Appeasement and the Munich - Smart Custom Writing Samples

Appeasement and the Munich - Smart Custom Writing Heat and TemperatureIn order to understand about heat and temperature, it is of great importance to introduce the meaning of matter as well as the Kinetic Theory of Matter. This is because heat can be seen to exist when its effects are observed on matter. Without matter heat and temperature could not be realized. Matter can be defined as anything that has mass and that can occupy space. Matter is composed of substances, and these can be seen being made up of atoms, ions and molecules. Atoms, ions and molecules are the building blocks of matter; such that the behaviors of different types of substances are determined by these primary particles. The atoms of substances contain minute particles which are referred to as protons and electrons. These subatomic particles are also considered matter since they both have weight and occupy space (Atkins Paula, 2002).   Matter exists in three distinct states namely, solid state, liquid state and gaseous state. The three state of matter are inter-convertible such that one state can be converted into another state by changing the immediate environmental conditions especially temperature. The solid state of matter is characterized by having its own volume as well having a definite shape. Liquid state of matter is characterized by having its own volume but assumes the shape of the container it occupies. Gaseous state of matter does not have both its own volume and shape but occupies entire volume of the container and as well assumes the shape of the container it occupies (Atkins Paula, 2002). Kinetic Theory of Matter states that matter is made up of very many minute particles that are in a constant state of motion. The theory can also be referred to as the Kinetic Molecular Theory of Matter.   The theory forms the basis to explain the behavior that different forms of matter exhibit simply by making simple assumptions, for example, the idea that matter is composed of widely spaced particles which are in a constant motion. The significant areas in this case are transfer or flow of heat as well as the relationship between temperature, pressure, and volume of gases. The Kinetic Theory of matter is a mere prediction regarding the behavior of matter, based on particular approximations and assumptions. These assumptions and approximations are made from experiments and observations, for instance, the fact that objects are made up of atoms or small molecules (Burshtein, 1996).   Heat can be defined as a form of energy that is associated with the motion of molecules or atoms and that can be conveyed through fluid and solid media by the process of conduction, through vacuum by the process of radiation, and through fluid media by convection process.   There are different sources of heat, for instance, heat due to friction, heat due to nuclear reactions, heat due to sun, heat due to burning of fossil fuels, and heat due to electricity. This transmission of energy from one substance to another is determined by a change in phase or a difference in temperature. Therefore temperature can be defined as the measure of the mean kinetic energy of the molecules or atoms in a given sample of matter, and it is usually expressed in degrees or units chosen on a typical scale. The relationship between heat and temperature is depicted from the definitions. Temperatures of substances rise when heat is supplied. Intense heat is characterized by high temperature (Turns, 2006). Now it will be very clear, if in the discussion of converting substances from one state to another immediate state, heat and temperature are involved. From the Kinetic Theory of Matter, it is evident that matter is made up of small particles that are in a constant state of motion. These particles may consist of molecules, ions or atoms which are held together by strong forces of attraction. In the solid state, the particles are closely packed together in fixed positions. The particles cannot move from one position to another but can vigorously vibrate within their fixed positions, and this is because the forces of attraction between the particles are very strong. With the increase in the temperature of a substance in solid state, the particles gain heat energy gradually and the kinetic energy of the particles increases. A point is reached when the particles start to move more vigorous until the forces of attraction between them weakens.   The particles can now move from one place t o another as the substance changes state from solid to liquid. The substance loses its definite shape but it still has its own volume (Atkins Paula, 2002). In the liquid state, the particles are not as closely held together as in the solid states since the forces of attraction between the particles are a bit weaker. The particles are free to move from one place to another within the structure. When the temperature of the substance is increased further, the particles gradually absorb heat energy. The kinetic energy of the particles further increases as the particles move more vigorous. A point reaches when the forces of attraction between the particles are overcome and the particles move far apart from one another. At this point the substance changes its state from liquid to gaseous state (Turns, 2006).   Reduction in temperature reverses the processes, such that the substance in gaseous state changes into liquid state and finally into solid state. This is because, as the temperature reduces, the kinetic energy of the particles goes down and the forces of attraction become stronger. Thus the particles of the substance attract one another. Heat capacity of a substance is defined as a measurable physical quantity that portrays the amount of heat needed to change the temperature of a body by a particular amount. The SI units for heat capacity are joules per Kelvin. In substances heat capacity is determined by various properties for example the amount of matter in the substance expressed in terms of its mass, the type of material of which the substance is composed of, the temperature of the substance, and the atmospheric pressure (White, 1999).  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚   References Atkins, P., Paula, J. (2002). Atkins' Physical Chemistry. Oxford Oxfordshire: Oxford University Press. Burshtein, a., (1996). Introduction to Thermodynamics and Kinetic Theory of Matter.   London: J. Wiley. Turns, S., (2006). Thermal-Fluid Sciences. Cambridge: Cambridge University Press. White, G., (1999). Heat Capacity and Thermal Expansion at Low Temperatures. New York:   Kluwer Academic/Plenum.

