International Political Economy Questions Answer one of the following questions: · Overall, the history of the world economy since 1945 demonstrates the success of economic liberalism. Argue for or against this proposition. · Free trade is the best way to ensure that a country develops. Argue for or against this proposition. · What do critical approaches to IPE tell us about the global order, that mainstream theories such as Realism & Liberalism cannot? · Why are capitalist class relations so central to Marxism and how do they help explain conflicts within the field of IPE? · Has economic globalisation undermined the ability of national governments to pursue independent economic policies? · Is populism, and the policies advocated by populists, an appropriate response to economic globalisation? · The GATT/WTO has simply been a tool to promote the interests of powerful developed countries. Argue for or against this proposition. · Which factor best explains the current crisis of the multilateral trading system? Assessment Criteria Essays will be assessed and graded based on the extent to which they meet the following criteria: · Does the assignment clearly answer the question set, with sufficient focus? · Does the assignment consistently support its arguments/claims with relevant, accurate and effective forms of evidence (quantitative data, illustrative examples, case studies, supporting quotes etc.)? · Does the assignment show a secure grasp of the theoretical concepts and literature covered in the course? · Does the assignment demonstrate a logical and effective pattern of argument? · Does the assignment have a clear structure that is explained to the reader? · Does the assignment demonstrate reflexivity and critical thinking in relation to arguments and evidence? · Is the assignment adequately presented in terms of: correct referencing and quoting; spelling, grammar and style; layout and visual presentation? · Were instructions on how to format and submit the assignment followed? Students should also pay attention to the 'School General Marking Descriptors' which provide further useful information on how taught postgraduate work is marked.
CS&D 210: The Neural Bases of Communication Department of Communicative Disorders Summer, 2023 Official Course Description: Considers the neural basis for communicative behaviors. Provides understanding of the anatomy, physiology and physiopathy of the central and peripheral nervous systems as they relate to normal and disordered communication. Credits: 3 Meeting Time and Location: online, asynchronous Requisites: Sophomore standing or consent of instructor Course Designations and Attributes: General Education; CS&D major requirement Designations: • Breadth – Biological Sciences counts towards the Natural Sciences requirements • Level – Intermediate • L&S Credit – Counts as Liberal Arts and Science credit in L&S • NOT repeatable for credit. Canvas Course URL: https://canvas.wisc.edu/courses/349450 HOW CREDIT HOURS ARE MET BY THE COURSE (45 Hours per Credit) One UW credit equals the learning that takes place in at least 45 hours of learning activities. This is a 3-credit course, equaling at least 135 hours of learning activities. This does not include taking quizzes and exams. This condensed course carries the expectation that students will dedicate 17 hrs/week to working on course learning activities (roughly 2.5 hours every day, 7 days a week). Students must plan their time wisely. Students will read the learning objectives, watch/listen to lecture recordings, read materials and book chapters, interact with the online brain atlas, study, and complete one written assignment that is a critical appraisal of a book dealing with a communication disorder, in addition to taking quizzes and exams. The syllabus includes more information about assignments and expectations for student work. INSTRUCTIONAL MODE This is summer semester course presented in an online style. with asynchronous format. The modules are thematic, based on the structure and function of the nervous system as they pertain to communication function and dysfunction. Each module represents 1 week of this 8-week course. Each modules opens 1 week prior to assignments, but the instructor will be handling questions and discussions pertaining to learning objectives for the assigned week. Content delivery is an introductory audio+ PowerPoint recording with major themes, accompanied by written course materials/slides from the PowerPoints and assigned readings from the textbook as well as hyperlinks to video examples. There is also an online, interactive brain atlas. Additional focus for each unit is available through the “extras” section in each module. LEARNING OUTCOMES This course provides an overview on how the brain controls functions that are related to communication. The learner will acquire knowledge on basic anatomy and physiology of the nervous system, with focus on speech, language, hearing, and cognition. Further, the learner will understand how diseases, trauma, and aging may affect these functions. The following are the overarching themes that guide the structure and content of the course. • Communication is vital for survival and quality of life. • Communication is multi-modal and thus the control of communication by the brain is complex. • Despite the complexity of the neural control of communication, there are some organizing principles that help us learn how to diagnose and treat disorders of communicative function. • Knowing how normal function breaks down with diseases or conditions that affect communication helps to inform. and improve diagnosis and treatment of communication disorders. At the end of the course, the learner will be able to: 1. Use appropriate terminology related to the study of neuroanatomy and neurophysiology. 2. Identify key structures of the central and peripheral nervous systems. 3. Describe the basic development of the nervous system. 4. Describe the major components of the vascular and cerebral spinal fluid systems to the brain and spinal cord. 5. Describe the parts of a neuron, as well as the basic neurophysiology of how neurons conduct electrical and chemical signaling within the nervous system. 6. Differentiate between the following in terms of function and impairment: upper motoneurons, lower motoneurons, corticobulbar tract, corticospinal tract. 7. Describe the basic components of the sensorimotor system, including the basal ganglia, cerebellum, thalamus, primary and association cortices, and ascending and descending pathways. 8. Perform. a basic cranial nerve exam. 9. Identify the basic neural components of the visual and auditory systems. 10. Describe the major neural components that contribute to speech motor control and how damage to these contributes to motor speech disorders. 11. Identify the major language areas of the brain and describe how patterns of damage contribute to the various manifestations of language disorders. 12. Define higher order functions of the brain and explain how deficits manifest in patients. More specific learning objectives are posted for each module. GRADES (How your learning outcome will be measured) Weighted Grades 1 Course Project (written assignment on canvas) 100 pts 20% 11 Quizzes (open book) 10 pts each 22% 8 Weekly Module Discussions 8% 2 Tests (closed book) 100 pts each 20% 1 Final Exam Notes Sheet 3% 1 Final Comprehensive Exam (closed book) 200 pts 25% 1 End of Course Reflection 2% Total 100% Scale: 93-100%=A 88-92.99%=AB 81-87.99%=B 76-80.99%=BC 69-75.99%=C 59-68.99%=D >59%= F *I do not round up. Therefore, 92.99 = AB, 87.99 = B, and so on.
SUSTAINABLE SYSTEMS PUFY_ 1100_2312_F Spring 2025 COURSE DESCRIPTION Anything we extract from the earth must ultimately go back into it. This course aims to create an emotional and intellectual connection with the lifeforms and environments which bear the burden of our choices. How can designers, artists and critical thinkers create and engage with objects, materials and systems in ways that are socially, environmentally, and economically sustainable? This course will begin to address this question through creative practice and scientificinquiry that shifts‘sustainability’ as an idea to away of thinking, making, and doing. Sustainable Systems is organized around four major themes: Climate Change, Materials, Energy, and Water. Throughout the semester, we will examine these environmental issues as complex and interrelated topics. Understanding them will enable us to address current social and justice issues in new ways. In this course you will study real conditions that are both local and global. Class activities will combine field trips, lectures, discussion, studio-based workshops, and lab experiments. Fieldwork and research from these activities will be developed into creative works that explore diversity, adaptability, and resilience in the face of ever-changing conditions. Climate Change Our current geological age, Anthropocene, is characterized by the Earth’sclimate changing at a rate faster than at any point in the history of modern civilization. It is scientifically proven that human activities have caused this climatic unbalance. We are intertwined with the Earth’s natural systems, and climate change has already had a wide range of social and economic impacts around the globe. What are the components of these natural systems? What are the feedback loops that connect each component? As designers and strategic thinkers, how do you design a resilient system for the Anthropocene age. Materials Our current industries and global consumption patterns are shortsighted and people- centric. They are designed as linear systems following the take-make-waste paradigm. This model assumes infinite resources. Yet, in reality, our resources are limited to our home: the Earth. Anything we extract from it must ultimately go back in. To change this unsustainable extractive model, we need a paradigm shift. How can we design waste out of asystem? How can we design keeping materials in use? How can we design systems with positive feedback loops to regenerate natural systems? Energy Energy cannot be created or destroyed; instead,it transforms from one form to another. Everything— animate or inanimate, natural or artificial —is a component of a larger energy system. All systems can be ultimately traced back to our main source of energy: the sun. Not all energies are the same; some are low quality, such as heat energy, while others are high quality, such as electrical energy. Nevertheless, different types of energy are spent and wasted along each step of the extraction, production, and consumption processes. Therefore, each object is a storehouse of both material and energy. In this class, you will learn about different energy types and systems. Why are some energy types considered renewable and others not? How can you design strategies to best match the quality of the energy used? What are the design methods that best orchestrate energy flows? Water Water covers approximately 70% of the Earth's surface. With its incredible properties, water forms glaciers and oceans, and it acts as an atmospheric gas we can breathe. The Earth’s water cycle systems are essential for the survival of all lifeforms on Earth. Along the way, these complex systems create and sustain unique ecosystems. This class maps out water systems and the impact of changing climate. You will learn the importance of designing for equitable water-supply distribution as well as issues surrounding water use, pollution, and waste patterns. How do you design a resilient and adaptive system that promotes well-being for all lifeforms? How do you design waste out of a water system? SHARED CAPACITIES This course satisfies the following shared capacities: Workincomplexsystems Flexibilityandresiliency Ethicalreasoning LEARNING OUTCOMES By the successful completion of this course, students will be able, at an introductory level, to: Understandecologicalsystemscoveredandexplorethemthroughcreativepractice. Beawareofthesocialandethicalissuesrelatedtosustainability. Identifyandmaprelationshipswithinandbetweensystems. Conductscientificinquirybasedonquestionsraisedduringfieldtrips,sciencemodule experiments,andlectures. Useanaloganddigitaltoolsforscientificmethodsofanalysis,andtodevelop2D, 3D, 4D creativeworkoutcomes. Translateinterdisciplinaryscientificknowledgeintocreativeandsustainableresponsesto ecologicalchallenges. Evaluateandreflectontheircreativeworkinrelationshiptogoalsandvaluesthatarepart oflargersystems. Archiveanddocumentworkinareflectivemannerforthe Learning Portfolio.Thiswill includewritingclearlyaboutworkinbothformalandinformalways, including:research, process,evaluation,analysisandreflection. CURRICULAR JUSTICE Acknowledgement Statement: Weacknowledgefirstandforemostthatour NewYorkCitycampusissitedontheunceded territoryofthe LenapeTribe, andthat Manhattanderivesfromtheoriginal Lenni Lenape nameforthisland,Mannahatta. Werespectthehistoryofthissite, andwearegratefultobe thecurrentinhabitantsofthisplace. Weacknowledgethattheexistingcanonofart&designeducationinthe United States representsadisproportionatenumberofwhitemaleartists,designers,thinkersand writers. Whitepatriarchalsupremacyhasgreatlyimpacted Eurocentrichistorybooks, influencingwhathistoryhasdeemedimportantenoughforinclusion. Byfirst acknowledgingtheinherentbiasinacanonthatdiminishestheGlobal Majority,weactively critiqueandchallengethiscanonwithacurriculumthatismorebalanced,morejust, more fittingtoourcontemporaryworld. Ourcurriculumelevatesexcludedstoriesand overlookedworksthathaveshapedart, designandculture. Weunderstandthenegative impactthatinvisibilityhasineducation, andweunderstandthepositiveimpactthat representationhasineducation. Wewantourcurriculumtobendtowardsthearcofjustice. Wecommittocreatingsyllabiinwhichourstudentbodyseesthemselvesjustly representedandsupported. Weunderstandthatdeepstructuralchangecannotbe achievedovernight, butthateachsmallstepintherightdirectioniscrucialforgrowth. Weacknowledgethattheseeffortstowardscurricularjusticearenotenoughinandof themselves, butthatthequalityoflifeforallstudentsandfacultyofallidentities,genders andracesisimportant. Discrimination, harassment, racialaggressions(microaggressions) arenotaccepted. Togetherweworktocultivateasafespaceforourcommunity,whereall membersfeelthattheybelong. *This Statementiswrittenby Beau Bree Rhee, editedby Diane Dwyerand MayaSamatin Summer, 2021. Wecommit … Wecommittocreatinganemotionally, mentally, andphysicallysafespaceforeveryonein theclassroom. Wecommittoupliftingeachotherandhavingeveryone’svoicebeheard. Wecommittopracticingpatiencewithoneanother. Wecommittodeepandactivelistening. Wecommittonotmakingassumptionsaboutoneanother. Wecommittorespectingoneanotherandourdifferences. Wecommittobuildingcommunityandcaringforoneanother. Wecommittosharingandcirculatingourcollectiveknowledgesothatwecanallgrow. Wecommittoopenandtransparentcommunication, addressingproblemswhentheyarise. Wecommittopausingandallowingthespaceforsilence. Wecommittofeeling, sensing, andspeakingfromtheheart. Wecommittoholdingspaceforoneanother. Wecommittohonoringeachother’stimeasasacredresource. LEARNING DURING THE COVID-19 PANDEMIC It is my intention to help foster a culture of care among my students. While I have worked to do this throughout previous semesters, this goal has become heightened due to the ongoing pandemic. This means that I will use my best judgment and creative thinking capacities to come up with solutions to the challenges that impact my students. If you have a concern or an issue that is impacting your learning experience, I invite you to share it with meso we can work together on finding possible solutions. This semester Iamasking my students to review the University’s Commitment to Caring for Our Community statement and be prepared to share their own perspective on how we might build on this for our own community agreements within our course. COMMITMENT TO DIVERSITY In order to create a classroom environment that supports a free exchange of ideas and respectful engagement with others, the following principles will guide our work: Allclassparticipantsareexpectedtointeractinawaythatencouragesadiversityof viewpoints. Constructivedisagreementsharpensthinking, deepensunderstanding, andrevealsnovel insights. Youwillnotagreewithallideasexpressedbutyouareexpectedtocriticallyconsider alternativepointsofview. TRIGGER WARNING Our classroom provides an open space for the critical and civil exchange of ideas. If readings and other content in this course include topics that some students may find offensive and/or traumatizing, I’ll aim to warn students about potentially disturbing content and I ask all students to help to create an atmosphere of mutual respect and sensitivity. ASSESSABLE TASKS Assessable Tasks are activities, assignments, projects that satisfy the course's learning outcomes. Outdoor Immersion & Field Journal One time per week spend 10 minutes outside or observing nature/the outdoors. Choosing one of the four course topics – Climate Change, Energy, Materials, Water -- record your thoughts, impressions, feelings, etc., of this topic in a journal of some kind, either by hand or digitally. Your responses can take any form.: writing, photography, drawing/sketching, voice memos, dance/movement, etc. The content does not need to be directly related to this class. The Field Journal is meant to operate as a means through which you may collect data and observations, but