Topic 1: HIV Positive
You are counseling a person who is HIV positive. You know he or she is sexually active and having unprotected sex. What if you also know the person’s spouse or
partner? What is your obligation to break confidentiality? What would your duty to warn entail and what would your duty to protect entail? How would you address this?
Topic 2: Person in Crisis
Contrast the objectives and assessment of a person in crisis with one in long-term therapy. What is the biggest difference, in your opinion? Support your response.
Topic 3: Motivation
What is motivation? Does Maslow’s theory provide a supervisor with any tools to use in dealing with employees? What would motivate you on the job?
Incorporate the use of new methodologies from the knowledge
Incorporate the use of new methodologies from the knowledge-economy management approach that might be appropriate for this Skilled Nursing and rehap facility
2.
3. Correlate recent research findings regarding strategy management into your approach.
4. Synthesize operational and financial components in your strategic planning process.
5. Incorporate your findings from your current environment analysis.
6. Preface your newly revised strategic plan with the core assumptions regarding environmental opportunities and threats, organizational strengths and weaknesses, and
organizational behavior dynamics that are foundational to the strategy.
7. Determine the organizational structure that best facilitates the strategy—functional, divisional, or matrix.
8. Include a brief description of the proposed strategy that reflects the choices made regarding:
· Product domain.
· Market domain.
· Level of investment in the respective product and market domains.
· Positioning approach for achieving competitive advantage.
· Maneuvers that will be used to implement the positioning approach.
· Distinctive competencies or assets that will be relied on to gain and sustain competitive advantage.
Submit your TOWS Matrix, with the revised components of your course project, as an attachment to this assignment.
Think about why your viewers might be interested in your topic. In what ways might they make connections with your exhibition topic? To develop your exhibition, you
will want to give a full explanation of your topic and its significance. This might include an examination theme through subject matter, style, or choice of media;
information on how the topic has been treated by other artists and how they compare or contrast with your theme’s exploration of the subject (include images), and
historical context for understanding the theme you have chosen to focus on. This section should be about three pages in length, double-spaced. Submit by the end of
week 7 to the provided area.
Deliverables:
3 Page introductory essay describing the significance of the exhibit for the field of art and art history.
********SPECIAL NOTE***************
My exhibition and theme was on Ancient Greek Architecture and its influence on Modern Architecture
I have attached my presentation below.
Michael Smith
Ancient Greek Architecture and its influence on Modern Architecture
History of Western Art 1
February 26, 2017
Instructor Aimee Anthony
Ancient Greek Architecture and its influence on Modern Architecture
The Ancient Greek Architecture has had a great impact on the development of the culture of the people in Rome (Conover 23). In addition, the architecture has put
influence ion the social lifestyle as well as the way the people used to honor their gods since the Ancient Greek Architecture that was being used in the temples and
the specific monuments such as the Hera II was elaborate. Specifically, Hera II Parthenon in Athens was sued as a dedication to the goddess of the city that was called
the Athena (Kite 90). In this consideration, this paper presents, and analysis of the influence of the Ancient Greek Architecture on the modern architecture.
Ancient Greek Architecture
Typically, the architecture that was being sued in the day to day living was precisely helping in the promotion of the social lifestyle of the people. Considering
this, the houses was build to face inside and had the windows and the gardens facing a focus point that was used as the regular meals and used for the social gathering
of the people (Barletta 619). In this consideration, the Greeks made advancements in the developing cultural activities as result of the resulting growth in themes,
attitudes as well as the culture from the western nations.
Typically, the Greek Architecture is one of the inheritances that civilization has since Greece has been able to develop numerous structure elements such as the
decorative motifs as well as the building types that are being sued in the recent time (Bliangas 9). Some of the Ancient Greek Architecture that has been a great
influence in the modern architecture includes the design of the famous architectures such as the Parthenon and The Erechtheum. Moreover, there are style and designs
that have been advocated to be of great impact in the modern architecture. This includes classic architecture, the Greek Homes and living environments, and the
materials used in the building.
The Materials that was being used in the building process in the Ancient Greek were wood and bricks that were made of mud and rooftops were majorly made of ceramic
materials (Bliangas 7). Nonetheless, there was a disintegration of the materials with time and the ground plans that were being used are the existing evidence today.
Additionally, Ancient Greek Architecture made use of limestone and marble and in the modern architecture there have been developments in the aim of preserving the
Ancient Greek Architecture (Conover 21).
In the modern architecture, developers have made use of the ideas gathered from the famous Ancient Greek Architecture (Kite 90). Precisely, the use of the cases such
as the Hera II has stood out to be preserved fort eh gods and the goddesses. The building of Parthenon took place in the early 5th century BC and is fundamental
Ancient Greek Architecture as a result of the use as a Doric temple (Kite 90). The development of the design of the temple is fundamentally sued today in the current
architecture. This is as a result of the fact that the temple is made up of hexastyle porches and is seen with the warrior outfit as indicated in the figure below.
Figure: The Parthenon
Source: Barletta (619)
Moreover, the design of the theaters today based its reference to the initial article used in the Ancient Greek (Barletta 615). the development of the theater was
built in such a way that it was large and in the open air and found in the sloping hills as indicated in the Modern theaters that are slanted towards the stage.