The advantages of using Electronic Medical Records Essay

The advantages of using Electronic Medical Records - Essay Example The advantages of using Electronic Medical Records The implementation of EMR although will require initial investments, it will prove to be beneficial in the long run. The costs for maintaining paper records will be eliminated. Moreover, the plans for implementing EMR will be provided and required changes that have to be undertaken shall be discussed. Last but not the least, a fact sheet will be developed that will include generally and frequently asked questions for the colleagues to familiarize the concept of portable EMR. Overview In this world of technologies, where organizations from all industries are implementing modern technologies to simplify the work practices, medical institutions are not far behind. The record maintenance of patient information has become an important and common phenomenon in all medical organizations and institutions. It enables institutions for providing effective advice to the patients regarding any medical emergencies. Traditionally, institutions maintained records of the patients manually through files. However, this practice is not efficient while maintaining the records for a longer period of time. The files are prone to damages or being mismanaged due to mishandling or human carelessness. Thus, the need of maintaining patient information through electronic mediums has evolved and organizations have started to implement strategies for adopting the practices. EMR is a modern concept for protecting the information of the patients which enabled institutions for having access for a longer period of time. ... In addition, it provided the flexibility of switching vendors and accessing EMRs from various places. Thus, EMRs were made portable through Core Data Sets (CDs) and flash drives that could easily be carried and remains with the patients every time and everywhere (OntarioMD Practice IT Operations, 2011). Development American Nursing Informatics Association (ANIA) is a non-profit organization which deals in social welfare and well being of the people. The members of the organization have recognized the importance of maintaining the records of the patient information who have been assisted for treatments without their personal expenses. Furthermore, as the association deals with funds from various sources, information regarding the spending in treatment of patients should be maintained efficiently and for a longer period of time (American Nursing Informatics Association, 2012). The vendor associated with ANIA in providing and maintenance of the computer systems had stopped its dealings due to business failure. Therefore, the members recognized the urgency for contracting with a new systems vendor in providing efficient services. Therefore, portability of EMRs evolved as a necessary task in order to protect the patient information in case of any replacement or malfunctioning (American Nursing Informatics Association, 2012). In accordance with the HITECH Act proposed in 2009, all medical practitioners and organizations in the healthcare industry are required to implement various changes in order to maintain Electronic Health Records (EHR) or EMR of patients in the prescribed format. Although many organizations or practitioners objected due to the time and costs involved in the transitional phase, 48.3%

Marketing Research Buyers and Their Budgets Article

Marketing Research Buyers and Their Budgets - Article Example Sullivan identified the following factors that research buyers take into account, to wit: (1) meeting buyers’ needs more; (2) commitment for partnership; and (3) incorporating the effects of the changes in the environment, like a recession, at present. The author’s views are most relevant for organization’s perusal specifically those taking into account the recent consumers’ preferences, attitudes, and values in response to environmental concerns. The recent financial turmoil that beset the global markets necessitated a review of various organizations’ strategies: marketing, operations, financial, human resources, among others. The relevance of scanning the environment is critical to adjust and adapt corporate strategies which would ensure the accomplishment of organizational goals. Organizations that invest in marketing research must recognize the benefits that they would derive from the suppliers of information as against any costs that would be incurred for employing their services. Thereby, the author’s inputs are relevant to review contemporary marketing strategies in the light of the financial crisis that affected global markets. Sullivan’s contentions are compatible with traditional marketing theories which stipulate the need to factor in recession and its potential aftermath. A period of deep shortages calls for strategic remarketing. Many consumer changes call for new marketing rethinking which would be made available through an effective marketing research effort. According to Kotler (1980, 708), â€Å"marketing is an evolving discipline that must develop new answers as new problems arise†. The recession and the preceding developments lead to changing consumer lifestyle, characterized by more sensible or austere consumption. Firms could re-assess their strategies to recognize a marketing opportunity to serve the needs of the growing segment of sensible consumers.

Evaluation porsche 911 Essay Example | Topics and Well Written Essays - 1000 words

Evaluation porsche 911 - Essay Example History Porsche has been a name that flashes as a synonym for amazing cars in the heart of almost all the automobile lovers in the world ever since it was founded in 1931. The brand name and the technology of the world’s most beautiful cars belong to the German Genius, Ferdinand Porsche. An originally motor designing company was transformed into a world class car manufacturer by the great vision of Ferdinand Porsche around the World War II. It was the time when the Volkswagen company had to displace Porsche for his English nativity following which he had to undergo a short-term imprisonment. This incident happened to a blessing in disguise as Ferdinand’s son, Ferry Porsche, took inspiration from his father’s skills and designed his own car which impressed the car lovers very soon. As described on its website, this car, fondly called 356 as its own design project number, changed the conservative approach to the car industry by promoting it as a field of perfect in novations for style and speed (‘Porsche: historical background’). This aerodynamic version with unprecedented power packing grabbed the attention of the world very rapidly