also for you to build your own space of reflection. We will discuss many Sustainable Systems in this class that pertain to the environment, methods, or institutions. This weekly assignment is meant to highlight the importance of also practicing ways of balancing and reflecting upon our approaches of sustaining ourselves creatively and emotionally as individuals. The final entry will be focused on an action you can take moving forward building from the insights chronicled throughout the semester. Your entries will be uploaded to Canvas each week. If composed by hand, pictures or scans maybe submitted. Learning Portfolio The Learning Portfolio is a tool that will create connections between all years of study. It is meant to be a place of reflection across all courses. While the portfolio is being introduced through the Integrative Studio and Seminar it is important to manifest learning in this class. Use the Learning Portfolio to act as a place for considering the path taken to get to a final idea and image. Document process and enter posts that tell the story of a project and the steps that led up to its completion. This is a place to exhibit the process that paves the way for final work. Weekly readings, screenings, and Canvas responses Prompts for written responses to readings, films, and other materials assigned in this class will be posted on Canvas and will operate as primers for in class discussion. Field Trips We will takeout-of-classroom Field Trips twice during the semester. Attendance and engagement during these outings is part of the participation aspect of this class, and will be followed by written reflections to be submitted on Canvas. Guest Lecturers Once or twice during the semester we will have guest speakers visit via Zoom in class to speak to us about their work. Their presentations will be followed by aQ&A period where you will have the opportunity to ask them specific questions about their practices. Attendance and participation during these lectures is part of the participation aspect of this class. Activism Design Project Design a piece of activism art about a cause you care about using the methods and techniques discussed around developing this form. in class. Beyond the visual component of this project, also devise a mission and program of where, when and how these posters would be installed. Prepare this work or an in-class Studio Critique with your coursemates. Mid-Term Project Waste Self Portrait Project For at least a week before the mid-term, you will be expected to observe the waste you produce as an individual. Notice what food you are eating and keep a record of the trash and recycling you accumulate. Document your findings and make a self-portrait using your waste as a material or point of inspiration. What is your relationship to and impression of the waste you generate as an individual in one week? This can exist in the form. of photographs, drawings, using items from compost to make natural dyes or pigments, writing, or performance. You will prepare a presentation of your project for an in-class Studio Critique. Bio-Materials Labs - Natural Dyes Asynchronously you will perform. one Bio-Material lab as a homework assignment with Natural Dyes. For these, you will document step by step your methodical and conceptual approach to working with the materials used. After in class demos and instruction, you demonstrate how to work effectively with both processes, but also how to use them towards your conceptual aims. Materials for these labs will be purchased by students, and you may team up with another coursemate to save on cost. Final Project Make something you feel the world needs. Your project and research should: Craftanargumentaroundwhyyoubelievewhatyouaremakingandproposing shouldexist Selectarolemodelwhoworksinasimilarfieldwhohasinspiredyourprojectand direction Identifywhatsystemsareatplay Presentcurrentdataonthematerialsandfieldinwhichyourfinalworkpertainsto Asmuchaspossible,yourworkshoulduserecycled/recyclable/carbonfriendly materials. Yourin-classpresentationsshouldincludeinformationonwhatthese materialsare,wheretheycomefrom,andwhytheyaresustainablechoices. Documentyourresearchandmakingprocesswithwrittenreflectionsandimages Youmaymakesomethingphysically, orproposeaprojectorbusinessplan. Ifyou arechoosingtodevelopandplan,itshouldbecompletewithresearchedlogistics forhowitcanworkinafeasibleandsustainableway, detailoperationsand distributionpolicies, drawings/renderings, abrandingplan, andamissionstatement. EVALUATION & FINAL GRADE CALCULATION Students’ ability to meet the course’s learning outcomes will be evaluated based on the following criteria: Evidence of the ability to solve problems, both creative and technical. Evidence of the understanding of the project assignments and course material. The correct use of materials and formats specified. Quality of work as evidenced in in-class exercises, final projects, sketchbook exploration and the learning portfolio. Participation in class and online. Improvement in technical, creative, and problem solving abilities. Attendance in class and the timely completion of projects. Our goal as a class is to adapt and engage systems thinking, and to bring the pressing demands of sustainability and resilience into our individual and collective practices as makers and thinkers. The issues we discuss and explore together extend beyond the spheres of politics, policy, or science. Not only do they govern what we create and how as artists, designers, and entrepreneurs, but they impact our lives as individuals, community members, and on the whole as a species. Our efforts in this class will be focused on how our work can raise awareness and make a positive difference in our human-influenced reality. This course will request your active participation and for you to share what inspires you, what challenges you, the evolution of your creative process, along with offering considerate and constructive feedback to your classmates. As a result, participation comprises the largest single aspect of your grade because it factors into each graded aspect of this course and pertains to your overall engagement in the curriculum. Please refer to the full set of graded activities listed below, also detailed in full on Canvas for each module and assignment. Attendance 5% Field Journal 5% Learning Portfolio 5% Weekly Assignments 10% Activism Design Project 10% Mid-Term Project 15% Bio-Materials Lab 20% Final Project 30% TOTAL 100%
CAVA1001: Visual Art Foundation 1 S2, 2024 Final Work Project Week 12 Steps Towards Your Final Project: Brainstorming / Experimentation to Generate Ideas Over the previous 11 weeks of the semester you have explored a range of approaches to creative practice within CAVA1001 and engaged in giving and receiving feedback. This has primed you for the next and last stage in the unit: the Final Work Project. To explore future creative directions in Week 12 you will undertake a series of brainstorming exercises. Exercise 1: Thematic Trioletic To begin, you will work with three words. One word will be provided to your class. One word you can select from all the material provided in CAVA. One word can come from your self-directed research. Draw an equilateral triangle and write one of the words at each point. This is your unique Thematic Triolectic, a visual tool used to generate new ideas! Run your eye along the edges of the triangle and consider the relationship formed between the words in pairs. Then move from each point back into the middle of the triangle and consider all three words together. Or start with one word and traverse the triangle and connect with the concept existing between the other two words. This dynamic approach to mapping conceptual relationships is associated with Asger Jorn, the Danish Avant Garde artist. One of the ways Asger explained his triolectic philosophical system was to compare it to a game of football played by three sides with three goals. Hot Tips: Your three words will naturally influence your creative approach to the Final Project. As one word is provided to you (this word will be announced in class in week 12) it is a good idea to be fluid and flexible in your thinking. The selection of your other two words is up to you. Looking back through your Visual Diary is a good way to survey the possible words you might choose. You might go back to the work in CAVA1001 that you found the most interesting. Or you can simply choose words at random. It is a good idea to find words that you find inspiring or evocative. Avoid cliches, stereotypes and words with narrow definitions. Seek words that are conceptually alive, that resonate and trigger vivid mental pictures. And it is okay to make a few experimental triolectic diagrams before landing on one that will become your thematic generator. Aim The ultimate aim of creating your Thematic Trioloectic is to discover an idea or theme that you can carry forward as the conceptual focus of your Final Work Project. It is important to enliven the idea through further brainstorming and studio-based experimentation. This is called practice-based research. Exercise 2: The ‘Cut-Up” Method This exercise is all about embracing random associations and including an element of chance in your creative process. · To begin take your 3 words from your triolectic and develop each word as a phrase (2-8 words). · Write each phrase on a piece of paper and cut it out. · Play with the sequence of the phrases as a catalyst for new possibilities. Now start looking at your sequences of words creatively, taking inspiration from Dadaist Tristan Tzara’s “Cut-Up” Method made famous by the Surrealists and employed by William S. Burroughs and David Bowie. Image credit: Extract from invitation to William S. Burroughs Centenary Exhibition, the “Cut-Up” Technique / Boo Hurray – Emory University Hot Tips: Arrange your phrases at random then re-arrange them. Use the words to trigger a brainstorm of ideas. Work through a series of possible combinations until you arrive at one that triggers an idea that appeals to you and that you see as having potential to be progressed further. In your visual diary document the key phrase sequence that you arrived at using the “Cut-Up” Method and then explain in brief how you envisage developing this idea as an artwork. By adopting the “Cut-Up” Method each of you will generate a unique list of words/phrases (the more unique the better!). From this original starting point your thinking will become even more idiosyncratic through further creative development. Be playful. And be aware that you can treat this process as a simple warm-up exercise, or you can use this task to establish the conceptual foundation or theme of your response to the Final Work Project. https://www.openculture.com/2011/08/william_s_burroughs_on_the_art_of_cutup_writing.html https://www.youtube.com/watch?v=N1FcS7KTnNY Exercise 3: From Thematic Triolectic to “Cut-Up” Method to Line Drawing The next step is to generate a visual interpretation of your idea or theme. This task is very simple. You have 15 minutes of working time. · In the first 5-minute bracket create a line drawing that relates to some aspect of either your Thematic Triolectic or your “Cut-Up” Method brainstorming. · In the second 5-minute bracket look at the first drawing and then repeat the process of drawing a visual interpretation of your idea with the intention to develop, enhance, adapt, intensify or improve the communicative power of the image. · Then repeat this by making a third drawing in the final 5-minute bracket. You now have three drawings which should record your creative thinking and document the evolution of the idea. The time limit should force you to work quickly. Hot Tips: There are no rules or strict guidelines, as there are many ways you can approach the creation of an image relating to your idea. To begin try to capture, portray, define, represent or depict a visual element of the idea, and feel free to be influenced by your investigation into your Thematic Triolectic and the “Cut-Up” Method. Then once you have done this in the first drawing you can then reinvent, translate, interpret, reconfigure or erase a visual response to the idea or try to tune into the new possibilities that exist in drawing itself and progress this potential further in the second drawing. Once you reach the third drawing focus more on the image itself, while at the same time loosening the connection to the starting point. The key is to attempt to move further and further outside of the realm of words and text and to seek to shift your communication to a purely visual form. The immediacy, flexibility and subtlety of drawing makes it the perfect visualisation tool. How you approach drawing is up to you. Remember that drawing can be spontaneous and gestural. So don’t be too precious about the process and place no pressure on yourself. I encourage you to be fluid, and to draw with a free spirit and no expectations of the outcome. If you adopt a playful, speculative attitude as you draw you can make new discoveries and encounter unanticipated and serendipitous outcomes. And in this way drawing can introduce fresh, unforeseen elements into your creative process. Your choice of drawing materials can be helpful here – perhaps try ink, charcoal or something that lends itself to expressive, experimental mark making. Now that you have created the three drawings reflect on the visual material you have in front of you and see if you can see some element or elements that have potential to be developed further? Once again, you can treat this process as a simple warm-up exercise, or you can use this task to establish the conceptual foundation of your response to the Final Work Project. Final Work Project Final Project Exercise 4: Shape / Colour / Form The next exercise seeks to prompt you to work in a looser, and more intuitive manner by exploring shape, colour and possibly three-dimensional form. Again looking at your three words start drawing a series of lines and then shapes. Try to develop three distinct shapes that appeal to you in some way, each shape should be abstract representation of one of the words. Translate the three shapes into silhouettes, then apply a colour to each shape. If you enjoy a sculptural approach, consider the potential to develop the coloured shape as a 3D form? This can be approached very simply through collage and layering or can be addressed through more complex construction. Use all materials and techniques at hand. Remember the many ways of working you experienced in this unit! Now look at what you have created and ask what significance these coloured forms can communicate? This might lead you to consider developing your conceptual trajectory through further studio-based experimentation. Exercise 5: Self-Directed The previous exercises are structured to encourage you to play with ideas in a dynamic context and to engage in practice-based research. That is, to attempt to discover more about an idea or a creative direction through brainstorming and studio-based processes. As outlined, these exercises can be approached as open conceptual development activities, or you can try to find something specific to develop further as a theme for your response to the Final Work Project. What will you do for your Final Work Project? Working out the answer to this question is now the task at hand. Step 1: Reflect on your experimentation in Exercises 1-4 and try to select 1 idea that you can take forward as a possible response to the final project. This is your unique theme! Step 2: Develop a studio-based experiment for your theme that will assist you in understanding the idea even more. It is good to explore a range of possibilities and seek to discover new opportunities. Be creative, playful, experimental, inventive and innovative. Step 3: Present your experiment in class for discussion. And then engage in further creative development. These activities will be the focus of the Week 13 Class where there will be opportunity for discussion and critical feedback on your idea and work-in-progress. Final Work Project Week 13 Open Studio and Work-in-Progress Presentation / Discussion / Feedback Session The Week 13 classes are open studio sessions in which you can develop your work in a self-directed manner. During this time you can continue brainstorming and once you have an idea or direction you can then focus on the development of your theme as a response to the Final Work Project. During the class you will be encouraged to present your theme or idea for the Final Work Project and the related experiment and work-in-progress for feedback. Each student will have approximately 3 minutes to do so. After each student presents, there is time for questions, discussion and feedback. NB this isn’t a formal presentation. It is a very relaxed and enjoyable process. It runs as a simple “show+tell” in which you talk about your theme and the process of creating the work. If relevant you can also present parts of your process work including the Visual Diary. It is up to you. The only tight constraint is time, as we can only schedule approximately 5 minutes per student. NB The assessment process for the Final Work Project will be explained as a part of this last class and there will also be the opportunity for you to ask questions. Remember this class is the last chance to ask questions prior to working independently during Stuvac, and then moving onto the assessment process!