Additionally, the stairs in the cases were useful in the division of the sections just as used in the modern theaters (Barletta 621).
Work Cited
Barletta, B. A., State of the Discipline: Greek Architecture. 2011. Pp. 613-630
Conover, E., Grecian Columns: History and Turning: Woodworker’s Journal. Aug 2016, Vol. 40 Issue 4, p20-24. 5p
Kite, R., Greek Revival: Country Living. Oct 2006, Vol. 29 Issue 10, p90-90. 1p. 5 Color Photographs.
Bliangas, J. Ancient Greek to Modern Architecture with Greek Influence. Oct. 2011
Assignment for MGT 305- In the Unit 2 assignment, you will identify how prejudice and stereotypes impact employee
Assignment for MGT 305
Eight Steps to Inclusion
Due: Midnight Friday of Unit 2.
Overview:
In the Unit 2 assignment, you will identify how prejudice and stereotypes impact employee
morale and teamwork, and have an opportunity to apply human behavior concepts to a
workplace situation.
Assignment Details:
Consider the eight steps to inclusion highlighted in this week’s readings and videos. Then
answer the following two questions:
1. What are the eight steps to inclusion? Explain each step in more detail, specifically
outlining what each step is supposed to do.
2. Do you believe this eight-step plan would work? Why or Why not? Submission Requirements: APA format is required, which includes:
o Title page
o 12pt. font in Times New Roman and double-spaced
o Reference page, with in-text citations
Question #1 should have an answer of 500-words or more in length.
Question #2 should have an answer of 250-words or more in length.
Include an introduction and conclusion Refer to the next page for the grading rubric.
Students: Be sure to read the criteria, by which your paper will be evaluated, before
you write, and again after you write. Grading Rubric for the ‘Eight Steps to Inclusion?’ Assignment
CRITERIA Deficient Proficient Exemplary 0 – 11 Points 12-17 Points 18-20 Points Does not provide an
adequate introduction or is
missing. Introduction is presented,
though may not be clear
or complete. Introduction is clearly
presented and provides the
reader a context for the rest
of the response. 0 – 21 Points 22 – 25 Points 26 – 30 Points Question #1
Response Did not list all eight steps
or simply did not explain
one or more of the steps.
Did not provide an
adequate response – less
than 400 words. Listed all eight steps, but
did not adequately explain
one or more of the steps.
Did not provide an
adequate response –
between 401-499 words. Described all eight steps
clearly and in complete
detail. Provided a more than
accurate response – 500
words or more. Question #2
Response Did not answer the
question or did not explain
why or why not. Did not
provide an adequate
response – less than 200
words. Answered both questions.
Did not provide an
adequate response –
between 201-249 words. Answered both questions.
Provided a more than
accurate response – 250
words or more. 0 – 5 Points 6 – 8 Points Introduction 9 – 10 Points Appropriate
citations References and citations
missing or formatting does
not resemble APA. References and citations
are present with some
errors. References and citations are
present and near perfect. Clear and
professional
writing and
format Errors impede professional
presentation; guidelines
not followed Few errors that do not
impede professional
presentation Writing and format is clear,
professional, and error free
Assignment 1: Discussion—Business Analytics and Informed Business Decisions
Many times organizations will make decisions based upon what other organizations are doing at the time or based upon the latest business trend. Think about the dot-com
bubble as businesses soared and perhaps were also part of the major bust. Many organizations felt that they needed to join the crowd and have an online presence, only
to realize within a couple of years that the decisions were made in haste, which resulted in many companies filing for bankruptcy. This era also had some companies
that did not follow the trend only to realize within a couple of years that they were losing out on a new market, such as the online trading industry. This is why
doing some research in the beginning can really help organizations make decisions based upon what is truly good for the organization.
Respond to the following:
Why do you think managers, or business decision makers, get caught up in following the crowd versus making decisions that are truly going to add value to the business?
For example, some businesses may make decisions that drive only short-term gains at the cost of future growth. Can such a blind leap be a good thing for the business?
Is it worth the risk?
How can managers ensure that they are not following a trend but instead doing what is truly best for the organization?
Have you seen your organization make trend mistakes? What were the mistakes? How could these mistakes have been avoided or improved upon?
How do you think business can learn from the mistakes of others or business decision mistakes such as the dot-com era?
Write your initial response in 300–500 words. Apply APA standards to citation of sources.
Using these sources to research ways of making informed decisions.
Hsinchun, C., Chiang, R. L., & Storey, V. C. (2012). Business intelligence and analytics: From big data to big impact. MIS Quarterly, 36(4), 1165–1188.
FAH102 Exhibition Project 2017
Worth 40% of your Final Mark
Part 1 due February 28th at 4pm: 10% (individual)
Part 2 due April 4th at 6pm: 30% (15% individual; 15% group)
For this project, you and a small team from your tutorial section will pretend that you are launching an
exhibition with unlimited funds and resources. Your exhibition and the objects you display must be
developed around one of the following six themes:
1. Art, Time, and Tempos
2. Art and the Body
3. Stranger Things (or Spaces)
4. Iconophilia, Iconoclasm, and Iconophobia
5. Truth and Deception
6. Where Art is Made
• Sign up for a group theme on Blackboard by clicking on ‘Tutorial and Group Signup’ in the left
control panel.