and from then Porsche became an identity of luxury. The industrial history of Porsche can thus be ranged from 1948 till date with a number of car models and specifications of engines. An overall evaluation of the company’s profile indicates Porsches firmness in retaining its uniqueness in style and marketing. Porsche cars of different strength and enticing looks came flowing into the market over the years with the makers proving their innovation in the automobile engineering for sports utility vehicles (SUVs) as the company was incorporated to public sector in 1984, around twenty years after the introduction of Porsche 911 model. Porsche 911 A car model running a hit story for over three decades may be possible only with Porsche 911. Observers can find that the switching from its dependence on Volkswagen engines and the modification tag of Beetle brand eventually helped Porsche stand as a stalwart in the car designing field. The incredible power of its engine made it a hot choice for the racers and mountain terrain riders. Moreover, this model bears the credit for being the most sort after car with unchanged model name to capture the world market. Even when the competitors had claims that it had a wrong positioning of the engine, the 911 had the reputation for being the first sports car with a five speed transmission. The name was also a significant choice after the French Peugeot had their right reserved over the use of zero in the middle of any brand name. Thus the originally 901 became 911 when the company made commercial production of 1965 model cars. Porsche 911 design Ferdinand Alexander designed the world’s most iconic Porsche cars. The design of the Porsche 911 was introduced in the market with flying colors and this stunning design assisted this model to d ominate the auto market since its launching. The terrific design of the Porsche 911 benefited the company to win the award World’s Performance Car of the Year 2012. Today, many of the leading sports car makers try to adopt different design features of Porsche 911. The company’s philosophy has been giving particular attention to better design since its establishment. The firm’

La creatividad

La creatividad Introduccion La creatividad es la llave que abre la puerta del desarrollo individual y colectivo, razà ³n por la cual las naciones que han alcanzado un alto grado de desarrollo tecnolà ³gico, industrial, econà ³mico y social invierten grandes cantidades de recursos para mantenerse a la vanguardia, ya que innovar constantemente les asegura, no sà ³lo el bienestar de sus habitantes, sino incluso la supervivencia misma. Esta necesidad de ofrecer alternativas nuevas, viables y oportunas a las distintas problemà ¡ticas que plantea nuestra sociedad globalizada, nos motiva a enfocar nuestro interà ©s de estudio en la creatividad, desde la perspectiva del individuo creativo e innovador, pues es el sujeto, el principal protagonista de estos cambios, quien utiliza esta herramienta interna para aportar los elementos que promueven el avance y crecimiento. En este sentido, el presente trabajo de grado se propone â€Å"dibujar† el perfil psicolà ³gico de personas creativas en Repà ºblica Dominicana, a partir de la descripcià ³n de sus rasgos de personalidad. Igualmente nos esforzamos en entregar un perfil social, tomando como marco de referencia el universo relacional de los individuos estudiados: familiar, social, educativo y econà ³mico; con la finalidad de encontrar en estas perspectivas externas los elementos o situaciones que facilitaron la manifestacià ³n concreta de su actividad creativa, asà ­ como aquellas circunstancias que representaron importantes obstà ¡culos en la consecucià ³n de sus metas. Esta investigacià ³n es el primer estudio de este gà ©nero realizado en nuestro paà ­s, hecho que le reviste de gran importancia ya que las conclusiones arribadas aportarà ¡n valiosos beneficios en diferentes à ¡reas. Este estudio abarca diversas zonas de nuestra geografà ­a nacional, donde nuestros sujetos de investigacià ³n han expuesto parte de sus talentos. Mediante pruebas psicomà ©tricas realizamos la exploracià ³n caracterolà ³gica, mientras que el perfil contextual es abordado a travà ©s del uso de cuestionarios y entrevistas semi II estructuradas. Indagamos asà ­ el ambiente que fue capaz de impulsar, aunque no de propiciar, el genio creativo de estos ciudadanos como mecanismo de adaptacià ³n y supervivencia a sus propias carencias. Iniciamos esta propuesta investigativa definiendo el concepto creatividad y sus antecedentes, exponiendo las teorà ­as planteadas por diferentes personalidades del haber cientà ­fico; quienes, a pesar de estudiarla desde diferentes aristas, coinciden en afirman que la creatividad es una capacidad integral de todos los seres humanos, incluso hay quienes la califican como una â€Å"actitud personal†; este potencial lo que requiere es ser fertilizado, a fin de broten sus frutos en todos los à ³rdenes. En el capà ­tulo uno, definimos las personas creativas desde la à ³ptica de diversos investigadores, a partir de una serie de caracterà ­sticas cognoscitivas, afectivas y volitivas especà ­ficas que poseen. De igual modo las perfilamos mediante su auto descripcià ³n. Es de nuestro interà ©s abordar la motivacià ³n tanto intrà ­nseca como extrà ­nseca que impulsan sus proyectos creativos, pues estas personalidades sobresalen mà ¡s por su deseo de dejar huellas en el mundo que por su puro poder intelectual. Sin dejar de lado el aspecto de la inteligencia, ya que hay autores que incluso la desvinculan del proceso creativo.. En el capitulo dos nos ocupamos del contexto creativo tratando de exponer el papel que juega el proceso de socializacion en el desarrollo y expresià ³n de la capacidad creativa. Los estudios de casos realizados nos permiten concluir que las caracterà ­sticas que definen los sujetos estudiados son las siguientes†¦ III II. PLANTEAMIENTO DEL PROBLEMA II.1 ENUNCIACIÓN DEL PROBLEMA De los individuos creativos depende el desarrollo y sostenimiento del progreso humano, gracias a la incorporacià ³n de sus ideas originales, innovadoras y eficaces. Por lo tanto, es imprescindible detectar y cultivar las cualidades de personalidad que los caracterizan. De ahà ­ la relevancia que alcanza la presente investigacià ³n, pues entregamos un perfil psicolà ³gico y social de personas creativas en Repà ºblica Dominicana, estudio pionero en su gà ©nero. La creatividad es considerada un bien social, pues el avance de la sociedad dependerà ¡ cada vez mà ¡s de la inventiva y de la capacidad de las jà ³venes generaciones1. En los à ºltimos 50 aà ±os, ha sido estudiada por muchos autores como elemento componente