CSC207H: Assignment 3 A3 Reading Code, Plugging into and Architecture, FileIO, File Parsing, Regex, Using AI, Using a Design Pattern. Getting started Starter code has been placed in git clone https://[email protected]:9999/git/207/24f/repo_a3_UTORID.git under the a3 IntelliJ project. Inside the repo, you will find important documents and directories Package ca.utm.utoronto.paint - the Paint program scrum - the directory to store scrum artefacts. - please review and maintain the documents here. You will be adding to - dailyScrumMeeting.txt - productBacklog.txt : implement the user stories in here - sprintBacklog.txt - Please make sure to follow good Scrum procedures. Part 1: Add New Features You should modify the given application to add USER STORY 3.1, 3.2 and 3.3 IN THAT ORDER! You must add the USER STORIES and BUGS in the specified order. You must conform. exactly to the paintSaveFileFormat.txt. This document also appears in your repo. BUG 3.4 and BUG 3.5 are not required, they are just additional exercises. For full marks YOU DO NOT have to complete BUG3.4 and BUG3.5. 1. [10 marks: Medium] USER STORY 3.1 Polyline Hint: Understand Squiggle. Objectives: Practice reading and understanding a large code base. See and understand the use of design patterns in code. Extend existing code by plugging into design patterns. 2. [5 marks: Easy] USER STORY 3.2 Save Objectives: Practice file writing Some understanding of an existing design pattern is needed here. The result of Saving a file should be a completely correct Paint Save file. My parser should be able to read your files. 3. [10 marks: Medium] USER STORY 3.3 Load Your parser should pass all of my PaintFileParserTest test cases. DO NOT BREAK THE PaintFileParser public interface!! Hint: Since spaces don't matter, strip them out of the line immediately aft er you read them from the file. This simplifies your regular expressions! That is, in PaintFileParser.parse, add l = l.replaceAll("\s+",""); // right at the start of the while loop Objectives: Practice file reading Regular Expressions File parsing via a finite state machine 4. [0 marks: Hard] BUG 3.4, Visitor1 Drawing Objectives: Demonstrate understanding of an advanced design pattern, refactoring existing code to take advantage of the design pattern. Since we won't help you apply the design pattern, this requires that you search resources, understand them, understand how to map the pattern onto existing code and then modify the existing code. Our notes do have a good collection of examples though. 5. [0 marks: Easy] BUG 3.5, Visitor2 Save Objectives: Once the architecture is in place, this exercise gives you a chance to see how this simplifies and localizes concepts. Note: We will not answer questions about Visitor above. Why? Because part of being a developer is understanding the literature and applying it to your code. These are intended as a challenge. Part 2: AI Features (ollama/llama3) [25 marks: Medium] We would like to add AI into the actual paint application, but we will be satisfied with using AI to generate and modify Paint File Format files. This is inches away from having a feature in Paint, but this will be easier for you to implement and for us to mark. Reference Files: Ollama, OllamaNumberedFile, OllamaPaint samples1.zip and samples2.zip The output of my incomplete solution at samples1.zip and samples2.zip. These were generated strictly from newFile and modifyFile as implemented in my solution. See if you can do better! See the resources folder. Your job is to Login to the UTM VPN FIND YOUR 3 Ollama Servers from this list, and use only your servers!! You only need 1. Understand class Ollama You do not have to complete anything here! Understand class OllamaNumberedFile. You do not have to complete anything here, but you should check that everything works. Plug in your server (in place of dh2010pcXX) and run OllamaNumberedFile.main() Then check your home directory for the newly created files. Complete class OllamaPaint, so that it runs completely, generating an interesting collection of files in your home directory when OllamaPaint.main() is executed. This means you have to complete newFile newFile1 newFile2 newFile3 modifyFile modifyFile1 modifyFile2 modifyFile3 Marks for modifyFileX and newFileX come from creating interesting files and modifications which work eff ectively. Is it an interesting idea? Does it execute well? Does it sometimes, most times or always produce parsable files? Question: Aft er I merge my userstory/bug fix, can I delete my branch? Question: Do I have to name the branches as described in the repo? Do I have to add my name to user stories/bugs? Question: Can I see the branches in the git log (command line?) Question: If there are platform. issues where should our final project run? Question: Do we get marked for scrum on this? Question: Can I add classes and methods to the Paint starter code. Question: Can I change the signature of the given starter code methods? Question: How will the version number change? Question: How many states is reasonable? Question: What if my parser can parse a file that the solution parser can't. Question: I want to ask about the PaintFileParser, should our code work in a manner that if an error occurs, it just returns either true or false and causes the code to stop at that point? Question: I do have another question though. When I load a file, should all the shapes in the panel that existed before the load be erased? Question: Also, should the parser be case-insensitive? For example, In the assignment page we have: Paint Save File Version 1.0 Circle Should my parser also parse: Paint Save File Version 1.0 CIRCLE note: circle is capitalized Question: What about negative coordinates? Question: How do I go about understanding all of the Paint code? Question: Someone posted on reddit: "@CSC207 profs: I really appreiciate how much you care about us not falling behind, but... ...not all of us can start the assignment as soon as it's released lol." Responces include things like: "Suck it up like the rest of us that did this before." What gives? Why are you pressuring us? Question: I go to off ice hours asking how to implement a solution to Polyline, and the TA starts asking me questions about how paint works. Question: How do I prevent my branch from flattening out into master when I merge on the command line?
CMPUT 401: Assignment Winter 2025 The goal of this assignment is to get you acquainted with the technical aspects of the web app development process. In this assignment, you will build a simple REST API and deploy it to a Cybera Rapid Access Cloud instance. This assignment will also get you acquainted with GitHub basics. You are free to choose any programming language, and use any frameworks, packages, modules, libraries, and any database management system. GitHub • GitHub Classroom assignment invitation link:https://classroom.github.com/a/j92ybbve • Click the link above to create a repository that you will use for this assignment. • You will create an issue titled “News API” . • You must work off a branch and merge your branch into the “main” branch with a pull request. • You must merge the pull request you created into your “main” branch with a phrase that closes the issue you created. DO NOT delete the first branch after merging the pull request and closing the issue. • This GitHub repository shouldn’t have anymore commits after the deadline of the assignment. • Naming conventions are an important point specially when working in teams, make sure to choose and follow a specific convention for your commit messages, branch names, and other names. Usually in different companies, the convention is already defined or when working in teams a specific convention is agreed upon. For your personal use make sure to check out different conventions before choosing one. Using a unified convention makes your GitHub page look more professional. Endpoints Get the current top headlines for Canada • For this assignment we are going to use thiswebsiteto get updated news. • Please Sign up to the website, you will get a free API key right away. • Please don’t input the data manually, your code should do that for you! • Store the first 20 news articles for Canada on Jan 1st 2025. • Update: You can use this link as there were some questions about other formats. • Although the sample response has the following fields, do not save them all (delete url and urltoimage). When added to the dataset each one of the articles should be assigned a unique ID (this is different from the source id field just leave that as it is) that will be used in other API calls. Do not save url and urlToImage. { "status": "ok", "totalResults": 1, "articles": [ { "source": { "id": null, "name": "Contemporist.com" }, "author": "Erin", "title": "A Dark Brick Exterior For A Home Surrounded By Trees", "description": "Scott Posno Design has shared photos of a modern home they recently completed in Vancouver, Canada, that showcases a dark brick exterior.", "url": "https://www.contemporist.com/a-dark-brick-exterior-for-a-home-surrounded-by-trees/", "urlToImage": "https://www.contemporist.com/wp-content/uploads/2024/10/modern-house-dark-brick- exterior-181024-1108-01a.jpg", "publishedAt": "2025-01-01T16:57:10Z", "content": "Scott Posno Design has shared photos of a modern home they completed in Vancouver, Canada, that showcases a dark brick exterior.r The house presents a series of stacked, dark brick volumes that create … [+1297 chars]" } ] } Get News List http://[ipv6 address]/news (GET) { "status": "ok", "totalResults": 20, "articles": [ { "id": 1, { "source": { "id": null, "name": "Contemporist.com" }, "author": "Erin", "title": "A Dark Brick Exterior For A Home Surrounded By Trees", "description": "Scott Posno Design has shared photos of a modern home they recently completed in Vancouver, Canada, that showcases a dark brick exterior.", "publishedAt": "2025-01-01T16:57:10Z", "content": "Scott Posno Design has shared photos of a modern home they completed in Vancouver, Canada,that showcases a dark brick exterior.r The house presents a series of stacked, dark brick volumes that creat … [+1297 chars]" }, { "id": 2, { "source": { "id": null, "name": "Forbes" }, "author": "Jon McGowan, Contributor, Jon McGowan, Contributor https://www.forbes.com/sites/jonmcgowan/", "title": "Canada Seeks Input On New Greenwashing Law That Will Impact US Businesses", "description": "The Canadian Competition Bureau has released a draft of proposed guidelines regulating environmental claims in marketing and is seeking feedback from impacted businesses.", "publishedAt": "2025-01-01T00:17:29Z", "content": "Canadian flag flutters against a blue sky in Richmond Hill, Ontario Canada, on February 11, 2023. ... [+] (Photo by Creative Touch Imaging Ltd./NurPhoto via Getty Images)r NurPhoto via Getty Imagesr … [+4671 chars]" } ] } Update News http://[ipv6 address]/news/{id} (PUT) Sample request structure (all fields must be supplied): { "name": "Bringatrailer.com" }, "title": "2007 Porsche 911 GT3", "publishedAt": "2025-01-01T19:40:14Z", "status": 200, Modify News (PATCH) anyfields ofthe PUT method can besupplied): "author": "bringatrailer" }