• Each tutorial section will be divided into six groups, one for each theme.
• Groups are capped at 4 members – no more! If there is a theme you really want to work on, sign
up
right away before groups fill up.
• These topics have been made broad on purpose, so that you and your group will be able to
approach the theme from different perspectives. In the first part of the project, you will explore
these various perspectives on your own, and in the second part of the project, you and your team
will pick a particular aspect that works for everyone.
Part 1 Initial Ideas (approx. 4 pages); due February 28th by 4pm
You will work on this part of the project as an individual, but you should still exchange ideas within
your
group. For now, you are not being asked to write a formal essay with a thesis statement or argument,
rather you are writing a series of discursive reflections on your theme, allowing for different ideas and
positions. Although there is room for your thoughts to diverge, you should make sure that the ideas
are
organized and communicated in a way that is clear and logical for your reader. Write in full sentences
and paragraphs for all components.
There are 4 components to this stage of the project:
• Theme Reflection (approx. 300 words): Try to think of two or three very distinct ways that you
could define the theme. What kinds of questions does the theme raise? How do you understand
the meaning of each term and how might different kinds of art change its meaning or
significance? Which of the methods that we have covered or that we will cover do you think
might give you the best approach to these questions and why? What kind of information do you
expect to find by taking that approach?
• Theme Research (approx. 300 words): After you have written your reflection, consult the Grove
Dictionary of Art, the Encyclopedia of Aesthetics, and the Grove Encyclopedia of Decorative Arts,
or go further and consult an academic book, or an academic article that addresses the theme or
2
some aspect of your theme. Explain what you have discovered and how your understanding of
the theme has changed or has become clearer?
• Pick and Describe a Related Work of Art: Pick any work of art that you think illustrates the
theme in some way, whether it’s through its materials, its formal qualities (the forms that
construct the work and organize it into parts), its subject matter, its original context, its current
context, its reception (the responses of viewers), etc.
o Provide a thumbnail image of the work, and a caption: the caption should list the
artist/maker (if known), its title, its date, its materials, and its current location.
o Describe and discuss the work (approx. 200 words): Introduce the work by describing
what it is and what it’s about. Then explain why it interests you, why you think it relates
to your theme, and of course, what methods or approaches from the course you think
will help your analysis.
• Annotated Bibliography (3 x 100 words): Compile an annotated bibliography consisting of at
least 3 sources.
o Make sure these sources are academic and not intended for a general audience.
o At least one of these sources should be about the general theme. (Try to go beyond the Grove
Dictionary of Art, the Encyclopedia of Aesthetics, and the Encyclopedia of Decorative Arts – but
you might look in their bibliographies for suggestions).
o For each source, write three or four clear explanatory sentences (roughly 100 words), describing
what the source is about and why it will be useful for your catalogue. You might indicate what
art historical method is most prominent.
o Follow the proper bibliographic format according to the Chicago Manual of Style.
Submission Details for Part 1
• Format: Use double spacing and 12 point Times New Roman font. You do not need a cover
page. On the top of the first page, include your name, student number, tutorial section (e.g.
Tutorial E), and your theme.
• The project must be uploaded to Turnitin by 4pm on February 28th.
◦ Class ID: 14488939
◦ Password: Lermolieff
• You must also bring a paper copy of your project to class.
• To your paper copy, attach the Academic Integrity checklist, which must be signed and filled
out. This form is located in Course Materials in the folder for the Exhibition Project.
Part 2 Virtual Exhibition and Catalogue; due April 4th by 6pm
As a group of 3-4 members, you will need to produce:
• A more specific title for the exhibition and a title page for an exhibition catalogue (work as a
group)
• An introductory essay (work as a group)
• 2 catalogue entries from each member (work as an individual, but share ideas with the group as
you go)
• Wall labels for each work of art or structure (work as an individual)
3
• A layout or floor plan of the exhibition space, indicating where you would locate each of your
various works.
As an Individual (15% of your final grade):
Building on your reflection of a work of art in part 1 of the project, each of you will now
write two
catalogue entries on two works of art or structures, and you will write wall labels for each
work/structure. You can use the same work from part 1, but the second work should be something local
that you can visit in person.
Although as a group you should be making sure that all the catalogue entries have the same appearance
and that they follow the same format, each member is ultimately responsible for the writing and editing
of their own catalogue entries and wall texts, and will receive an individual grade for that work.
• A short block of wall text (approx. 150 words) is a small descriptive panel or label that is usually
situated next to a work of art in a real exhibition. For the wall text, which will accompany each
object in the exhibition, you will write a few sentences that highlight a big idea about the work.
Think of this as your chance to grab the attention of a casual museum-goer who has not read
the catalogue and needs a “hook” to get interested in things. What can you say in this didactic
wall text to draw that viewer into the work and get him/her looking and thinking?
• Each of your 2 catalogue entries (approx. 500 words apiece) will talk about the work in more
detail. Start with a brief denotative description of the work. You might also think about what
aspects your reader should pay particular attention to. Your brief introductory description
should be followed by an explanation of the work’s significance. This is where you will do the
actual methodological analysis of your work. Explain how other scholars have approached the
work or how they have approached works similar to it. Think about how your approach casts a
new light on their interpretations.