de la personalidad (Guilford, 1960; Sternberg, 1988; Mitjà ¡ns, 1995; Csikszentmihalyi, 1998; Goà ±i, 2003). El procedimiento utilizado consiste en identificar las personas creadoras a partir de sus realizaciones o utilizando criterios de jueces, datos autobiogr à ¡ficos, etc. y estudiar, generalmente mediante tests, los rasgos de personalidad, buscando relaciones que evidencien cuà ¡les caracterizan a las personas creadoras y las distinguen de las no creadoras.2 Tradicionalmente las investigaciones han sido enfocadas en poblaciones especà ­ficas: cientà ­ficos y artistas de todo gà ©nero; llegando incluso a considerar la creatividad como una propiedad cuasi exclusiva de estos grupos; sin embargo hay autores que la plantean como un atributo comà ºn a todos los seres humanos, distinguiendola como ordinaria, cuando el individuo la utiliza en su cotidianidad para adaptarse al medio y sobrevivir, y grandiosa cuando es responsable de los logros y progresos de la sociedad humana.3 En un principio el estudio de la creatividad se limitaba al contexto individual, posteriormente se han tenido en consideracià ³n tambià ©n otros factores de carà ¡cter 1 Saturnino De la Torre. Persona y proceso creativos. Creativitat, comunicacià ³ i mercat, 2000. http://tdd.elisava.net/coleccià ³n/17/de-la-torre-es. 2 Albertina Mitjans. Creatividad, personalidad y educacià ³n. Cuba, Editorial Pueblo y Educacià ³n. 1995, p.3 3 Federico De Tavira. Introduccià ³n al Psicoanà ¡lisis del Arte. Sobre la Fecundidad Psà ­quica. Mà ©xico. Plaza y Valdà ©s Editores. 2007, p. 46 IV social, que forman parte del escenario en el que se desenvuelve el individuo: la familia, la red social, el ambiente cultural y educativo, los adelantos tecnolà ³gicos de la à ©poca, etc. Anne Roe, una de las pioneras de la psicologà ­a moderna, considera que a veces las instituciones culturales y el ambiente reprimen el potencial creativo en vez de estimularlo. â€Å"El problema no es sà ³lo encontrar la gente que de algà ºn modo han logrado oponerse a estas presiones, sino tambià ©n el encontrar formas de cambiar la cultura†.4 II.2 FORMULACIÓN DEL PROBLEMA Estos à ¡ngulos de acercamiento y comprensià ³n de la creatividad en la relacià ³n individuo-entorno, nos llevan a formular las siguientes preguntas:  ¿Cuà ¡les carà ¡cterà ­sticas de personalidad predominan en las personas creativas?  ¿Cuà ¡les rasgos de carà ¡cter comparten los individuos estudiados?  ¿Cà ³mo se definen asà ­ mismos los creativos? (autoconcepto)  ¿Cuà ¡les factores de carà ¡cter interno y/o externo lo motivan a crear?  ¿En quà © ambiente familiar se desarrollà ³ como individuo?  ¿Cuà ¡l es la red social que le ha servido de apoyo en sus proyectos?  ¿Cuà ¡l es el nivel de escolaridad alcanzado?  ¿Cuà ¡les circunstancias econà ³micas han sido predominantes a lo largo de su vida?  ¿Proporciona nuestra sociedad (Repà ºblica Dominicana) el ambiente propicio para el desarrollo y exposicià ³n del potencial creativo en sus ciudadanos? 4 Alexandra Goà ±i. Desarrollo de la creatividad. Costa Rica. Editorial Universidad Estatal a Distancia (UENED). 2003, p. 94. V III. JUSTIFICACIÓN Identificar y describir a las personas creativas a partir de sus rasgos de personalidad, asà ­ como la relacià ³n que ha tenido el contexto familiar, social, econà ³mico y educacional con la expresià ³n y realizacià ³n creativa de los mismos, constituye un campo de investigacià ³n hasta ahora no explorado en Repà ºblica Dominicana, de ahà ­ se desprende la relevancia de este estudio, resultando à ©ste el primer abordaje de esta temà ¡tica en nuestro paà ­s. Las conclusiones arribadas reportan importantes beneficios en los siguientes tà ©rminos: Psicolà ³gicos: proporcionan un inventario caracterolà ³gico de los sujetos creativos estudiados, el cual se podrà ¡ utilizar para futuras investiga- ciones que amplà ­en el espectro de estudio de la creatividad y la influencia del ambiente en la produccià ³n creativa. De igual modo, motiva a los estudiosos del comportamiento a fijar su interà ©s en las potencialidades humanas, cà ³mo descubrirlas y fomentarlas, mà ¡s que en las patologà ­as manifiestas en la conducta. Educativos: el manejo de esta informacià ³n nos permite rediseà ±ar la enseà ±anza, a fin de que à ©sta promueva y fomente dichas cualidades de personalidad en las futuras generaciones. Gracias a esta reorientacià ³n podremos contar con individuos capaces de generar nuevas propuestas y de producir los cambios que necesita nuestra sociedad para asegurar la ruta hacia el desarrollo sostenido, rompiendo el esquema de que los estudiantes sean simples acumuladores y repetidores de informacià ³n que otros han aportado. Esta revolucià ³n educativa convertirà ¡ los salones de clase en verdaderos centros de formacià ³n de là ­deres emprendedores, al permitirseles la expresià ³n de su libre pensamiento y la concrecià ³n de sus ideas. VI Sociales: evaluar el contexto familiar, social y econà ³mico nos permite inferir cuà ¡les circunstancias externas han sido proveedoras de està ­mulos y cuà ¡les han sido inhibidoras del talento creativo. Este es uno de los aspectos mà ¡s importartes a considerar, ya que el individuo, como ente biopsicosocial, trae una dotacià ³n biolà ³gica que le antepone y supone la expresià ³n de sus cualidades, sin embargo no escapa a la externalidad: es en el ambiente que lo circunda donde ha de expresar estas virtudes, siempre y cuando este entorno le sea favorable. Es una constante en esta investigacià ³n la reflexià ³n respecto a este punto. Culturales: Aunque somos considerados paà ­s â€Å"tercermundista†, pueblo en và ­a de un desarrollo que no acabamos de alcanzar, en nuestro territorio se han formado y expresado indviduos con alta capacidad creativa, aà ºn cuando las circunstancias les han sido adversas. Este ejemplo, enseà ±a a la presente y futura generacià ³n a cultivar l a autoconfianza y trascender las limitaciones que impone el espacio que nos rodea. Promovemos asà ­ la cultura de la autodeterminacià ³n de nuestra nacià ³n. Empresariales. En este à ¡mbito, el perfil caracterolà ³gico del creativo ayuda a identificar aquellos individuos con iniciativa, inventiva, capaces de generar las ideas innovadoras a mayor ritmo, asegurando el progreso y el desarrollo en tà ©rminos productivos. Incluso hay sociedades, como la japonesa, donde ser creativos es una verdadera obligacià ³n del empleado. Esta investigacià ³n es viable pues se dispone de los recursos necesarios para su realizacià ³n. VII IV. ALCANCE Y Là MITES DE LA INVESTIGACIÓN Este estudio de caso se llevarà ¡ a cabo durante los meses agosto-octubre del aà ±o 2009; està ¡ limitado a estudiar seis personas dedicadas a diversas