EENG6670 Embedded Computer Systems Engine Control Lab – Lab Group 13 EENG6670: Microcomputer Applications, Architectures and Performance (MAAP) Introduction This experiment supports some of the material in the MAAP lectures. You will look at a real-time system problem, generating the spark in an internal combustion engine. Safety This experiment has been reviewed under the Control of Substances Hazardous to Health (COSHH) regulations with a conclusion that there are no hazards covered by this act. The equipment has a revolving disc which may cause minor abrasions if touched while in operation. As with any electrically operated equipment, you should take care not to short out power supplies so metallic objects such as pens and watches should be kept clear. Assessment This experiment will be assessed by means of a formal report (as a guideline of about 10-12 sides, including diagrams and code listings) (note: do not list the whole code in your report as part of your answer to each task. Instead, only sections of code that relate to the task and where code modifications have been made). As a guide, you should spend about 6 hours on this and you can return to the lab to finish off or check results if you wish. You should each separately prepare your formal report. The emphasis should be on what you did and discovered with a discussion of these discoveries rather than a restatement of this script. For this reason, you should keep detailed records of your activities in an open Word document or note book including screenshots of the oscilloscope trace and the MBED LCD display which you must include in your final report with your answer to each part/question. Make sure you caption each screenshot properly and refer to it when you are providing your answer to each part/question. Background theory for this lab is provided through the MAAP lecture 10 slideset/recording on Moodle. Throughout this script. you will find questions/topics which I would like you to answer and discuss in the report. The Experiment Rather than writing an exhaustive script. for this experiment, I have outlined the aims and method of each section. Generally, text in italics is used for aspects you will observe or carry out in the lab. Text in bold is used for questions you have to answer. Text in red is used for additional hints on each topic. Note: Avoid the use floating point variables and math in any of the calculations you implement within the code – it’s too slow. Please feel free to ask questions of the demonstrator and lecturer during or after the demonstrated sessions (please include both in your email): Demonstrators: George Frangulea ([email protected]), Hazim Abdulsada ([email protected]) Lecturer: Philippos Assimakopoulos ([email protected]) Preamble Before starting the lab, go through the background theory (MAAP lecture 10 slideset and recording on Moodle). If you haven’t used the MBED for some time, remember to check your MBED login prior to the lab and make sure it works (you will need it for the lab). Note: Make sure that you stay within your allocated lab group and work on the correct lab script. version as the lab script changes every week. Submissions that are not for the correct lab group script will receive zero marks. PART 1 [1 Mark] In the lab we do not have a real petrol engine. Instead, we use a circuit board with a rotating disc/ flywheel (rotating counter-clockwise) to simulate some aspects of a petrol engine. The rotating disc can be made to spin at different rotational speeds (rpm). It has a TDC sensor and small hole in the disc to view LEDs. It also has some LEDs in the board that light up when the disc is at TDC and when you get a spark (the demonstrator will answer any questions you may have regarding the setup). Log on to the MBED Keil Studio Cloud and create a new design called “measure”. Copy and paste the file measure.cpp from Moodle into your new design. The program uses the LCD12832 display to print out results, so you will need to import the LCD12832_lcd library into your design. Connect the black flying lead from the flywheel to the GNDpin of the MBED, and the TDC output (red lead) to pin 30. Compile, download and run the project ‘measure’. Observe the program’s output on the LCD Display and/or the PC using Tera Term (a terminal emulator) (example LCD output is shown in Fig.1). Fig. 1. Example of information displayed on the LCD display The measure.cpp program uses the MBED’s CAP2.0 capture pin (pin 30) and Timer 2 to measure the rotational period of the disc. Go through the code (use the course lecture slides as reference if needed) and ensure that you understand how the program works. Use the oscilloscope to look at the TDC pulse. It would look similar to Fig. 2 (note: if you are unfamiliar with the operation of an oscilloscope, ask the demonstrator). Fig. 2. Oscilloscope view of TDC pulses. Note that measurement markers have been placed such that the period (Δt) between two consecutive TDC pulses can be measured. Using the scope, determine and explain the relationship between the rotational period displayed by the program (in the LCD) and the timings measured using the oscilloscope – i.e, work out and state what a change of ‘1’ in the displayed LCD value corresponds to in actual time. Explain and note this in your report. Relate your answer to how the code in measure.cpp is implemented. [Hint: Check the code, especially for the Timer2_init() function, try to work out the period of Timer- Counter 2 which is based on the pre-scaler value and the main frequency of the MBED core chip (the LPC1768 microcontroller). Once you have done this, you should be able to explain the relationship between the period displayed in LCD and the measured Δt from oscilloscope.] Useful notes (based on the Lecture 10 slideset): . The disc represents the crankshaft of the engine. . Pistons are normally attached to the crankshaft and they slide up and down within cylinders. . When the piston is at the top of its travel within the cylinder, it is said to be at Top Dead Centre (TDC) . It is from here that the angles are measured i.e. it is 0° . . The TDC sensor gives a positive pulse of about 4 milliseconds when the piston is at TDC. The rising edge (seen for example in Fig.2) represents TDC. PART 2 [2 Marks] Add a digital output called something like ‘spark’ on pin 12 to the measure.cpp code, to generate a "spark" at TDC with a duration of 0.5 ms. Attach the white lead (spark wire) to your spark output and use the scope to observe the TDC sensor output and the spark. Sketch/Capture the result. Useful notes (based on the Lecture 10 slideset): . In this context a "spark" is a short positive pulse of 0.5 millisecond duration. It should be generated on the specified MBED pin which needs to be connected to the engine simulator. There, the spark pulse causes the LEDs to flash briefly. . There is a small hole in the disc to view the LEDs. Since the LEDs are at a point just before TDC, in this instance you will not see them by looking from above. [The disc rotates anti clockwise]. They will be visible from the side. . The simplest way to generate the spark is to set the spark output high at TDC, then wait for 0.5 millisecond before setting it low again. Note – You will need to configure the Spark output pin as a DigitalOut. [Hint: The rising edge of spark signal should be generated at the rising edge of TDC. To implement this, figure out where the TDC signal is generated in measure.cpp file. Once you figure out this part, you should be able to find out where to make the addition to the code to generate the spark signal. Moreover, when you use the built-in wait(), wait_ms() or wait_us() functions from MBED library, for some reason, sometimes the wait_ms() function does not work properly. To tackle this issue, try to use the wait() function instead, but remember that the parameter passed into the wait() function is in unit of seconds. Lastly, DO NOT use any aforementioned wait() function inside the Timer2_isr() - as we discussed in the lectures it is not good practice to add delays in an ISR.] Part 3 [5 Marks] Create a new design called ‘timing’, copy and paste the file timing.cpp from Moodle into your new design. Compile and run timing.cpp. It produces a spark pulse, on pin 10, at 180 degrees before TDC. Modify the programme so that it produces the spark at 15 degrees before TDC. Useful notes (based on the Lecture 10 slideset): . A spark has to occur some time before TDC to allow the petrol/air mixture to be burning when the piston reaches TDC. This is known as the Advance Angle (AA) since the spark occurs "in advance of" TDC. . You should be able to see the LEDs flash through the hole in the disc. The green LED is at 15 degrees before TDC. [Hint: The disk rotates counter-clockwise (NOT clockwise).] Observe the variation in the timing while the disc speed is being increased and decreased. You will see this as a change in the colour of the LED illuminated through the hole at the time of the "spark". That is, the spark pulse does not occur at the correct angle when accelerating or decelerating. Why does this occur (provide an explanation in your report)? [Hint: Check how is the period calculated in the code.] Explain in your report how you could reduce this effect by modifying: (i) the software and (ii) the hardware Save the code you have generated in Part 3, you will need to return to it later… Now modify your code such that it displays not the period of rotation of the flywheel, instead it displays the rotational speed in revolutions per minute (rpm). [Hint: You will need to inspect the Timer initialisation code to determine the significance of the displayed value of period. In addition, as you should not use floating point calculations, all variables should be declared as volatile INTEGER type, pay close attention when performing division arithmetic operations during the conversion from period of rotation to the rotational speed in revolutions per minute as any small value divided by a big value will end up with a zero result. For example, if you have three integer variables, int a = 2; int b = 10; and int c = 5, then a/b * c = 2/10 * 5 will give you 0 in this case, NOT 1 as 2/10 = 0 and 0 * 5 = 0. To solve this, rearrange the expression to (2 * 5) / 10 which will give you the desired output 1.] Part 4 [4 Marks] For best engine efficiency, the advance angle is small for low revolution rates and much larger at high revolution rates. Alter your program so that it calculates the Advance Angle (AA), which should be 20 degrees up to 600 rpm and constant at 80 degrees beyond 1500 rpm. Between these two rotation speeds, there should be a linear change in the AA. Test your AA calculation code by displaying the AA (along with the RPM) on the LCD display, line 2. [Hint: Background information useful for solving this is available in the Lecture 10 slideset. You will need to derive the mathematical formula of the linear part of the AA graph.] Once you have an AA varying between the two limits, modify the programme so that the spark occurs at the calculated time. Do not use floating point in your calculations since it is slow. Use your program to work out the angle before TDC of the right-hand red LED. [Hint: In PART 3, the spark occurs at a fixed advance angle which is 15 degrees. Now you will need to utilise the calculated advance angle from above and replace the hard-coded one you did in PART 3] Part 5 [2 Marks] A realtime system can be defined as a system in which an action or calculation must occur within a limited period of time. As such, the system you have devised above can be considered as a real time one. How much time is available for the calculation of the advance angle given a speed of 2100 revolutions per minute? [Hint: This is a calculation problem. Background information useful for solving this is available in the lecture 10 slideset on Moodle.] Part 6 [2 Marks] Implement your software modification suggested in Part 3 to maintain the correct advance angle during acceleration and deceleration. Test your solution and see if it works. Part 7 [2 Marks] The code provided for Parts 3-5 uses a general purpose I/O Pin configured as an output and named ‘spark’ plus two Match Registers MR0 and MR1. An interrupt from MR0 sets the spark output high and an interrupt from MR1 resets spark low. The use of two match registers for a single output is not efficient, neither is the use of an extra output pin and DigitialOut API, when the processor can drive a pin automatically from the Match Register. Copy the original timing.cpp code to a new design name and modify the code such that it uses just Match Register 1 to set the spark pin high, and then to return it low. Set the AA at a constant 15 degrees, to keep things simple and make testing easier. Note: It is not safe just to toggle the Spark output, you need to set it high on the first Match Register Interrupt following TDC then set it low on the next interrupt. If you just toggle Spark, there is always the chance that the spark signal could become inverted following a glitch, so set it explicitly high and then low. Part 8 [2 Marks] The code is still using an extra output pin and DigitalOut API. Modify your program such that the spark is generated directly from the MAT2.2 signal. To do this you will need to configure pin 6 such that it is driven by MAT2.2, and the pin should be set high and then set low using the Timer 2 Match Register 2. Note: Pin 6 is used by the application board to drive the LCD Display, so this change will mess up the display. But give it a try anyway and checked the results on the oscilloscope. (It’s likely that you will have to remove the lcd library from your project for this). Once again, you should avoid toggling the spark output on a match.