◦ The catalogue entry should not repeat the description of the work in the curator’s essay (see
below).
◦ Include an image for each work of art at the beginning of the catalogue entry, along with a
catalogue number.
◦ List relevant technical info: art, title, date, location, medium of the work.
◦ Be sure to add your name at the bottom of each catalogue entry.
◦ Use endnote citations. You should refer to at least 2 different sources (not including
assigned readings from the course) in each entry.
• The sources mentioned in your citations should then be included in a bibliography at
the end of the whole catalogue.
As a Group (15% of your final grade):
Building on your reflections of the theme in part 1, you will now work as a team to bring
everything
together and form a coherent exhibition catalogue on a particular aspect of your theme.
• This is not a project that can be done at the last minute, and it is unfair to your group mates
if
you fall behind when they’re depending on your contributions to continue. Early in the process
you should discuss what roles each member will play in the group (editors, layout designers,
group coordinators), and discuss your schedules in a typical week and over the course of the
term. Using this information, set up mutually convenient meeting times as soon as you can, and
establish several deadlines for different stages of the project!
4
• Decide together on an exhibition title that narrows the scope of your theme, then design a title
page that includes the title and the names of all the members of the group. Make sure your title
works with everyone’s chosen objects.
• Building on your thematic reflections from part 1, work collaboratively to write a curators’ essay
that introduces your theme and explains the title.
o The essay should begin with an introduction to the exhibition that defines what the
theme of your exhibition is and what kinds of objects it includes (paintings, sculptures,
photography, buildings, performances, mixed media objects, etc.). You should also
explain why all these works in your exhibition have been brought together, and what
points you hope to make by having them seen as a group.
o Why is your exhibition important and how have others addressed this general theme?
You will need to do some additional research for this section, referring to at least 4
different sources all together (not including assigned readings for the course).
o To create the remainder of your curators’ essay, everyone will be contributing a short
discussion of their chosen works (at least 100 words for each work). Explain how each
work links to the theme and how it makes a unique contribution to the exhibition itself.
These discussions will thus introduce the kinds of questions that the work poses,
anticipating what method(s) will be used in the catalogue entries as an interpretive lens
through which the viewer/reader can better understand the work.
o You want to conclude your introduction by emphasizing what broad insights and ideas
you hope your viewer/reader will take away after seeing the works and reading the
catalogue.
o Use endnote citations for the essay.
• These sources will then be included in a bibliography at the end of the whole
catalogue.
• Include a bibliography for the whole catalogue, including citations from the curator’s essay and
all the catalogue entries.
• Create a floor plan of the exhibition. Pretend that you can bring anything you want to this
space, including buildings. Think carefully about how visitors will understand the theme based
on the order of the objects and on their movement through the space.
• Integrate all components of the exhibition into a consistent look and format. These components
should include the title page, curator’s essay, catalogue entries, wall labels, exhibition layout,
and bibliography of everyone’s sources.
Submission Details for Part 2
• Designate one member to upload a PDF of the whole catalogue to the Group Page on
Blackboard by 6pm on Tuesday April 4th. Here is a link to a short video tutorial on working in
groups through Blackboard:
405Nhi_-y5qNCjrK71
• Designate a single member of your group to upload a copy of your full catalogue to Turnitin by
6pm on Tuesday, April 4th.
• Bring a single printed copy of the whole catalogue to class on April 4th.
5
• Each member of the group should attach to the paper the Academic Integrity form, which must
be signed and filled out.
• Should you need advice about how to work effectively as a group, don’t hesitate to come and
speak to us. There will also be an option for you to provide a candid assessment of your group
and of your personal contributions. Instructions on how to do this will be made available closer
to the due date of the assignment.
Useful Links
Google docs is a great tool for collaborative writing – it will make sharing your thematic reflections and
working on your intro and conclusion much easier.
Doodle polls (doodle.com) are great for coordinating schedules.
The University of Toronto Writing Centre website (the tabs under the Advice section are particularly
useful for researching, writing, and citing):
http://www.writing.utoronto.ca/advice
The Purdue University OWL (Online Writing Lab) (particularly useful for researching, writing, and
citing):
https://owl.english.purdue.edu/owl/section/2/
The Chicago Manual of Style Quick Reference Guide
http://www.chicagomanualofstyle.org/tools_citationguide.html
How your Project will be Assessed
Grading in general will be based on how well you combine the works of art in your exhibition with the
theories and methodologies you choose to apply. Make connections between the works and the overall
exhibition idea, and between the various works themselves.
A = Creative and sophisticated evaluation of the relationships between works of art, of the
exhibition theme, and especially of the theoretical methods. Few if any typos. Careful editing;
thoughtful sentences. Meticulous care with the format of endnotes and the bibliography.
B = Analysis emphasizes either the works of art or the theoretical basis for your exhibition idea but
they are related to each; needs editing but generally ok writing. Some mistakes in the format of
bibliographies.
C = Describes the works of art in the exhibition and/or defines and explains the methodology
chosen, yet evidence of haste or lack of care in the details of the project. Explanations are general
or
are missing important pieces of information.
D = Confusing or lacking an analysis of the relationship between the works of art and/or the
theoretical methods. Writing either shows problems in grammar, organization, or logic, and as a
result, several ideas are unclear.