actividades, con diferentes niveles educativos, cuyas edades oscilan entre los 20 y 55 aà ±os de edad, las cuales està ¡n ubicadas en diversas localidades de nuestro paà ­s (Repà ºblica Dominicana). VIII V. OBJETIVOS V.1 GENERAL Describir el perfil psicosocial de personas creativas en Repà ºblica Dominicana, dedicadas a diversas ramas tà ©cnicas y artisticas, cuyas edades oscilas entre 20 y 55 aà ±os de edad. V.2 ESPECà FICOS Identificar los rasgos de personalidad de estas personas creativas Establecer un perfil caracterolà ³gico del creativo Exponer cà ³mo se describen a sà ­ mismos (autoconcepto) Establecer la relacià ³n del entorno social y familiar en el desarrollo y expresià ³n del talento creativo de estos personajes Exponer la formacià ³n acadà ©mica de los casos estudiados Identificar las circusntancias econà ³mica en las cuales se han desenvuelto Investigar las motivaciones intrà ­nsecas y extrà ­nsecas de sus creaciones IX VI. METODOLOGà A VI.1 TIPO DE INVESTIGACIÓN La presente investigacià ³n se define como un estudio de caso, enmarcado en el enfoque cualitativo, fundamentado en una perspectiva interpretativa de los datos recolectados. VI.2 TIPO DE ESTUDIO Realizamos un estudio descriptivo, debido a que nuestro objetivo principal es describir al individuo a partir de sus rasgos de personalidad, haciendo à ©nfasis en comprender la relacià ³n de su expresià ³n creativa con el ambiente que lo circunda, ya sea en tà ©rminos familiares, sociales, educacionales y econà ³micos. Es asà ­ mismo un estudio exploratorio, ya que esta temà ¡tica es planteada por vez primera en nuestro paà ­s como objeto de investigacià ³n, constituyà ©ndose asà ­ en un punto de partida para estudios posteriores. VI.3 MUESTRA La muestra estuvo conformada por seis personas, cuatro hombres y dos mujeres, dedicadas a distintas ramas u oficios, con diferentes niveles educativos, cuyas edades oscilan entre 20 y 50 aà ±os de edad. El criterio de seleccià ³n està ¡ basado en el conocimiento previo del aporte realizado y desarrollado por las personas en cuestià ³n. Los mismos està ¡n localizados en diferentes ciudades de nuestro paà ­s. (Aà ±adir el carà ¡cter sujetivo de la seleccià ³n, explicar esto.) X VI.4 TÉCNICA DE RECOLECCIÓN DE DATOS Para el logro del objetivo se utilizaron los siguientes instrumentos: a. El Test de 16 Factores de Personalidad de Raymond B. Catell (16 FP de Catell), el cual se basa en el anà ¡lisis factorial y mide 16 dimensiones de la personalidad. Cada uno de los factores posee un significado psicolà ³gico segà ºn el cual ha de interpretarse la calificacià ³n obtenida por el sujeto para su perfil de personalidad. b. Entrevistas semi-estructuradas mediante las cuales exploramos la relacià ³n persona-ambiente en sus diferentes vertientes: social, familiar, econà ³mica y educativa. VI.5 MEDIOS Y FUENTES DE INVESTIGACIÓN 1. Libros 2. Revistas electrà ³nicas 3. Internet 4. Perià ³dicos 5. Entrevistas XI VII. MARCO TEÓRICO La creatividad es la habilidad para dar existencia a algo. Francis Barron VII.1 ANTECEDENTES HISTÓRICOS DE LA INVESTIGACIÓN VII.1.1 LA CREATIVIDAD La creatividad està ¡ vinculada a todos los aspectos de la vida psicolà ³gica y social, cuyo abordaje requiere un tratamiento interdisciplinario. Es el tema central de investigacià ³n de cientà ­ficos, psicà ³logos, educadores, filà ³sofos, etc., ya que representa el factor competitivo mà ¡s determinante y sustentador de los grandes cambios que experimenta la sociedad del siglo XXI. VII.1.1.1 Definicià ³n Creatividad significa crear; implica dar vida o sentido a algo nuevo, construir, hacer crecer (en latà ­n crescere), desarrollar, aportar un sentido diferente en la solucià ³n de problemas, orientado a satisfacer los requerimientos de la sociedad en tà ©rminos constructivos. La creatividad no es sà ³lo un proceso personal de satisfaccià ³n de necesidades, sino tiene una dimensià ³n social, pues es en el contexto externo donde ha de tener repercusià ³n el resultado del proceso creativo: el producto creado. VII.1.1.2 Antecedes histà ³ricos del tà ©rmino En 1971 la Real Academia de la Lengua discutià ³ acerca de la incorporacià ³n de la palabra creatividad al diccionario de la lengua espaà ±ola, pues consideraban XII injustificable la utilizacià ³n de un anglicismo (â€Å"creativity†) cuyo significado, a juicio de los acadà ©micos de la à ©poca, era ambiguo y polisà ©mico, argumentando ademà ¡s que existà ­an otras palabras que tenà ­an significados similares. Esta anà ©cdota de carà ¡cter histà ³rico nos muestra el vertiginoso crecimiento que ha tenido un concepto que en sà ³lo tres dà ©cadas se ha transformado en una herramienta inseparable del desarrollo y de la actividad cientà ­fica, tecnolà ³gica, cultural y educativa de nuestros pueblos.5 El reconocimiento del tà ©rmino creatividad, como elemento activo en todo ser humano, ha recorrido un largo camino, en el que podemos seà ±alar las siguientes etapas: Edad Antigua: el artista no crea, sino que se limitaba a imitar la realidad; Edad Media y la Moderna Cristiana: el acto de crear era solamente atribuible a Dios. Siglo XIX: el tà ©rmino creador es sinà ³nimo de artista. 1950: este aà ±o marca el inicio de la investigacià ³n cientà ­fica de la creatividad como una capacidad intrà ­nseca humana. En esta à ºltima etapa se destaca el psicà ³logo Joy Paul Guilford, quien incorpora el tà ©rmino creatividad al vocabulario habitual de la psicologà ­a al pronunciar su conferencia Creativity ante la American Psychological Association en 1950, marcando con este hecho un antes y un despuà ©s en la investigacià ³n cientà ­fica sobre esta cuestià ³n. Aunque regularmente se considera a Francis Galton (1869), con su obra Hereditary genius, como el punto de partida al plantear el tema del carà ¡cter hereditario de los genios y creadores. Fue el primero en ocuparse de estudiar la personalidad creadora mediante un mà ©todo cientà ­fico, aunque hoy dà ­a no son sostenibles sus conclusiones. VII.1.1.3 Conceptos afines A partir del famoso discurso que pronunciara Guilford en 1950, comienza a relacionarse la creatividad con conceptos como la fluidez, la flexibilidad, la 5 Hugo Cerda. La creatividad en la ciencia y en la educacià ³n. Colombia. Edit. Magisterio. 