Event Staffing Budget Development & an Annual Operating Budget Scenario You have been hired as the assistant director of a new 10,000-seat arena in New City, Ohio. The venue will be a full-service, multi-purpose arena with a projected event schedule that includes the following events (with projected attendance figures and event length): · 38 home minor league hockey games (average attendance, 5,500) (3.5 hours / game) · 20 home Division 1 college basketball games (average attendance, 8,500) (3 hours / game) · 5 Disney On Ice performances (average attendance, 6,500 per performance) (2.5 hours / performance) · 6 Ringling Brothers Barnum & Bailey Circus performances (average attendance, 7,500 / performance) (2 hours / performance) · 1 The Original Harlem Globetrotters event (projected attendance, 8,000) (1.5 hours / show) You have been asked to put together an estimated staffing budget based on the following formulas: · 1 usher (per 250 attendees) at $8.00 hr · 1 usher supervisor (per 10 ushers) at $10.00 hr · 1 peer security guard (per 300 attendees) at 8.50 hr · 1 peer security supervisor (per 15 peer security guards) at $11.00 hr · 1 ticket seller (per 1,500 attendees) at $9.00 hr · 1 ticket taker (per 1,000 attendees) at $8.50 hr · 1 event coordinator (per 3,000 attendees) at $18.00 hr · 1 police officer (per 2,000 attendees) at $30.00 hr · 1 EMT (per 3,000 attendees) at $23.00 hr Assignment 1. Based on the information above, a. Create an Excel spreadsheet with appropriate formulas to serve as a template for calculating your staffing expenses for each event. Use this tool to calculate the total projected event staff expenses for each event type and then the event staffing budget for the first year of the new arena. b. How many attendees do you welcome annually? 2. Analyze the attached annual operating budget. Look at the revenue streams, expense categories and the costs. a. What is the yearly result of their operations? b. How many events contribute to the overall rent revenue? c. How do you understand Commissions as a revenue category? d. What can you say about the food service? Are they profitable? Are they provided in-house or using an outside provider? e. On average, how much money do you make from concessions per event?
Grundlagen der VWL 2: Makroökonomie 2023 Arbeitsmarkt 1 Ein wirtschaftspolitisches Ziel des magischen Vierecks ist ein hoher Beschäftigungsgrad. A) Das Okunsche Gesetz besagt, dass in der kurzen Frist Konjunkturschwankungen einen großen Teil der Veränderungen der Arbeitslosenquote erklären. Dabei ist das BIP-Wachstum negativ mit der Arbeitslosenquote korreliert. B) Die Erwerbsquote misst den Anteil der Erwerbstätigen an der Bevölkerung im erwerbsfähigen Alter. C) Die Bevölkerung im erwerbsfähigen Alter sei 80 Millionen, die Zahl der Erwerbspersonen sei 60 Millionen und die Zahl der selbstständigen oder abhängig Beschäftigten 57 Millionen. In diesem Beispiel beträgt die Arbeitslosenquote 5 Prozent. D) Sinkt die Arbeitslosenquote, sinkt auch die Erwerbsquote. E) Die restlichen Ziele des magischen Vierecks sind ein „stetiges und angemessenes Wirtschaftswachstum“, ein „außenwirtschaftliches Gleichgewicht“ und „Netto-Null bei CO2-Emissionen“. Inflation 2 In Bayern werden drei Güter gehandelt: Brezen, Bier und Wasser. Nachstehende Tabelle zeigt die Preise und Mengen für diese Güter in den Jahren 0 and 1. A) In diesem Beispiel beträgt die Inflation laut Laspeyres-Index 8%. B) Der Verbraucherpreisindex ist ein Beispiel für einen Laspeyres-Index. C) Beim von der EU erhobenen harmonisierten Verbraucherpreisindex unterscheiden sich die Warenkörbe der einzelnen Länder nicht. D) Laut Paasche-Index herrscht in Bayern in diesem Beispiel Deflation. E) Ein Problem des Verbraucherpreisindex ist der Substitutionseffekt. Dieser tritt ein, wenn Verbraucher neue Güter konsumieren, die es zuvor nicht gab. Volkswirtschaftliche Gesamtrechnung 3 Betrachten Sie folgende geschlossene Volkswirtschaft: In der Milchproduktion wird ohne Vorleistungen Milch im Wert von 300 Euro hergestellt. Die gesamten 300 Euro werden in Form. von Löhnen und Gehältern ausgezahlt. Die komplette Milchproduktion wird von einer Käserei aufgekauft, die daraus Käse im Wert von 650 Euro herstellt. In der Käserei werden Löhne und Gehälter in Höhe von 325 Euro ausbezahlt. Die Haushalte zahlen auf ihr Einkommen Steuern in Höhe von 150 Euro, sparen 10% ihres verfügbaren Einkommens und verwenden den Rest für den Konsum von Käse. Der Staat konsumiert Käse im Wert von 200 Euro. Es gibt keine Abschreibungen. Nicht verkaufte Produktion geht in die Lagerhaltung ein. A) Das BIP beträgt 650 Euro. B) Die Gewinne in der Volkswirtschaft betragen 325 Euro. C) Die Investitionen betragen 0 Euro. D) Der Finanzierungssaldo des Staates beträgt -50 Euro. Der Staat gibt also mehr aus als er einnimmt. E) Möchte man das BIP einer offenen Volkswirtschaft über die Verwendungsrechnung bestimmen, ist das Ausland mit einzubeziehen. Dabei müssen von den restlichen Posten der Verwendungsrechnung Exporte abgezogen und Importe hinzuaddiert werden. Gütermarkt 4 Die gesamtwirtschaftliche Nachfrage Z in einer geschlossenen Volkswirtschaft setzt sich aus dem Konsum (C), der Nachfrage nach Investitionen (I) und den Staatsausgaben (G) zusammen. Die Staatsausgaben sind exogen gegeben und betragen 500 Euro. Es werden keine Steuern erhoben. Es gilt die nachstehende keynesianische Konsumfunktion, wobei c0=50 und c1=0,5. Die Investitionsnachfrage ist durch I = 200 gegeben. A) Bei der gegebenen Konsumfunktion gilt: Je höher das verfügbare Einkommen, desto geringer die marginale Konsumneigung. B) Im Gütermarkt-Gleichgewicht beträgt die Produktion 1500 Euro. C) Steigen die Investitionen um 10 Euro, steigt die Produktion um 5 Euro. D) In diesem Beispiel übersteigt das private Sparen (S) die Investitionen (I). E) Angenommen, c0 sinkt, sodass das private Sparen steigt. Im Gleichgewicht führt dies zu einem Rückgang der Produktion, aber zu keiner Veränderung des gesamtwirtschaftlichen Sparens bzw. der Investitionen. Geldmarkt 5 Betrachten Sie folgende Aussagen zu Geldmarkt und Geldpolitik. Welche der Aussagen ist/sind korrekt? A) Eine Senkung des Leitzinssatzes wird als kontraktive Geldpolitik bezeichnet. B) Ein sinkender Zinssatz erhöht die Opportunitätskosten der Geldhaltung und senkt daher die Geldnachfrage. C) Wenn die Zentralbank Wertpapiere am offenen Markt kauft, steigt die Geldmenge. D) Wenn die Produktion bzw. das Einkommen einer Volkswirtschaft steigt, steigt die Geldnachfrage. Bei Zinssteuerung führt dies zu höheren Zinsen und zu einer höheren Geldmenge. E) Wenn Geschäftsbanken beschließen einen größeren Anteil der Sichteinlagen als Reserve zu halten, steigt die Geldmenge. Geldmarktmodell 6 Die Geldnachfrage sei gegeben durch Md = PY(0,5-i), wobei i immer zwischen 0 und 0,5 liegt. Das Einkommen beträgt Y=400, außerdem gilt P=1. A) Wenn die Zentralbank einen Zinssatz (i) von 25% festlegt, ergibt sich eine gleichgewichtige Geldmenge von 100. B) Wenn Y um 25% steigt, muss ein Zinssatz von 10% angesetzt werden, um die nachgefragte Geldmenge bei 100 zu halten. C) Wenn der Zinssatz steigt, muss bei gleichbleibenden Zahlungsversprechen auch der Preis der festverzinslichen Wertpapiere (Bonds) steigen. D) Wenn bei gegebenem Einkommen die Geldmenge steigt, muss der Zinssatz sinken. E) Bei einem Zinssatz von (nahe) null wird die Geldnachfragekurve horizontal, da Wirtschaftssubjekte indifferent zwischen Geld- und Wertpapierhaltung sind. Langfristiges Wachstum 7 Betrachten Sie folgende Aussagen zum langfristigen Wirtschaftswachstum. Welche der Aussagen ist/sind korrekt? A) Konjunkturelle Schwankungen sind der Hauptgrund für die großen Unterschiede im Pro-Kopf-Einkommen zwischen Ländern. B) Ein kontinuierliches Wachstum im Pro-Kopf-Einkommen von 2% pro Jahr bedeutet, dass sich das Pro-Kopf-Einkommen ca. alle 35 Jahre verdoppelt. C) Ärmere Länder verzeichnen tendenziell geringere Wachstumsraten im Pro-Kopf-Einkommen als reichere Länder. Dieses Phänomen nennt man Konvergenz. D) Pro-Kopf-Einkommen und durchschnittliche Lebenserwartung der Bevölkerung sind nicht korreliert. E) Das "Malthusianische Zeitalter" bezeichnet eine wirtschaftshistorische Epoche, in der Produktivitätswachstum zu einem höheren Pro-Kopf-Einkommen, aber nicht zu einer größeren Bevölkerung führte. Solow-Modell 8 Das Solow-Modell analysiert die langfristige Entwicklung einer Volkswirtschaft. Welche der folgenden Aussagen trifft/treffen auf dieses Modell zu? A) Im Steady State beträgt die Wachstumsrate des Kapitalstocks immer null. B) Die Produktionsfunktion weist konstante Skalenerträge auf C) Je höher der Kapitalstock pro Kopf, desto geringer das Grenzprodukt des Kapitals. D) Das Solow-Modell kann erklären, warum Länder mit ursprünglich niedrigerem Pro-Kopf-Einkommen schneller wachsen als Länder mit ursprünglich höherem Pro-Kopf-Einkommen. E) Ein Problem des Solow-Modells ist, dass der technologische Fortschritt ausschließlich endogen erklärt wird.