1
FAH102 Exhibition Project 2017
Worth 40% of your Final Mark
Part 1 due February 28th at 4pm: 10% (individual)
Part 2 due April 4th at 6pm: 30% (15% individual; 15% group)
For this project, you and a small team from your tutorial section will pretend that you are launching an
exhibition with unlimited funds and resources. Your exhibition and the objects you display must be
developed around one of the following six themes:
1. Art, Time, and Tempos
2. Art and the Body
3. Stranger Things (or Spaces)
4. Iconophilia, Iconoclasm, and Iconophobia
5. Truth and Deception
6. Where Art is Made
• Sign up for a group theme on Blackboard by clicking on ‘Tutorial and Group Signup’ in the left
control panel.
• Each tutorial section will be divided into six groups, one for each theme.
• Groups are capped at 4 members – no more! If there is a theme you really want to work on, sign
up
right away before groups fill up.
• These topics have been made broad on purpose, so that you and your group will be able to
approach the theme from different perspectives. In the first part of the project, you will explore
these various perspectives on your own, and in the second part of the project, you and your team
will pick a particular aspect that works for everyone.
Part 1 Initial Ideas (approx. 4 pages); due February 28th by 4pm
You will work on this part of the project as an individual, but you should still exchange ideas within
your
group. For now, you are not being asked to write a formal essay with a thesis statement or argument,
rather you are writing a series of discursive reflections on your theme, allowing for different ideas and
positions. Although there is room for your thoughts to diverge, you should make sure that the ideas
are
organized and communicated in a way that is clear and logical for your reader. Write in full sentences
and paragraphs for all components.
There are 4 components to this stage of the project:
• Theme Reflection (approx. 300 words): Try to think of two or three very distinct ways that you
could define the theme. What kinds of questions does the theme raise? How do you understand
the meaning of each term and how might different kinds of art change its meaning or
significance? Which of the methods that we have covered or that we will cover do you think
might give you the best approach to these questions and why? What kind of information do you
expect to find by taking that approach?
• Theme Research (approx. 300 words): After you have written your reflection, consult the Grove
Dictionary of Art, the Encyclopedia of Aesthetics, and the Grove Encyclopedia of Decorative Arts,
or go further and consult an academic book, or an academic article that addresses the theme or
2
some aspect of your theme. Explain what you have discovered and how your understanding of
the theme has changed or has become clearer?
• Pick and Describe a Related Work of Art: Pick any work of art that you think illustrates the
theme in some way, whether it’s through its materials, its formal qualities (the forms that
construct the work and organize it into parts), its subject matter, its original context, its current
context, its reception (the responses of viewers), etc.
o Provide a thumbnail image of the work, and a caption: the caption should list the
artist/maker (if known), its title, its date, its materials, and its current location.
o Describe and discuss the work (approx. 200 words): Introduce the work by describing
what it is and what it’s about. Then explain why it interests you, why you think it relates
to your theme, and of course, what methods or approaches from the course you think
will help your analysis.
• Annotated Bibliography (3 x 100 words): Compile an annotated bibliography consisting of at
least 3 sources.
o Make sure these sources are academic and not intended for a general audience.
o At least one of these sources should be about the general theme. (Try to go beyond the Grove
Dictionary of Art, the Encyclopedia of Aesthetics, and the Encyclopedia of Decorative Arts – but
you might look in their bibliographies for suggestions).
o For each source, write three or four clear explanatory sentences (roughly 100 words), describing
what the source is about and why it will be useful for your catalogue. You might indicate what
art historical method is most prominent.
o Follow the proper bibliographic format according to the Chicago Manual of Style.
Submission Details for Part 1
• Format: Use double spacing and 12 point Times New Roman font. You do not need a cover
page. On the top of the first page, include your name, student number, tutorial section (e.g.
Tutorial E), and your theme.
• The project must be uploaded to Turnitin by 4pm on February 28th.
◦ Class ID: 14488939
◦ Password: Lermolieff
• You must also bring a paper copy of your project to class.
• To your paper copy, attach the Academic Integrity checklist, which must be signed and filled
out. This form is located in Course Materials in the folder for the Exhibition Project.
Part 2 Virtual Exhibition and Catalogue; due April 4th by 6pm
As a group of 3-4 members, you will need to produce:
• A more specific title for the exhibition and a title page for an exhibition catalogue (work as a
group)
• An introductory essay (work as a group)
• 2 catalogue entries from each member (work as an individual, but share ideas with the group as
you go)
• Wall labels for each work of art or structure (work as an individual)
3
• A layout or floor plan of the exhibition space, indicating where you would locate each of your
various works.
As an Individual (15% of your final grade):
Building on your reflection of a work of art in part 1 of the project, each of you will now
write two
catalogue entries on two works of art or structures, and you will write wall labels for each
work/structure. You can use the same work from part 1, but the second work should be something local
that you can visit in person.
Although as a group you should be making sure that all the catalogue entries have the same appearance
and that they follow the same format, each member is ultimately responsible for the writing and editing
of their own catalogue entries and wall texts, and will receive an individual grade for that work.
• A short block of wall text (approx. 150 words) is a small descriptive panel or label that is usually
situated next to a work of art in a real exhibition. For the wall text, which will accompany each
object in the exhibition, you will write a few sentences that highlight a big idea about the work.