2006, p.13 originalidad y el pensamiento divergente, pues anterior a ese momento histà ³rico se estudiaba bajo el tà ­tulo de imaginacià ³n, invencià ³n, ingenio, nià ±os dotados y superdotados o en su defecto se le consideraba un signo distintivo de la inteligencia general.6 De acuerdo a Guilford â€Å"los individuos muy creativos pueden generar ideas a un ritmo rà ¡pido (fluidez), romper lo establecido a fin de atacar los problemas desde una perspectiva nueva (flexibilidad) y generar ideas nuevas y genuinamente diferentes (originalidad)†7. OTRAS FUENTES REVISTAS ELECTRONICAS Altuve, Ubaldina. Educacià ³n y desarrollo de la creatividad. CONHISREMI, Revista Universitaria de Investigacià ³n y Dià ¡logo Acadà ©mico, Vol. 5, No. 1, 2009. http://www.iuttol.com.ve/varios/nuevos_articulos/ARTICULO_UAltuve.pdf. Consultado el 14/07/09 Chacà ³n, Yamileth. Una revisià ³n crà ­tica del concepto de creatividad. Revista Electrà ³nica â€Å"Actualidades Investigativas de Educacià ³n. Volumen 5, Nà ºmero 1. Aà ±o 2005. http://revista.inie.ucr.ac.cr/articulos/1-2005/articulos/creatividad.pdf. Esquivias Serrano, Marà ­a Teresa (2004). Creatividad: definiciones, antecedentes y aportaciones. Revista Digital Universitaria. 31 de enero de 2004. Volumen 5, nà ºmero 1. ISSN:1067-6079. http://www.revista.unam.mx/vol.5/num1/art4/portada.htm# Consultado 25/06/09 Getzels, Jacob M.; Csikszentmihalyi, Mihaly. Encontrar problemas y creatividad. Revista electrà ³nica Estudios de Psicologà ­a, ISSN 0210-9395, N º 18, 1984 , pags. 69-80. http://dialnet.unirioja.es/servlet/articulo?codigo=65910. Consultado el 02/07/09 Graà ±a, Nelly. La creatividad en la escuela. Aula, Montevideo, 2003. http://www.geocities.com/aulauy/creatividad.htm Consultado el 02/07/09 4 Martà ­nez-Otero, V. (2005). Rumbos y desafà ­os en Psicopedagogà ­a de la Creatividad. Revista Complutense de Educacià ³n, Vol. 16 Nà ºm. 1 (2005) 169 181, ISSN 1130-2496 http://revistas.ucm.es/edu/11302496/articulos/RCED0505120169A.PDF Mitjans martinez, Albertina.  ¿Como evaluar la creatividad?. Rev. cuba. psicol. [online]. 1993, vol.10, no.2-3, p.104-121. http://pepsic.bvspsi. org.br/scielo.php?script= sci_arttextpid=S0257- 43221993000200003lng=ptnrm=iso. ISSN 0257-4322. Consultado 02/07/09. Penagos, Julio Cà ©sar; Aluni, Rafael. Creatividad, una aproximacià ³n. Revista Psicologà ­a (online). Ed. Especial aà ±o 2000. http://homepage.mac.com/penagoscorzo/creatividad_2000/creatividad6.html Consultado 02/07/09. Sà ¡nchez Manzano, Esteban. Imaginacià ³n creativa y personalidad: estudio experimental sobre las relaciones de la creatividad y la introversià ³nextraversià ³n. Revista Complutense de Educacià ³n Vol. 1 (1)- 121-135. Edil. Univ. Complutense. Madrid. 1990. http://revistas.ucm.es/edu/11302496/articulos/RCED9090130121A.PDF. Consultado 02/07/09. Sternberg, R.; OHara, Linda. Creatividad e Inteligencia. Cuadernos de Informacià ³n y Comunicacià ³n. 2005. revistas.ucm.es/inf/11357991/articulos/CIYC0505110113A.PDF. Consultado el 05/08/09 Velasco Tapia, Lucà ­a. Desarrollo del Pensamiento Creativo. Universidad de Londres. Papeles del Psicà ³logo, 2006. Vol. 27(1), pp. 3-8. Enero-abril, 2006. http://www.cop.es/papeles. consultado el 12/05/09 Velasco Barvieri, Patricia. Psicologà ­a y Creatividad: Una revisià ³n histà ³rica. (Desde los autorretratos de los genior del siglo XIX hasta las teorà ­as implà ­citas del siglo XX). http://books.google.com/books?id=rDfiEDyWjAYCpg=PA60dq=teoria+gestaltica+ de+la+creatividadei=dQhoSoKSOovgyQSx37i0BAclient=safari. Consultado el 14/07/09 Ziegler, M. (2000). Creatividad, aula y arte. Revista de Educacià ³n, 15. http://educar.jalisco.gob.mx/15/15Ziegle.html, Consultado 27/06/09 5 INTERNET Breve Historia de La Creatividad. http://www.scribd.com/doc/14237127/Breve- Historia-de-La-Creatividad, Consultado 10/05/09 Castillo Balcazar, Dania R. Creatividad y uso de desechos como material educativo en la educacià ³n universitaria. Lima, Perà º 2007. http://www.cybertesis.edu.pe/sisbib/2007/castillo_bd/pdf/castillo_bd.pdf Consultado el 11/07/09 De la Torre, Saturnino. Persona y proceso creativos. Creativitat, comunicacià ³ i mercat, 2000. http://tdd.elisava.net/coleccià ³n/17/de-la-torre-es. Consultado el 29/06/09 Garcà ­a Tenorio, Marà ­a Josà ©. Definicià ³n empà ­rica de los factores de fluidez ideativa, originalidad y creatividad: relaciones con la personalidad. http://www.ucm.es/BUCM/tesis/psi/ucm-t25704.pdf. Madrid, 2002. Consultado 10/05/09 Gardner, Howard. Un retrato del creador Ideal. Revista Psicologà ­a (online). Edicià ³n Especial aà ±o 2000. http://homepage.mac.com/penagoscorzo/creatividad_2000/creatividad3.html. Consultado 02/07/09. http://apuntes.rincondelvago.com/psicologia-de-la-creatividad.html. Consultado 02/07/09. http://ineedfile.com/download_file_i.php?qq=psicologiafile=2010997desc=Aprendi zaje+Y+Creatividad+-+Psicologia+Cognitiva+.doc Huidobro Salas, Teresa. Una definicià ³n de la creatividad a travà ©s del estudio de 24 autores seleccionados. Universidad complutense de Madrid. Facultad de psicologà ­a. http://www.ucm.es/BUCM/tesis/psi/ucm-t25705.pdf. Madrid, 2002. Consultado 10/05/09 Là ³pez Pà ©rez, Ricardo. Diccionario de Creatividad. Conceptos y Expresiones Habituales de los Estudios sobre Creatividad. http://www.scribd.com/doc/6733423/Diccionario-de-Creatividad. Consultado 10/05/09 Là ³pez Pà ©rez, Ricardo. Prontuario de la Creatividad. http://www.scribd.com/doc/6562037/Prontuario-de-La-Creatividad. Consultado 10/05/09 Quià ±ones Rodrà ­guez, Maria Aracelly. Creatividad y resiliencia. Anà ¡lisis de 13 casos colombianos. Universidad Autà ³noma de Madrid. Madrid, 2006. Consultado 10/05/09. http://digitool-uam.greendata.es:1801/view/action/singleViewer.do? dvs=1242032832751~67locale=es_DOframeId=1usePid1=trueusePid2=true Rogers, Carl R. Hacia una teorà ­a de la creatividad. UNIDAD 3 Teorà ­as del proceso creativo. http://www.angelfire.com/ego/cedelacultura/unidad3.htm. Consultado el 15/05/09 Rom Rodrà ­guez, Josep; Sabatà © Là ³pez, Joan. La creatividad antes de Guilford. Universitat Ramon Llull. http://congressos.blanquerna.url.edu/spucp/Pdfs/Rom_MaqCong05.pdf. Consultado el 04/06/09 Yentzen, Eduardo Teorà ­a General de la Creatividad. http://www.scribd.com/doc/6952795/Yentzen-Eduardo-Teoria-General-de-la- Creatividad, Consultado 10/05/09 www.gestiopolis.com/canales8/rrhh/psicometria-como-ciencia-del-comportamientoy- los-recursos-humanos.htm DICCIONARIO Diccionario de la Real Academia Espaà ±ola (Online). Vigà ©sima segunda edicià ³n http://www.rae.es/rae.html ENTREVISTA Entrevista a Robert Sternberg realizada por Eduardo Punset. http://www.rtve.es/tve/b/redes/anteriores.htm 1 Robert Sternberg. Inteligencia creativa. http://www.rtve.es/tve/b/redes2007/semanal/prg217/frcontenido.htm

Hobbes, Conatus and the Prisoners Dilemma :: Philosophy Essays

