between the Cold War anti-union sentiment and what was happening in the lives of the community at Hanover, New Mexico (Balthasar 353). Salt fuses the antiracist, anti imperialist sensibility...with the central popular front icon and narrative form- the strike tale. In this sense Salt is not simply an expansion of a 1930s political aesthetic; it is the fulfillment of it† (Balthasar 356). This included thinking about how different forms of oppression impact people. Their final film implicitly critiques the United States’ imperialist policies and treatment of minority groups (Balthasar 355), a dangerous move in the era of high tensions due to the red scare. This, along with affiliations with the Hollywood Anti-Nazi League (HANL) made them targets of the United States government (Balthasar 354). Their careers had been destroyed, since no one wanted to make themselves a target of the U.S. by being friendly with people that were accused of being communists, and their film was blacklisted. The leading actress, Rosaura Revualtas, who had already radically starred in what is recognized as the first lesbian film (Aptheker), also faced punishment for starring in Salt. Though she was here legally, participation in the film was grounds for her deportation. Furthermore, she was banned from acting in Mexico (Aptheker). ClintShow MoreRelatedThe Priestly Line Of Malki Tzedek1155 Words   |  5 Pagessays is Shem, the son of Noah. Shem is a righteous man and he gives Abraham the priesthood of representing the will of the Most High here on earth. It is not the priestly line of Aaron. And yes, Shem, Noah s son was alive during the time of Abraham. In Psalm 110 there is an exquisite promise given to David that he will have a very special role here on earth, its being passed down to him. David is given the power of defeating his enemies in the manner that Abraham was in Genesis 14. That power isRead MoreCreationism: The Center of Our Universe and Life Essay examples1605 Words   |  7 Pageswho have read the Bible believe that only through the power of God life began upon the Earth. There are many people who do not believe in the theory of evolution and instead believe in the power of divine creationism. Creationism is a belief that Deity or God created all life and intelligence in the universe and upon the earth. Based on the biblical account, â€Å"In the beginning God created the heaven and the earth† (1:1). Creationists believe that God is the sole architect of human creation, â€Å"AndRead MoreWorldview1016 Words   |  5 PagesAccordingly, God created man in His own image; in the image of God He created him; male and female He created them (Genesis 1:27) He formed man from the dust of the earth (Gen 2:7) which this would seem to support Pantheism if you stopped reading there. This also means that our origin is from God and we were put here to have dominion over the earth. The Question of Identity: What Does It Mean To Be Human? Are Humans More Important Than Animals? From a Biblical perspective, humans are more impotentRead MoreReligion : An Important Part Of Human Nature1318 Words   |  6 Pagesof the most complex figures in religious history. When Joseph Smith was murdered in 1844, a man named Brigham Young led the first group of Mormons out of Illinois to Salt Lake city, Utah in 1846, for they feared for their lives. Today, the prophet and president of the Church is Thomas S. Manson residing in Salt Lake City, Utah. Salt Lake City, Utah is the home of the Mormon Church headquarters. Mormonism is one of the fastest growing religions in the world today. When it first was founded in 1830Read MoreThe Dreaming Is A Way For Indigenous People1032 Words   |  5 PagesBaiame, known as ‘All Father† who they believe is the supernatural ancestor and creator of earth. Baiame’s stories of creation are shared from generation to generation of stories known as the â€Å"Dreaming†. (â€Å"A nations Identity Dreaming,† n.d; p ara 1) One fundamental story of the Kamilaroi people is â€Å"emu in the sky’ which is about the constellation between the emu on land and in the sky, signifying connection between earth, skies and the traditional ceremonies that link to â€Å"All father’ Baiame. (â€Å"A NationsRead MoreEssay Greek Mythology vs. Ancient Near East Mytholgy1272 Words   |  6 Pagesrelated to each other. It was a sort of â€Å"family† of deities. Their gods were labeled much in the same manner as the Greek gods. They had the 4 creator gods: god of the sky, who was also the God of Gods and ruler of their heaven, then the god of storms, the god of the earth, and the god of water and wisdom. The rest of the gods were inferior to these creator gods. The main difference between the religions is that while the ancient Greeks had only a relatively small number of actual gods, the MesopotamiansRead MoreReasons For Global Warming Is Happening1338 Words   |  6 Pagesvehicle transp ortation burning, agricultural mass production of animals making methane, deforestation burnings, and sometimes that volcano with a gas problem. All of these issues started two centuries ago as the humans looked upon the beautiful green Earth and saw something else they could use for their own personal needs. They then stared upon their fossil fuel resources, they did need something to run the machines on. 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In the depiction of the supreme deity or creator, the notion that he existed before time, tricks the human mind and brings up inevitable questions, such as where did he come from and how did he escape the