Think of this as your chance to grab the attention of a casual museum-goer who has not read
the catalogue and needs a “hook” to get interested in things. What can you say in this didactic
wall text to draw that viewer into the work and get him/her looking and thinking?
• Each of your 2 catalogue entries (approx. 500 words apiece) will talk about the work in more
detail. Start with a brief denotative description of the work. You might also think about what
aspects your reader should pay particular attention to. Your brief introductory description
should be followed by an explanation of the work’s significance. This is where you will do the
actual methodological analysis of your work. Explain how other scholars have approached the
work or how they have approached works similar to it. Think about how your approach casts a
new light on their interpretations.
◦ The catalogue entry should not repeat the description of the work in the curator’s essay (see
below).
◦ Include an image for each work of art at the beginning of the catalogue entry, along with a
catalogue number.
◦ List relevant technical info: art, title, date, location, medium of the work.
◦ Be sure to add your name at the bottom of each catalogue entry.
◦ Use endnote citations. You should refer to at least 2 different sources (not including
assigned readings from the course) in each entry.
• The sources mentioned in your citations should then be included in a bibliography at
the end of the whole catalogue.
As a Group (15% of your final grade):
Building on your reflections of the theme in part 1, you will now work as a team to bring
everything
together and form a coherent exhibition catalogue on a particular aspect of your theme.
• This is not a project that can be done at the last minute, and it is unfair to your group mates
if
you fall behind when they’re depending on your contributions to continue. Early in the process
you should discuss what roles each member will play in the group (editors, layout designers,
group coordinators), and discuss your schedules in a typical week and over the course of the
term. Using this information, set up mutually convenient meeting times as soon as you can, and
establish several deadlines for different stages of the project!
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• Decide together on an exhibition title that narrows the scope of your theme, then design a title
page that includes the title and the names of all the members of the group. Make sure your title
works with everyone’s chosen objects.
• Building on your thematic reflections from part 1, work collaboratively to write a curators’ essay
that introduces your theme and explains the title.
o The essay should begin with an introduction to the exhibition that defines what the
theme of your exhibition is and what kinds of objects it includes (paintings, sculptures,
photography, buildings, performances, mixed media objects, etc.). You should also
explain why all these works in your exhibition have been brought together, and what
points you hope to make by having them seen as a group.
o Why is your exhibition important and how have others addressed this general theme?
You will need to do some additional research for this section, referring to at least 4
different sources all together (not including assigned readings for the course).
o To create the remainder of your curators’ essay, everyone will be contributing a short
discussion of their chosen works (at least 100 words for each work). Explain how each
work links to the theme and how it makes a unique contribution to the exhibition itself.
These discussions will thus introduce the kinds of questions that the work poses,
anticipating what method(s) will be used in the catalogue entries as an interpretive lens
through which the viewer/reader can better understand the work.
o You want to conclude your introduction by emphasizing what broad insights and ideas
you hope your viewer/reader will take away after seeing the works and reading the
catalogue.
o Use endnote citations for the essay.
• These sources will then be included in a bibliography at the end of the whole
catalogue.
• Include a bibliography for the whole catalogue, including citations from the curator’s essay and
all the catalogue entries.
• Create a floor plan of the exhibition. Pretend that you can bring anything you want to this
space, including buildings. Think carefully about how visitors will understand the theme based
on the order of the objects and on their movement through the space.
• Integrate all components of the exhibition into a consistent look and format. These components
should include the title page, curator’s essay, catalogue entries, wall labels, exhibition layout,
and bibliography of everyone’s sources.
Submission Details for Part 2
• Designate one member to upload a PDF of the whole catalogue to the Group Page on
Blackboard by 6pm on Tuesday April 4th. Here is a link to a short video tutorial on working in
groups through Blackboard:
405Nhi_-y5qNCjrK71
• Designate a single member of your group to upload a copy of your full catalogue to Turnitin by
6pm on Tuesday, April 4th.
• Bring a single printed copy of the whole catalogue to class on April 4th.
5
• Each member of the group should attach to the paper the Academic Integrity form, which must
be signed and filled out.
• Should you need advice about how to work effectively as a group, don’t hesitate to come and
speak to us. There will also be an option for you to provide a candid assessment of your group
and of your personal contributions. Instructions on how to do this will be made available closer
to the due date of the assignment.
Useful Links
Google docs is a great tool for collaborative writing – it will make sharing your thematic reflections and
working on your intro and conclusion much easier.
Doodle polls (doodle.com) are great for coordinating schedules.
The University of Toronto Writing Centre website (the tabs under the Advice section are particularly
useful for researching, writing, and citing):
http://www.writing.utoronto.ca/advice
The Purdue University OWL (Online Writing Lab) (particularly useful for researching, writing, and
citing):
https://owl.english.purdue.edu/owl/section/2/
The Chicago Manual of Style Quick Reference Guide
http://www.chicagomanualofstyle.org/tools_citationguide.html
How your Project will be Assessed
Grading in general will be based on how well you combine the works of art in your exhibition with the
theories and methodologies you choose to apply. Make connections between the works and the overall
exhibition idea, and between the various works themselves.