Fashion and Culture Spring 2025, PUFY1235 CRN: 2356 Section B Course Description An integrated studio exploring contemporary couture, designer fashion, and the influences they draw from. The cultural backdrop related to fashion history will be explored, placing the changes of styles within the social, political, and economic context. Studio work will involve creative interpretations of lectures to strengthen understanding of concepts and/or synthesize them with the modern world. Learning Outcomes By the successful completion of this course, students will be able, at an introductory level, to: 1. Evaluate information gathered from images, objects and readings in order to question assumptions related to past and current practices of fashioning the body. (Weeks 1-15) 2. Exhibit familiarity with cultural-historical narratives in fashion history in order to identify possible intersections between fashion and cultural/artistic movements. (Weeks 7, 9) 3. Demonstrate the ability to extract information from various forms of research and translate it into written and studio practice. For example, utilizing “gathering” skills to collect found objects, transforming these objects through techniques in order to create meaningful forms of body ornamentation (Weeks 4, 6, 15) 4. Collate, integrate, and synthesize key concepts and skills in depth and breadth into cohesive studio-based projects. (Weeks 4, 6, 15) 5. Learn to transfer skills and knowledge gained in this course for use in your creative practices. Our third project is designed to contextualize work undertaken by students outside of our course. (Weeks 2-13) 6. Demonstrate fundamental literacy for the links between fashion and socio-political concepts and a capacity to describe how clothing has been used to express different types of identity such as gender, status, social rank, and socio and cultural affiliations. (Weeks 3,4,5,6) 7. Develop a responsible, reflective process of communication through self and peer critique. (Weeks 6, 15) 8. Reflect on their learning in posts on the Parsons Learning Portfolio. (Weeks 4, 10) Course Format This course is an in-person course. Most class sessions take place in our classroom. Students are required to: -Attend weekly class meetings in person on Friday from 12:10 pm - 2:50 pm. -Post their grade-based work in Canvas and post reflections and progress reports in the Learning Portfolio if available. -Students are expected to check Canvas regularly for updates about the class. -Spring Break First-Year courses DO NOT have assigned homework over Spring Break. Weekly Outline Topic week + date Activity Due Introduction to course Week 1 1/22 Resource Introduction:NSU library, WWD, Bloomsbury Fashion Central, Google Arts and Culture, Fashion and Race DatabaseHomework Assignments:-Explore Syllabus and Assignments on Canvas-Introduce yourself via “Getting to Know You” Discussions in Canvas Due: 1/26 Due: 1/28 Body Ornamentation Sources and viewpointsDiscuss Body Styles readingBody Ornamentation Project overview Homework Assignments:Read and respond:Due: 2/4 Body OrnamentationDue: 2/4 Discuss Designer Connections:Body Ornamentation Body Ornamentation Project check-in Bring in found materialsHomework Assignments:Read and respond:Feathers as AdornmentBody OrnamentationPresentation submitted via Learning Portfolio Week 4 2/12 Student Presentations via Learning Portfolio: Body OrnamentationHomework Assignments:Designer Connections: Read and respond:“Exoticism” MFIT exhibition materialExploring traditional craft reading TBADue: 2/18 Traditional Design / Craft Week 5 2/19 Student Presentations: Body Ornamentation continued In class reading: Due: 2/25 View and Respond: Video tour of the Costume Institute exhibition, China Through the Looking Glass Designer Connections: Due: 2/25Discuss Designer Connections:Words or Text using words or text meaningful to you create an original design Homework Assignments:Read and respond: Curbing Cultural Appropriation in the Fashion Industry Orientalism Visions of the East in Western Dress Spring Break 3/12 NO CLASS MEETING Midterm Check-ins Week 8 3/19 Midterm Check-ins Online via Zoom View and respond: Fashion, Culture, Futures: Introduction and Due: 3/25 Week 9 3/26 Work on Inspiration/Appropriation Project Inspiration/Appropriation ProjectDue: 4/1 Read and respond: Fashion Between Inspiration and Appropriation Due: 4/1submitted via Learning Portfolio Week 10 4/2 Project Presentation via Learning Portfolio: Inspiration/Appropriation Discuss Design Storyteller Project Listen and Respond: Podcast: BBC A History of the World in 100 Objects: Silk Princess Painting Due: 4/8 Week 11 4/9 Inspiration/Appropriation Project presentations continued Discuss Design Storyteller Project View and Read and respond: Fairy Tale Fashion https://artsandculture.google.com/story/PgXBun-debzuKw online information on exhibition and Fashioning Wonder https://www.fitnyc.edu/museum/exhibitions/fashioning-wonder/index.php Designer Connections: Due: 4/15 Museum Visit Week 12 4/16 Museum at FIT Fashioning Wonder: A Cabinet of Curiosities (closes April 20) Discuss Designer Connections: Homework Assignments:Due: 4/29submitted via Learning Portfolio Week 14 4/30 Project Presentation via Learning Portfolio: Design Storyteller Group I Course Evaluations Design Storyteller Presentations “Learning Portfolio Reflection Post” Assessable Tasks Homework Assignments Weekly assignments consisting of written responses and visual comparisons to specific questions about readings and viewing are due before each class session. These assignments will require online image and text research. Grade based on meeting the assignment deadline, fulfilling what is asked for in the prompt, and the quality of content provided. Museum Assignments and Museum Notebook There will be one museum visit undertaken this semester with a museum assignment due the following week. Assignment consists of a museum notebook containing sketches and notes created at the exhibition. Additionally, specific questions pertaining to the exhibition must be answered in paragraph form. Grade based on meeting the assignment deadline, fulfilling what is asked for in the prompt and the quality of content provided. (Word count approx. 200) Projects and Presentations In-depth projects requiring outside research with creative making elements. Two to three weeks are given for work on each topic. Projects are supported by museum visits, readings, and film viewing. All projects must be included on student’s Learning Portfolios. Project topics include: -Body Ornamentation – Create a form. of body ornamentation using found objects, recording process of making and methods used through text description and visual references. (Word count 1800) -Inspiration/Appropriation – Research evidence of cultural appropriation in fashion. Compare and contrast original cultural artifacts that could be a possible source of inspiration. Devise a "solution/mediation" for your case study that will be sensitive to the originators as well as to the appropriators. Project consists of research writing, critical thinking and formal presentation. (Word count 2400) -Design Storyteller TBA – Past projects have included: Create an original illustrated myth/fairytale explaining how an aspect of fashion was first created. (Word count 2,200) Participation and Attendance You are expected to attend every class session, and assigned museum exhibition from our start time to our finish time, unless you have alerted me in advance with good reason. In addition to attendance, you are expected to engage with and participate in the learning environment. This may include contributing to in-class or online discussions, asking thoughtful questions and initiating meaningful dialogue. Students will be asked to come prepared for class discussions through an assignment of a homework reading, outside research or small project. Participation in discussion is required. All in-class activities, including readings, group assignments and research are due at the end of the class. If you miss an in-class activity because of absence you will not be able to make it up. Learning Portfolio You will use the Parsons Learning Portfolio throughout your education at Parsons. It is an ongoing, cumulative repository for your creative development and experience across courses, and across years. It archives your working process, skills learned, and connections you make between assignments, courses, and years, as well as final “finished” work. The courses in the first year emphasize the process – how you started, what happened next (and why), and how you ended up at your final work for each project. Showing preliminary work (sketches, drafts, notes, research, etc.) as well as final documentation of your work will help to tell your story and make connections that may not have otherwise been apparent. In Fashion and Cultures the Parsons Learning Portfolio will serve as a platform. to present projects, aid sharing and conversation, provide access to the breadth of your coursework this semester, and stimulate critically reflective learning, thinking, writing and making. Make sure to use the MANDATORY Parsons Learning Portfolio Template- and do not change the template as this is a shared component of the Parsons experience. Also please add a Learning Portfolio link to your Canvas Bio. This allows fellow students and faculty to access your portfolio. Required Readings All readings required for this course are available via Canvas Polhemus, Ted. Body Styles. Seven Hills Books, 1989. Martin, Richard and Koda, Harold. Orientalism: Visions of the East in Western Dress. Metropolitan Museum of Art, 2004 Recommended Readings For a better understanding of Fashion History Brown, Susan. Fashion: The Definitive History of Costume and Style. 1st ed. New York, N.Y.: DK., 2012 Cole, Daniel James, and Nancy Deihl. The History of Modern Fashion, Laurence King Publishing, 2015 For Writing Format Turabian, Kate. A Manual for Writers of Term Papers, Theses and Dissertations. 6th ed. Chicago: University of Chicago Press, 1996. Online Resources -Google Art and Culture app -Fashion and Race Database -Timeline of Fashion History (FIT) -Metropolitan Museum of Art, Collection database http://www.metmuseum.org/works_of_art/collection_database/ -Heilbrunn Timeline of Art History at the Metropolitan Museum of Art http://www.metmuseum.org/toah/ -NSU library databases including: Vogue Archive, Harper’s Bazaar Archive, Ebony Archive, WWD Archive, Women’s Magazine Archive Materials and Supplies Please note that there are materials costs associated with this studio course and you should expect to purchase up to $50 on supplies. The expected cost does not include printer points that you receive as a student, nor does it include the materials from the materials kit that is purchased as you enter the first year. You can find a list of the materials kit items on the First Year advising page: http://www.newschool.edu/parsons/academic-advising-first-year-students/ Materials requirements are: a 5X7 Notebook to use as your Museum Journal; Scissors for cutting paper, pencil, measuring tape; tools already acquired for previous Parsons classes; found or bartered material for Body Ornamentation project. Learning Together/Community Agreement ● Our class time together is valuable. While in class, I ask that you concentrate exclusively on our conversation and activities. Do not allow yourself to get distracted by other activities on your screen(s) and beyond. ● All classroom interactions should be in support of group and individual learning. Please reach out to me if you have any concerns about the learning environment or classroom dynamics. Keep in mind the following: ● Practice active listening; ask questions; be curious. ● Recognize intent, address impact ● Don’t assume identity ● No one knows everything, everyone knows something, and together we know a lot: We all get to practice being humble, because we have something to learn from everyone in the room. We all have a responsibility to share what we know, as well as our question, so that others may learn from us. ● We can’t be articulate all the time & will make mistakes. Fashion History pronunciation is difficult. Do not worry if you say a designer name or art movement incorrectly. There is one particular designer whose name I struggle with all the time. I also have a New Jersey accent that leaves me tongue tied with French pronunciation. Grading and Evaluation Students’ ability to meet the course’s learning outcomes will be evaluated based on the following criteria: ● Attend regularly and communicate any challenge or absences to their faculty ● Solve problems, both creative and technical through an iterative process ● Turn in project assignments and course material on time ● Document their research in the development of projects ● Describe the cross-course exploration between the Studio and Seminar ● Participate in class discussions and critiques ● Be accountable in collaborative work ● Improve in technical, creative, and problem solving abilities ● Submit thoughtful studio works that have undertaken several stages of ideation. About Attendance and Grading Your final grade will be calculated based on class participation (40% total) and projects (60% total). The following grade calculation demonstrates the need for your consistent participation, and equally as important, your active engagement in each step of the learning process. Weekly participation will allow you to successfully complete course projects and to contribute to our learning community. Students who must miss a class session should notify the instructor and make up any missed work as soon as possible- ideally in an email prior to the class meeting. The student is responsible for following the course on Canvas and continuing to meet due dates, regardless of absences. A student who anticipates an extended absence should immediately inform. the faculty and his or her program advisor. (For more information on attendance see the University Policies below) Final Grade Calculation Class Participation: 40% 10% Attendance/ Meeting Due Dates 10% Work-in-progress reviews; class discussions 10% In-class exercises 10% Learning Portfolio engagement Homework 21% Reading and Viewing Responses Projects*: 39% 13% Project 1 13% Project 2 13% Project 3 * See individual assignment sheets for grading criteria. 100% TOTAL
ENL 2223 ENGLISH FOR MASS COMMUNICATION I SESSION: JANUARY 2025 CLO 2: Write well-developed essays to respond to media-related issues. CRAFTING YOUR FIRST MAGAZINE (20%) Group Assignment (50 marks) This assignment will be done in a group of 3 to 4 members. It will contribute 20% of the coursework marks. There will be ONLY one submission for this assignment. Requirement: Your group magazine should be created from one of the topics given below. · Format: Softcopy (to be submitted online) · Length: 8–10 pages (including cover and table of contents). · Deadline: Week 6 (Short Semester) Week 10 (Long Semester) Proposed magazine topics: 1. Mental Health Awareness 2. Pop Culture and trends 3. Film 4. Campus Life: Stories and Events 5. Sustainability and eco-tourism Magazine components: 1. Cover Page · Magazine title · Main cover image · Highlighted feature articles or topics (e.g., “Top 5 Travel Destinations” or “The Future of AI in Media”) · Issue date and volume 2. Table of Contents · List of sections and articles with page numbers 3. Editorial Note · A short message from the editor (student group leader or teacher) introducing the theme of the magazine. 4. Main Articles (2–3) – one article per student · Each article should focus on the chosen theme (e.g., sustainability, pop culture). · Articles can be 300–400 words and include visuals like photos, infographics, or charts. 5. Feature Section · A special piece, such as: o A photo essay o A spotlight on innovations, trends, or local stories o Advertisements (at least 2) 6. Fun and Interactive Content · Examples: o Quizzes (e.g., “What’s Your Media Personality?”) o Short trivia or fun facts related to the theme o Crossword puzzles or “Spot the Difference” activities 7. Back Cover · A thank-you message or a visually striking image related to the theme. Assignment Process Weeks: 2-3 Preparation for the magazine cover and theme · Choose a clear and compelling theme that resonates with your target audience and aligns with the magazine's purpose. Ensure the theme is visually and conceptually cohesive across the cover and contents. · Focus on creating an eye-catching design with a striking image, bold headlines, and a clean layout. Use colors, fonts, and graphics that reflect the theme while maintaining readability and visual appeal. Weeks: 4-7 Magazine article and feature section preparation - one student per article · Ensure the article has a clear structure, including a captivating headline, an engaging introduction, well-organized body paragraphs, and a strong conclusion. · Check for subject-verb agreement, proper tense usage, and correct punctuation, especially in lists, dialogue, and quotations. NOTE: DO NOT use Wikipedia as a source. Sources should be current and after the year 2000. Weeks: 8-9 Fun and Interactive Content Preparation · Use quizzes, puzzles, polls, or short games to make the content interactive and appealing to the audience. · Attribute all borrowed ideas, data, images, or multimedia to their original creators using appropriate citation formats (UH Harvard Referencing and Citation). Include a reference list or credit section where necessary. Week 6: Submission (Short Semester) Week 10: Submission (Long Semester) Marking criteria: Rubrics for Simplified Magazine Structure (50 Marks) Criteria Description Marks 1. Cover Page (5%) Creativity and relevance of the title, image selection, and overall design (clarity and theme connection). 2.5 2. Table of Contents (5%) Clear layout, correct page references, and relevance to the content presented in the magazine. 2.5 3. Editorial Note (10%) Relevance to the magazine theme, engaging and professional tone, grammar, and spelling. 5 4. Main Articles (40%) Quality of writing (20%)—clarity, coherence, grammar, and engagement. Originality of content and relevance to the theme (10%). Use of visuals (10%). 20 5. Feature Section (20%) Creativity and relevance of the feature content, quality of design, and presentation. Includes innovative ideas (e.g., interviews, advertisements and photo essays). 10 6. Fun and Interactive Content (10%) Engagement level, creativity in designing quizzes or puzzles, and relevance to the theme. 5 7. Layout and Design (10%) Overall magazine structure, visual consistency, balanced use of text and images, and readability. 5 8. Teamwork and Effort (10%) Evidence of collaboration, equal contribution from group members, and timely submission. 5 * X x 20% = X% 50