Hobbes, Conatus and the Prisoner's Dilemma ABSTRACT: I want to show the importance of the notion of conatus (endeavor) for Hobbes' political philosophy. According to Hobbes, all motion of bodies consists of elementary motions he called 'endeavors.' They are motions 'made in less space and time than can be given,' and they obey the law of persistence or inertia. A body strives to preserve its state and resist the causal power of other bodies. I call this the conatus-principle. Hobbes' argument for social contract and sovereign is based essentially on this model. He proves that the natural conatus makes people (i) strive to preserve their lives and therefore to get out of the destructive state of nature; (ii) commit to mutual contracts; (iii) keep the contracts unless some external cause otherwise determines; and (iv) establish a permanent sovereign power that Hobbes calls 'an artificial eternity of life.' All this is determined by the fundamental laws of nature, essentially, by the conatus-principle. I also show that the Priso ner's Dilemma interpretation of the Hobbesian state of nature does not represent all of the essential features of Hobbes' argument. I. Conatus and Motion Philosophers in the 17th century made hard efforts to explain the beginning and continuation of the motion of bodies. The notion of conatus ('striving' or 'endeavoring') was commonly used in the explanations. It refers to the power with which the motion of a body begins and is kept on. What is this power? Descartes explained it to be an active power or tendency of bodies to move, expressing the power of God. He distinguished between motion and the tendency to move, but Hobbes was anxious to argue that conatus actually is motion. In The Elements of Law he says it to be the "internal beginning of animal motion" (EL I.7.2), and in his later writings the notion of 'endeavor' refers to the beginning or first part of any kind of motion. Because motion is for Hobbes "a continual relinquishing of one place, and acquiring of another" (De Corp II.8.10), the beginning of a motion of a body must be an infinitely small change in the place of the body. Accordingly, Hobbes defines endeavor "to be motion made in less space and time than can be given; ... that is, motion made through the length of a point, and in an instant or point of time" (De Corp III.15.2). For Hobbes, the conatus is not an inherent power of a body but is determined by the motions of other bodies.

The possible approaches towards differentiated eLearning

Differentiated direction ( or differentiated acquisition ) involves supplying pupils with different avenues to geting content ; to processing, building, or doing sense of thoughts ; and to developing learning stuffs so that all pupils within a schoolroom can larn efficaciously, irrespective of differences in ability. Research indicates that many of the emotional or societal troubles gifted pupils experience disappear when their educational climes are adapted to their degree and gait of acquisition. † Differentiation in instruction can besides include how a pupil shows that they have command of a construct. This could be through a research paper, function drama, podcast, diagram, posting, etc. The key is happening how your pupils learn and displays their acquisition that meets their specific demands. Differentiation normally includes one or more of the undermentioned countries:A. Content– Is â€Å" what † pupils learn – Includes curriculum subjects or constructs – Reflects province or national criterions – Presents indispensable facts and accomplishments – Differentiates by pre-assessing pupil accomplishments and apprehensions, so fiting scholars with appropriate activities – Provides pupils with picks in order to add deepness to larning – Provides pupils with extra resources that match their degrees of understandingB. Procedure– Is â€Å" how † pupils learn – Refers to how pupils make sense or understand the information, thoughts, and accomplishments being studied – Reflects pupil larning manners and penchants – Varies the acquisition procedure depending upon how pupils learnC. Product– Is the terminal consequence of pupil acquisition – Tends to be touchable: studies, trials, booklets, addresss, skits – Reflects pupil understanding – Differentiates by supplying challenge, assortment, and pickWhat is distinction direction?In this context when distinction is discussed, it is non about merchandise distinction by larning bringing location, as in intercrossed eLearning content compared to to the full online classs and/or cyberschools ( National Leadership Institute, 2005 ) . Nor is it about distinction in clip, as in synchronal and asynchronous acquisition. Rather, in e-diff, one of three types of accommodation is normally involved ( Hall, 2002 ; Reis et al. , 1988 ; Sizer, 2001 ; Tomlinson, 2001 ; Tomlinson & A ; Allan, 2000 ; Tomlinson & A ; McTighe, 2006 ; Willis & A ; Mann, 2000 ) : 1. Differentiation of content – Offer pupils the opportunity to get down at different topographic points in the course of study and/or proceed at different gaits. 2. Differentiation of larning manner attack – Stressing many modes of larning manner or larning penchant, such as ocular and audile scholars. 3. Differentiation of merchandise – Giving different assignments to different pupils, and turn in different work merchandises.III. DIFFERENTIATION INeLEARNINGTechnology to do content alteration on the fly is rather simple online. It can be every bit straightforward as hypertext markup language cryptography and back-end databases. The challenge is non in the bringing engineering itself, but in set uping good logic for distinction – if we are traveling to distinguish, how do we make up one's mind who gets what? Here we organize the most common e-diff schemes, based on what type of decision-making procedure and grounds is used to set up the accommodation picks. Approachs can besides be combined, or blended, in eLearning merchandises. Some of the possible general attacks are: â€Å" Diffuse † attacks to distinction, in which pupils receive the same content but have multiple chances for acquisition and are provided with different attacks for doing sense of thoughts planfully â€Å" diffused † throughout the content. Autonomous attacks, in which pupils receive different content by a mechanism of self-selection built in the content. This introduces distinction through pupil pick. Naive distinction, in which the computing machine is finding the class of distinction, non the user, no specific program or overall scheme is in topographic point in the eLearning content for why distinction is go oning, or what it is intended to intend in the acquisition context. Boolean distinction, in which package uses types of Boolean logic, such as rule-based models or determination trees, to find how to set content for different pupils. Model-based distinction, in which adept sentiment is combined with a assortment of informations mining techniques to bring forth thoughts for how content might be suitably differentiated. Language based distinction, in which the pupils from different cultural backgrounds can be benefitted. This is based on the distinction in the contents of stuffs to be delivered.Differences in the attacks1.In diffuse distinction, there is no direct purpose to measure or fit the demands of single users, or to custom-make content or feedback, as all pupils receive the same content. But adequate assortment and different beginnings of stimulation are provided to involvement and prosecute diverse audiences. This is a really common attack to differentiated direction in a traditional schoolroom learning puting. The hope is that with adequate assortment provided, everyone ‘s demands can be addressed. 