A = Creative and sophisticated evaluation of the relationships between works of art, of the
exhibition theme, and especially of the theoretical methods. Few if any typos. Careful editing;
thoughtful sentences. Meticulous care with the format of endnotes and the bibliography.
B = Analysis emphasizes either the works of art or the theoretical basis for your exhibition idea but
they are related to each; needs editing but generally ok writing. Some mistakes in the format of
bibliographies.
C = Describes the works of art in the exhibition and/or defines and explains the methodology
chosen, yet evidence of haste or lack of care in the details of the project. Explanations are general
or
are missing important pieces of information.
D = Confusing or lacking an analysis of the relationship between the works of art and/or the
theoretical methods. Writing either shows problems in grammar, organization, or logic, and as a
result, several ideas are unclear.
Java object oriented programming (freshman level)
Assignment 5
Calculator Framework due on March 5
Objectives: frameworks, inheritance, trees, tree traversal, visitor design pattern
This is a pair assignment. You can solve the assignment alone or in a team of two. Do not
copy code from other students or teams!
Background: In Assignments 2 – 4, we have built a calculator framework. The current calculator
instances compute as the calculator input is processed. However, instead of computing immediately,
we could also represent the calculation in form of an expression tree. Consider the figures below
representing the input in tree format. Expression trees represent computations in form of a tree.
The tree consists of interior nodes that represent operations, and leaf nodes that represent values.
(a) represents (3 + 4) ∗ 5 (b) represents 3 + 4 + 5
In order to compute an expression at the root of the tree, we can compute the result of its
subexpressions. For example, Fig. 1a represents the an expression tree for the input (3 + 4) ∗ 4.
The last computation in this tree is the multiplication. Before it can be carried out, we need to
compute the results of its subtrees. The left-hand subtree is an add operation. In order to compute
the result for add, we “compute” the result of its sub-expressions. Its subexpression are two values,
which are leaf-nodes in the tree. Their computation just yields their values, 3 and 4 respectively.
Then, we can carry out the add, yielding 7. Before we can compute the multiplication, the result
for its right-hand branch has to be computed. Its computation yields 4. Hence the result will yield
28. Similarly the result can be computed for the right-hand example.
For this assignment you can continue your own framework, or you start from the model solution
for Assignment 4. The model solution also includes classes that represent operations and values for
the expression tree. The UML diagram of this classes is depicted in Fig. 2.
Tasks
• Build a calculator that returns the root of an expression tree (instead of performing the calculation
immediately). To this end, implement a class ExprTreeTokenizer that parses doubles
and returns the content in an object of type Value. Second, a class ExprTreeCalculator will
be needed that creates the corresponding tokenizer object. No modification of the calculator
base classes should be required.
1
Figure 2: UML showing expression classes
• Implement the method toString in all concrete subclasses of Expression. The output of
toString should be a string representing the same expression. A leaf node would just return
the value in form of a string. An interior node would concatenate the result of toString
of the left side, the operator, and the result of toString of its right hand side operand. To
preserve operator precedence, add and sub would use parenthesis around their expression.
For example, the output for the two sample expressions in Fig. 1a and Fig. 1b would be
(3 + 4) ∗ 4 an ((3 + 4) + 4) respectively.
• Implement the method equals in all concrete subclasses of Expression. Two expression
nodes are equal if they have the same type and if their subtrees are equal. Two Value nodes
are equal if they contain the same value.
• Extend the expression classes with the Visitor pattern.
– Define an abstract class Visitor that contains methods for visiting all nodes in an
expression tree (all subclasses of Expression).
– Extend the class Expression with an abstract void accept(Visitor v) method.
– Implement the accept method in all concrete classes that extend Expression.
• Implement a class CalcVisitor that computes the numeric result of an expression tree.
If the problem statement is unclear, use the Canvas forum to ask for clarifications.
2
Turn in a zip file named blazerid hw5.zip. The file should contain an exported Eclipse project1
with the following items.
• All files needed to compile and run your solution.
• Your tests.
• A document (or text file) that states how the team collaborated on the assignment (responsibilities),
describes your design decisions, your tests, any difficulties you had. If you received
help from somebody else in class, please give credit to those students. If you would like to get
a graded version on paper, add a note at the top of the report saying “paper copy requested”.
Grading (50 pts max)
• (10pts) Lab attendance (Week of Feb 27.)
• (10pts) Assignment report (see paragraph above)
• (10pts) Turned in classes compile, code quality, Javadoc comments
• (10pts) The ExprCalculator produces a correct expression tree.
• (10pts) toString and equals work correctly.
• (10pts) Provision for the Visitor pattern is implemented.
• (10pts) CalcVisitor works correctly.
1
If you do not use Eclipse, the turned in file also needs to have a file readme.txt in its top directory that explains
how to compile and test your code.
3
Assignment 6
Calculator/Plotter due on March 19
Objectives: frameworks, inheritance, graphical user interface, graphics
This is a pair assignment. You can solve the assignment alone or in a team of two. Do not
copy code from other students or teams!
Background: This assignment builds on Assignment 5. You can use your own code, or the posted
model solution. The goal of this assignment is to create a plotter that reads an arithmetic expression
containing a variable, evaluates the expression over a given range, and plots the output as a graph.
Tasks:
• Enhance the ExprTreeCalculator with the ability to read variables.