BEMM782 Digital Marketing Planning 2024-25 Module Overview This practical and dynamic module will enable you to apply strategic marketing principles in a specific digital context. You will also learn valuable skills in how to approach and structure digital marketing campaigns, combining theory, strategy, creativity and implementation. The assessment will be based around a real case study organisation (a local charity). You will have the opportunity to share your ideas with the client and make a genuine difference to the success of the organisation. Be prepared, this module moves at a pace - and it will be both challenging and fun! You may find yourself working in a style. and format that is unfamiliar to you. However, the skills you learn will prepare you well for the world of marketing consultancy and marketing management. Intended Learning Outcomes (ILOs) These are published on the course page of the website: https://www.exeter.ac.uk/study/studyinformation/modules/info/?moduleCode=BEMM782&ay=2024/5&sys=0 It’s important to review and understand the ILOs, as not only do they highlight what you will learn during this course and how this will support your future personal and professional aims, but it also highlights what you will be assessed on. Module-specific skills 1. Create an effective digital marketing plan in response to a customer brief. 2. Effectively utilise digital marketing tools to complete a detailed digital marketing audit and benchmark performance. 3. Propose detailed, well-evidenced and co-ordinated proposals for marketing actions. Discipline-specific skills 4. Critically reflect on digital marketing practices and performance. 5. Identify and evaluate relevant data to build a detailed understanding of customer needs and behaviour. Personal and key skills 6. Effectively communicate detailed, evidence-led and compelling recommendations. 7. Exhibit highly developed analytical and evaluative skills. Graduate Skills to Thrive There are opportunities throughout this module for you to develop and demonstrate many of these skills. Remember to RECORD and REFLECT on your skills development in your Skills Portfolio on Handshake. Digitally Fluent • Analysing digital marketing performance, including Google Analytics data. • Recognising key social media applications for marketing. • Recognising the role of websites and search engines in digital marketing. • Skills in digital research: finding and assessing data. • Understanding digital marketing communication channels and platforms. • Practical skills in content design, using appropriate software (possibly including AI). Critical Thinker • Analysis and assessment of information. • Interpreting and prioritising data in a given context. • Framing “powerful” questions. • Linking ideas from different sources. • Making evaluative judgements. • Identifying opportunities, challenges, risks and limitations. • Presenting well-justified proposals. Confident Communicator • Active listening. • Verbal communication. • Providing constructive feedback. • Adapting communication styles. • Preparing clear and impactful marketing communications. • Effective business writing. Resilient Self- Advocate • Working independently. • Managing time and tasks. • Applying new skills to an unfamiliar context. • Seeking and using feedback. Innovative Problem-Solver • Drawing independent conclusions. • Identifying innovative opportunities. • Creative thinking • Proposing innovative and practical solutions to a business challenge, with limited resources. Proactive Collaborator • Building authentic relationships • Collaborating with fellow students to source information. • Collaborating with fellow students on creative campaign concept ideation. Globally Engaged • Cultural engagement with diverse people and perspectives. • Context awareness and taking responsibility for economic, social and environmental impacts of ethical, commercial and sustainable decision-making. • Recognising third-sector marketing characteristics. • Understanding market segments and their needs. Principles of professional practice This module will give you the opportunity to demonstrate these behaviours in various ways. These principles also reflect the behaviours and values which are expected of you on this module. Remember to make a note of examples of how you demonstrate these behaviours. Engaged This module gives you the opportunity to engage with members of our local community and help a worthwhile cause; and I hope this will inspire you to engage with the marketing challenge! The more that you engage with the module and the assignments, the more you will enjoy them, the better your assignments are likely to be, and the more prepared you will be for the workplace. Ethical You will need to analyse and present data responsibly and thoroughly to convey a fair and accurate report to the client. You can also demonstrate your ethical marketing practice through your campaign messaging strategy; how you propose to gather and use customer data; and through making carefully considered, investable proposals that are likely to deliver ROI for the client. Responsible You will be learning new skills, in a new context, and presenting your ideas in a new format. You will need to take responsibility for keeping up with the reading and analysis, researching and solving problems and submitting on time. Respectful We are dealing with a real organisation who is entrusting us with their marketing brief and their data. Client information must be treated with respect and must not be divulged or discussed with any third parties. Please use a respectful tone in your assignments, as if you were addressing the client directly. You can also demonstrate respect and support for fellow students when helping each other to refine your creative campaign concepts. Collaborative Receiving and acting on feedback from the client is a form of collaboration, as it will enable you to refine your idea and create an impactful campaign plan which will serve the client well. The seminars are your opportunity to work with fellow students to generate creative ideas and help each other to understand unfamiliar digital platforms. (Please refer to the guidance given in Assignment 2, and ensure that you understand the difference between collaboration and collusion.) Compassionate Using your knowledge and skills to benefit a charity is a wonderful way to give something back to the community. This can be a challenging module, so be kind - to others and yourself.
Final Exam Part A. Multiple Choice Questions (5 points each, total 25 points) 1.In three-dimensional space, the dot product of the vectors a=(2,−3,5) and b=(1,4,−2) is: ● A) 0 ● B) 10 ● C) -1 ● D) 1 2.If r(t)=(t,t2 ,t3), then drdt is: ● A) (1,2t,3t2) ● B) (0,0,0) ● C) (t,2t,3t) ● D) (1, 1, 1) 3.If the function f(x,y)=x2+y2, then the gradient ▽fat the point (1, 1) is: ● A) (2,2) ● B) (1, 1) ● C) (2, 1) ● D) (1,2) 4. For the double integral over the region D defined by 0≤x≤1 and 0≤y≤1−x, the value of is: ● A) 6/1 ● B) 4/1 ● C) 3/1 ● D) 2/1 5.According to Stokes' Theorem, where C is: ● A) An open curve ● B) A closed curve ● C) A plane ● D) A solid Part A. Fill-in-the-Blank Questions (5 points each, total 25 points) 6.In three-dimensional space, the cross product a=(2,2, 1) and b=(1,0,3) is a×b= . 7.Let f(x,y)=x3y+2xy2, then the partial derivative ∂f∂x at the point (1,2) is . 8.The double integral over the region D represents . 9.The line integral represents . 10.If the divergence of a vector field is zero, then the field is . Part C. Short Answer Questions (10 points each, total 50 points) 11.Please explain the geometric meaning of the partial derivative of a multivariable function, and provide an example. 12.Use double integrals to compute the integral over the region D defined by 0≤x≤1 and 0≤y≤1−x. 13.Briefly describe Green's Theorem and its applications in physics. 14.State and prove the Divergence Theorem. 15.Calculate the line integral F(x,y)=(y,x) along the straight line segment from (0,0) to (1, 1).
Asset Pricing and Macro-Finance Assignment 1-Spring 2025 Instructions (1) Deadline: 20 February, noon. This is an individual assessment and counts towards 25% of the overall course grade. (II) Answer all questions. Clearly separate and number answers to each of the questions in the submitted document. (III) Submission to be made electronically via the course Moodle page. This includes the written answers including analytical steps taken, numerical answers when required (hand written or typed are equally acceptable). (IV) The word count and grade are indicated in each part—While the overall report is expected to be around 4 pages, there is no penalty for exceeding this limit. Question 1 Consider a risk-averse investor with the power preferences (where y denotes the risk aversion magnitude) and an initial fund value of Wi at date t. The investment environment offers two alternatives to the investors including: (i) a safe asset with a fixed risk-free rate Rp = 1 + r per invested unit between dates t and t + 1; and (ii) common equity share of a private company that pays dividend Dt+1 per share. The equity return (Re) involves risk depending on the future company's performance. Consider that the company's dividend per share value summarises the performance and follows a Normal distribution with D+i~N(μ,o2) for any future date i>1. 1.1. Assume that the investor intends to invest all of their fund value where the fraction w is allocated to the risky investment and the remaining 1-w is allocated to the riskfree investment such that Rw=(1-w).Rp+w.Rg. Derive the pricing expression for the common equity (price per share Pi) according to the first fundamental asset pricing equation. Denote all additional terms you used and define the stochastic discount factor in this context. (Mark: 10%, 0.5 page) 1.2. Suppose the investor considers a scenario where w is pre-determined: the equity share is priced based on the stochastic discount factor obtained in the previous part when w 0.50. Under this scenario, compute the present value of the equity share (from the perspective of date t). Suppose that r = 4.75%, μ=£0.50, o= £0.15 and y3. (Mark: 20%, include brief derivations and final numerical answers: 0.5-1 page) 1.3. How much will the price change, when o increases to £0.20 and y = 0? Provide an asset pricing argument to explain the difference between valuations in this part comparing to the previous part. (Mark: 30%, 2-3 lines) Question 2 Consider the asset pricing framework from the course, with a particular emphasis on the first fundamental asset pricing equation. According to Kremens and Martin (2019), the expected currency appreciation (ECA) is summarised by the interest rate differential (IRD) + the quanto-implied risk premium (QRP). Equivalently, the currency risk premium anticipated by such an investor (assume logarithmic preferences) is revealed by QRP What is the overall relationship between the IRD and QRP (negative, unrelated, postive)? Explain why. Provided answer needs to refer to a combination of analytical foundations, equations and financial interpretation of the technical expressions. Ensure to define all terms used and clarify the units of variables and any other notations. (Mark: 40%, max: 2 pages, 500-800 words) References Lukas Kremens and Ian Martin. The quanto theory of exchange rates. American Economic Review, 109(3):810-843, 2019.
Knowledge Translation Assignment For this Assignment, you are going to prepare a 4 min video presentation or an Infographic poster for a hypothetical ‘Partner organization’ . The video or infographic could be used as an Educational Tool related to the health effects of cannabis. The partner may want to upload the video onto their web site or use it as part of a bigger presentation or send a link to their community. They may use the Infographic as a Poster or a handout. The material should be aimed at non-scientists and be easily understood by someone with a High School level education. The hypothetical Partner Organizations are (choose 1 partner): 1. Toronto District School Board. 2. Campus Health & Wellness. 3. Arthritis Society of Canada. 4. Children’s Mental Health Ontario (CMHO). 5. Cannabis Company specializing in medical cannabis. 6. Cannabis Company specializing in edibles for non-medical market. Note that your video or infographic could be directed towards teachers or students (TDSB) or for doctors or patients (Arthritis Society) or Parent or Children (CMHO) or Staff or Customers (Cannabis Company). You need to identify your chosen audience before starting your assignment. It’s important that you decide who the audience will be. ***VERY IMPORTANT Note***: Your hypothetical partner may already have resources on their webpages - Don’t use these for your assignment - They maybe inaccurate Some reasons why resources online maybe inaccurate: - The research is changing fast – new data, new publications – it might be out of date. - The info on websites might not be informed by our up-to-date knowledge of the pharmacology of THC and CBD. - There maybe a conflict of interest in their information. PART 1: Due Date: March 14, (Word limit = maximum of 300 words) To be completed directly in the textbox provided on Quercus. Choose any partner from the list of 6 partners above. Keeping in mind the specific priorities that you think will be important for your chosen partner and audience write: 1. A proposed Title for an Educational video or Infographic presentation 2. One overall Aim* / Goal for an Educational video or Infographic. 3. Four Objectives** summarize the content that you would include an Educational video that you think will be most important for your specific partner. *Aim / Goal = what you hope to achieve. **Objective = the action(s) you will take in order to achieve the aim. Marking Rubric for PART 1 (4 marks) • Title (1 marks) – accuracy, informative, appropriate for chosen audience (e.g. teacher, patent, patient, doctor, customer etc.), • Overall Aim – alignment with the title, clearly written, alignment with the specific partner needs (1 marks) • Objectives – alignment with the overall aim, alignment with the partner needs, accurate, clearly written (2 marks) PART 2: Due Date: March 14 Prepare a video / film presentation (maximum of 4 mins long) or a small poster (one page 11x17 inches) infographic that could be used as an Educational Tool related to the health effects of cannabis for your hypothetical ‘Partner organization’ (which you choose for PART 1). Instructions: Video: • Using your phone or laptop, prepare a 4 minute video (with slides, pictures, interviews, cartoons) than can be used by your ‘partner’ as an Educational Tool. The partner may want to upload the video onto their website or use it as part of a bigger presentation or send a link to their community. The video should be aimed at non-scientists and be easily understood by someone with a High School level education. • Upload the video onto Quercus. Infographic: • Using PPT or any software create an infographic that can be used as a small poster. The infographic should be aimed at non-scientists and be easily understood by someone with a High School level education. The poster should be on one page with dimensions of 11x17 inches. • Upload onto Quercus References are not required. But you can include links to useful / relevant resources that you mention in the presentation / poster e.g. lower risk use guidelines. Marking Rubric for PART 2 (16 marks) • Accuracy of the content (4 marks) • Alignment with the aims and objectives (4 marks) • Appropriateness for the potential audience (4 marks) • Presentation Quality (4 marks) PART 3: Peer Assessment (3 marks) Due date: March 28 at 11:59pm • Via Quercus on March 20, you will be automatically assigned 3 Assignments to Peer Review. • Give one strength and one improvement suggestion for each of the videos that you are assigned to peer review.