2.The 2nd scheme, self distinction, allows pupils to choose their personal picks as they work their manner through on-line content. This can dwell of merely choosing the order of completion among a fixed bill of fare of larning activities or faculties, or can let much more scope of pick. The courseware design determines where pick points are. Self distinction is besides really common in on-line content. 3.NaA?ve distinction comes about about unwittingly in many eLearning merchandises. It involves altering parts of content in a more random manner, non based on the specific demands of single pupils, but merely revolving content and artworks so that screens have different images, representations and so forth each clip viewed. This might affect a randomizing factor or a shuffle map. Though diffuse and autonomous schemes can be rather consistent with improved larning aims of differentiated direction, it can be harder to do the instance for naA?ve distinction. Additions in motive and battle as acquisition shows change, for case, are difficult to reason for if the same pupil merely sees one of the shows. 4.The following scheme, Boolean distinction, uses assessment grounds to alter the flow of content for different pupils. Boolean here merely describes logic that computing machines use to find if a statement is true of false. Main Boolean operators include â€Å" and, † â€Å" non † and â€Å" or. † Operators get used with a series of regulations to depict what happens with the content as pupils make their responses. There are many differentiations among different rule-based methods, including assorted be aftering agents, bug bases and chaining algorithms. But the thought is that a set of regulations have been devised, frequently by really carefully analyzing many pupils. These rule-based boolean methods make up some of the oldest signifiers of e-diff. The simplest types look like a checklist of larning aims. Students go down the list and finish the aims. If they successfully complete 1 AND 2, they go onto 3, for case. But 1 and NOT 2 and possibly the pupil is redirected to 2A, or given some extra feedback or other larning intercession that go throughing pupils do n't acquire. Rule based methods can take much more luxuriant signifiers, and have been in really powdered ways to depict the battalion of constructs and misconceptions pupils hold in certain capable affair countries, and what to make about them. 5.The following signifier of e-diff, model-based, is really a big household of attacks that will be grouped together here for the interest of treatment. Some of the attacks are among the newer e-diff signifiers and others have been around for some clip. Most use some signifier of adept sentiment, including from instructors and other capable affair experts, combined with informations mining to bring forth thoughts about how content might be differentiated. Common data excavation techniques include a assortment of arrested development and Gaussian statistical theoretical accounts, Bayesian webs, nervous webs, point response theoretical accounts, and assorted method attacks that combine quantitative and qualitative informations to do interpretative or productive anticipations. 6.The concluding signifier of e-diff is, language-based in which the same contents are provided to the pupils in different possible linguistic communications of apprehension. On the plus side, information excavation attacks can be faster and easier than deducing complex rule-based signifiers. Besides they can let anticipations to be compared to existent pupil larning informations to ticket melody theoretical accounts. However, the inquiry frequently is which theoretical account to utilize, and why. Besides important in the instance of eLearning is whether the theoretical account truly is making an appropriate occupation of stating you something about pupils.III.CONCLUSIONDevelopers are constructing more distinction into eLearning merchandises, admiting that people have multiple waies for acquisition and for doing sense of thoughts. But distinction via engineering is complex. There are legion attacks that have rather different executions and consequences, as can be seen by the general schemes described here. As the field matures and developers explore more ways to distinguish online, it is of import that non-disclosure understandings and other rational bel ongings issues do n't close down the conversation about what these merchandises are making, and how they are making it. So, certain, allow ‘s all be different – but allow ‘s happen some common land to speak about these of import attacks to differentiation online.IV.REFERENCES[ I ] Hall, T. ( 2002 ) . Differentiated direction. Retrieved November, 2006, from hypertext transfer protocol: //www.cast.org/publications/ncac/ncac_diffinstruc.html [ II ] Parshall, C. G. , Stewart, R. , Ritter, J. ( 1996, April ) . Inventions: Sound, Graphics, and Alternative Response Modes. Paper presented at the National Council on Measurement in Education, New York. [ III ] Reis, S. M. , Kaplan, S. N. , Tomlinson, C. A. , Westbert, K. L. , Callahan, C. M. , & A ; Cooper, C. R. ( 1988 ) . How the encephalon learns, A response: Equal does non intend indistinguishable. Educational Leadership, 56 ( 3 ) . [ IV ] Tomlinson, C. A. ( 2001 ) . How to distinguish direction in mixed-ability schoolrooms ( 2nd ed. ) . Alexandria, VA: ASCD. [ V ] Tomlinson, C. A. , & A ; Allan, S. D. ( 2000 ) . Leadership for distinguishing schools and schoolrooms. Alexandria, VA: ASCD. [ VI ] Tomlinson, C. A. , & A ; McTighe, J. ( 2006 ) . Integrating Differentiated Instruction +Understanding by Design: Connecting Content and Kids. Alexandria, VA: Association for Supervision and Curriculum Development. [ VII ] Turker, A. , Gorgun, I. , & A ; Conlan, O. ( 2006 ) . The Challenge of Content Creation to Facilitate Personalized E-Learning Experiences. International Journal on ELearning, 5 ( 1 ) , 11-17.