– Introduce a new subclass of expression (e.g., Variable) that holds the name of a variable.
– Extend the visitor pattern with visit methods for the new sub-class.
– Extend the ExprTreeTokenizer so that it recognizes variables (a sequence of characters)
as a number.
• Create a graphical or text (your choice) user interface that allows the user to input the
expression, the range of the variable, and the size of the graphical window.
For example, a textual input could look like this.
plot in 300 x 300 for x from 0 to 20
x ∗ 2 + (1 / (x+1)) + 1
The first line describes what needs to be done. Plot in a 300×300 window, a graph for a
variable y ranging from 0 to 20. The second line is the function which we want to plot.
• Draw the graph on the screen
– Compute the step size for the evaluation. In the example, the step size would be 300
(size of output) divided by 20 (range of variable).
– Evaluate the expression at each step and store the coordinates.
– Creates a JFrame with a JComponent
– Draw the output into the JComponent
If the problem statement is unclear, use the Canvas forum to ask for clarifications.
1
Turn in a zip file named blazerid hw6.zip. The file should contain an exported Eclipse project1
with the following items.
• All files needed to compile and run your solution.
• Your tests.
• A document (or text file) that states how the team collaborated on the assignment (responsibilities),
describes your design decisions, your tests, any difficulties you had. If you received
help from somebody else in class, please give credit to those students. If you would like to get
a graded version on paper, add a note at the top of the report saying “paper copy requested”.
Grading (50 pts max)
• (10pts) Lab attendance (Week of Mar 6.)
• (10pts) Assignment report (see paragraph above)
• (10pts) Turned in classes compile, code quality, Javadoc comments
• (10pts) The ExprCalculator can read in expressions with variables, and the built-in methods
work correctly (i.e., toString, equals).
• (10pts) The user interface allows the user to input the desired data, and the data is processed
correctly.
• (10pts) The function is plotted correctly.
1
If you do not use Eclipse, the turned in file also needs to have a file readme.txt in its top directory that explains
how to compile and test your code.
2
Each question needs to be answered in at least 50 words
1. I think the privatization of physical security could be feasible, but when we start to look at counterterrorism and the intelligence function of the IC–
should this be contracted out? Are there legal constraints?
2. let’s take a look at some of the legal challenges with counterterrorism. What are some of the issues involving the Patriot Act and the Foreign Intelligence
Surveillance Act (FISA).
3. let’s take a look at the US Freedom Act a bit more, what do you think, does enable the IC to counterterrorism or add further layers of bureaucracy to fight
through?
4. briefly outline programs like Tripwire and eGuardian. How can they help us in assessing risk and countering the threat?
5. how does DHS, using the NIMS concept promote interagency cooperation and integrate private agencies into the government response?
6. what is the role and mission of the National Combating Terrorism Center (NCTC)? What is the their relationship to the FBI JTTF construct?
7. what are some counterterrorism efforts of local agencies, state agencies, and federal agencies?
8. One method to do this is through an objective approach to monitoring terrorist threats and applying the appropriate counter measures. what is the purpose of
fusion centers? What purpose do they fulfill?
9. what is some formal ways private security can partner with state, local, and federal agencies?
the largest power blackout in North American history hit the northeastern United States and southeastern Canada
read story and answer three questions
The $6 Billion Software Bug
In August 2003, the largest power blackout in North American history hit the northeastern United States and southeastern Canada. More than 50 million people
lost power, some for up to two days. At least 11 people died as a result of the blackout. Total cost: $6 billion. Investigators concluded that the initial problem
started when a power line in Ohio sagged and hit an overgrown tree. Normally, this is an isolated incident. When such an incident occurs, alarm systems alert power
systems operators of the problem so they can take appropriate steps to make sure that the problem remains isolated. Unfortunately, in this case, a software bug caused
the alarm system to malfunction. This started a cascade of errors that led to more than 50 million people losing electrical power. The lack of power also led to water
supply problems and the shutdown of major transportation systems, including railroads and airlines. Gas stations could not dispense fuel. Cell phone service was
interrupted (although wired phones continued working).
While lack of proper maintenance was the root cause of the blackout, without the software bug, the impact would have been small and limited to relatively few
people. With the software error, tens of millions of people were affected, and there were billions in economic costs.
There are many other examples of the serious consequences of faulty software:
– In 2013, the Patient Protection and Affordable Care Act (Obamacare) went live, and as millions of Americans accessed the newly created exchangewebsites, the
websites crashed and became nonresponsive. As a result, millions of dollars had to be spent to get the websites working properly.
– In 2005, Toyota recalled more than 150,000 Prius hybrids to fix software that caused the gasoline engine to shut down unexpectedly.
– In 2004, a software error disrupted communication at Los Angeles International Airport’s air traffic control system; 800 flights were disrupted. Fortunately,
there were no midair collisions, although there were several near misses.
– From 1985 to 1987, software errors in the Therac-25 radiation therapy device allowed the device to deliver lethal doses of radiation to patients. At least five
patients died.
– In 1990, an error in the control systems of AT&T’s long distance switches left 60,000 people without long-distance service.
Focusing Questions
1. Have you ever experienced software that did not operate correctly? What consequences did you experience?
2. What can be done to limit software errors?
3. Why is it important to catch software errors early in the development process?