CHEM 191 MODULE 8 ORGANIC CHEMISTRY 2 Learning Objectives. By the end of this module you should be able to: • Identify the selected functional groups in organic molecules • Write names and structural formulae for simple alcohols, haloalkanes, amines and carboxylic acids, and esters including constitutional isomers • Identify substitution, elimination, oxidation and acid-base reactions occurring in reactions of the selected functional group • Predict products of organic reactions and write equations for these using structural formulae Reference: ESA Chapters 14, 15 and 16 INTRODUCTION Most organic compounds contain at least one other element apart from carbon and hydrogen. These elements are usually non-metals, the common ones being halogens, oxygen, nitrogen, sulfur and phosphorus. The hydrocarbon part of these organic molecules is relatively inert and the other elements form the centre of interest for chemical reactions. The hydrocarbon part of the molecule is called a radical and can be represented by the symbol R-. It is essentially the hydrocarbon part of the molecule with one of the hydrogen atoms removed. The reactive portion of the molecule is termed the functional group. Many biological molecules have large, relatively inert, carbon skeletons, often containing complicated ring systems. The reactive sites in these molecules usually contain a variety of functional groups which influence the reactivity of the molecules in biological systems. This can be seen in the structures of the molecules of some familiar compounds given below. The first three molecules have similar carbon frameworks - they belong to a class of compounds known as steroids. However, the first is the male hormone testosterone, the second the female hormone progesterone and the third is norethynodrel, which has been used in contraceptive pills. Some other interesting molecules include: NOTE: that there seems to be a lot of 'memory' work in organic chemistry. However, the most important skills are being able to identify and use the patterns in structure and reactivity and the rules for naming organic molecules and for writing structures (isomers), including being able to determine the reactivity of a molecule from its functional groups. The classification of organic reactions on page 7.13 will be used throughout this module. FUNCTIONAL GROUPS A functional group is an atom or a specific group of atoms in an organic molecule that is responsible for the reactivity of the molecule. For example, in alkenes, the functional group is the double bond, in alkynes it is the triple bond. All the other functional groups contain atoms other than carbon such as O, S, N and halogens. Table 8.1 Organic Functional Groups Note: R, R′ and R′′ are used to show that there can be different hydrocarbon chains in the molecule Exercise 8.1 Identify the functional groups in the following molecules. Note that in these diagrams the carbon skeleton has been reduced to a line form like that used for cycloalkanes. HALOALKANES Haloalkanes are fluoride, chloride, bromide or iodide substituted hydrocarbons. The symbol X is often used to represent the halide, so that R⎯X is a general formula for an organic halide. Haloalkanes are made by substituting alkanes with the halogens or, more easily, by the addition of HX to the double bond in an alkene: These molecules have found many uses in the past but the environmental impact of their use has been such that, in many cases, they are now being phased out. Freons (CFCs) e.g. CCl2F2, were once widely used as refrigerants, but the escape of these molecules into the atmosphere is a contributor to the partial destruction of the ozone layer in the stratosphere which, in turn, results in more ultraviolet light reaching the surface of the earth. The haloalkane molecule commonly known as DDT has the systematic name 1,1-di(4-chlorophenyl)-2,2,2-trichoroethane. DDT was widely and very successfully used as an insecticide from the 1940s to the 1960s and saved millions of human lives from death via malaria. However, it was not easily decomposed in the environment and found its way into the food chain of higher animals. One of its effects was to cause the thinning of the shells of birds’ eggs and so its use has been banned. Naming Haloalkanes Haloalkanes are named the same way as alkanes with the halogen included as a prefix similar to the branched chains. The position of the halogen must be indicated (unless its position is unambiguous) When there is more than one halogen present they are listed alphabetically. Examples: Reactions of Haloalkanes: Substitution: It is possible to replace the halogen atom with either an –OH or an –NH2 functional group given the right conditions. These are examples of substitution reactions. Note: When writing the equations for organic reactions it is sometimes more convenient to write only the structures of the reactants and products with the reaction conditions written over the arrow. Examples: 1. Substitution with -OH using KOH(aq): When an aqueous solution of potassium hydroxide, KOH(aq), is reacted with haloalkanes the halogen is swapped for –OH and an alcohol is formed. For example: chloroethane reacts with KOH(aq) to form. ethanol The equation written below uses the expanded structure and so makes the change occurring more obvious. 2. Substitution with -NH2 using NH3(alc): When aconcentrated solution of ammonia in ethanol, NH3(alc), is added to a haloalkane (under high pressure) the halogen atom is replaced by the -NH2 group and an amine is formed. For example: chloroethane reacts with NH3(alc) to form ethanamine. Elimination: Under the right reaction conditions it is possible to remove the halogen atom and the hydrogen atom from a carbon atom adjacent to that to which the halogen is attached. This results in the formation of a double bond. The reagent used is a concentrated solution of potassium hydroxide in alcohol (ethanol), KOH(alc). Since atoms are removed and not replaced this is an example of an elimination reaction. Example: Exercise 8.2: Haloalkanes (a) Draw structural formulae for the following molecules (i) 1-bromo-2-methylpropane (ii) 3-chlorocyclohexene (iii) 2,2-dichloro- 4-methylhexane (iv) cis – 4-iodoopent-2-ene (b) Write names for the following molecules. (c) Write the structural formula for the products A to F in the following reaction schemes and classify the type of reaction occurring.
CAES1000 Core University English Task 2: Writing a Well-structured and Well-argued Essay (Assessed – Writing 25%; Annotations 5%) This task aims to provide an opportunity for you to apply the academic writing skills learnt so far in the course. These skills include: (i) expressing a clearly argued and critical stance and (ii) using the ideas from quality sources to support your stance through citation and referencing. Submission Deadline: 12 March 2025 (Wednesday, 5:00 pm) (Upload your work to Turnitin on the Central Course Moodle) Submission Guidelines: • When you prepare for the assignment, you should read the Policy on Academic Integrity, Plagiarism, and GenAI use on the Central Course Moodle (click here). You may also complete the GenAI Module Unit 1 on the Plagiarism Moodle (Part II). • You must submit a soft copy to Turnitin on the Central Course Moodle by 5:00 pm on the due date of the assignment. Submission on Turnitin by the deadline will be treated as the final version. The annotations should be shown properly on Turnitin and the uploaded file. Your teacher may require a hard copy of your submission. Please check with your class teacher. • You should leave enough time for plagiarism check and all kinds of technical problems or human errors (if any). Technical problems or human errors leading to any submission issues (e.g., late submission, unreadable text, wrong submission, or non-submission) cannot be used as a reason for penalty exemption. Any file (e.g., wrong submission, unreadable text, or incomplete submission) submitted by the deadline will be treated as the final version. It is your responsibility to check your submission very carefully. • You must NOT submit screenshots or image files of your writing. Penalty will be applied to these formats. • You can resubmit multiple times before the due date for plagiarism check. After the due date, you are only allowed to submit ONCE. If you cannot submit your file, you need to contact your class teacher as soon as possible on the due date. • Following CAES rules, assignments which are handed in up to four days late without any medical/legitimate reason will have one full letter grade deducted each day (e.g., a B- becomes a C- after one day late). If the assignment is submitted four days after the deadline without a medical certificate/a legitimate reason, it will be treated as a non-submission (N = 0 mark). It is up to the programme coordinator to decide whether such students should be given feedback on this assignment. • Students who do not submit an assignment at all or miss an assessment without a medical certificate should be given an N (= 0 mark). • If students are sick and unable to hand in an assignment, they must contact and notify their teacher immediately before, NOT after, the deadline. Extension request AFTER the deadline shall NOT be entertained. No work after the deadline will be accepted without a legitimate reason. • You are given sufficient time to complete this assignment. Please manage your time well and check your submission file very carefully. 2 Instructions: 1. You should write 800-1000 words for this assignment (including all in-text citations). Anything beyond 1000 words will not be read. Write the number of words for your essay at the end of the text. This does not include the words in the reference list and the words in annotations. 2. You should cite and reference the reading texts given to you (4 in total) in your essay. You must also use TWO quality sources of your own choice to support your stance. One subgrade in C2 will be deducted if you do NOT use two quality sources of your own choice. Your reference list should include a maximum of 6 entries only. All extra or additional entries will be ignored. 3. You are NOT supposed to cite/quote any non-English materials in this assignment. CAES1000 is an English language course. Only English materials should be used. 4. Include a reference list at the end of your writing which conforms to the CUE APA Citation and Referencing Style. Guide (7th ed.) (click here to download the guide; also available on the Central Course Moodle, under the ‘Writing Assessments’ section). Whenever you have any doubts about citation and referencing, this style. guide should serve as your first and major reference point. 5. Complete the Turnitin Independent Learning Task (a video on how to check for plagiarism) on the Central Course Moodle using the essay you have just written. Analyse the Turnitin report and keep doing the task (e.g., effective paraphrasing and proper citation) until the document is plagiarism-free. 6. You should not solely rely on GenAI tools. You should critically evaluate the GenAI output, develop your ideas, and use your own words to express them. You should keep a proper record of your reading materials, notes, drafts and so on so that you have evidence to show how you arrive at the final submission. 7. Once the text is plagiarism-free, write 8-12 annotations on your text using insert comments. These annotations should highlight where you have applied your learning from this course. Each annotation must relate to a different feature of academic writing. You have to provide clear and enough details concerning what skills you have applied and the reasons for doing so in each annotation. Any one-word answers or very short phrases will not be sufficient. 8. Upload your work to Turnitin on the Central Course Moodle before the deadline. Teachers will only mark the submission on Turnitin by the deadline. All other channels or forms of submission (e.g., email submission or submission to an online drive) to your class teacher will not be accepted and will be treated as a non-submission (N = 0 mark). Assessment Criteria: You will be assessed on the quality of your essay which is worth 25% of your final grade. The assessment criteria are on the Central Course Moodle, under the ‘Writing Assessments’ section. You will also be assessed on the quality of your annotations. You must tell us in your annotations WHAT academic writing skills you have applied and WHY you have applied them. The skills may include the use of citation and referencing, cohesive devices, corpus for vocabulary, Generative AI, etc. This will be worth 5% of your final grade. The assessment criteria for this are as follows: Standard Satisfactory (5%) Expectations of student performance The majority of your annotations show a good understanding of the academic writing skills being practised in the course. You have provided clear and enough details for each annotation. Unsatisfactory (1.5%) You will be given an unsatisfactory grade if one or more of the following is true: ▪ Only a few or none of your annotations show a good understanding of the academic writing skills being practised in the course. ▪ You have made fewer than 8 annotations. ▪ Each of your annotations is not related to separate aspects of academic writing. ▪ Most of your annotations are unclear and without enough details. ▪ You have copied your annotations from another student. Non-submission (0%) You did not annotate your Task 2 Essay. Topic: A cashless society WRITE AN ESSAY TASK DESCRIPTION Discuss and evaluate the extent to which a cashless society should be promoted. Identify arguments and evidence from your own readings and the source texts below to support your position. Please read the following before you attempt this question: • Analyse the key words of the question. Do not simply describe the benefits or disadvantages of a cashless society. Try to argue for your position while responding to critics’ concerns. Note: The four reading texts provided have been adapted for assessment purposes. Their information has been substantially modified. Students should NOT refer to the original texts and make any comparisons. Text 1: Authored by J. A. Gaggd / 2019 / From an article titled Negative impacts of a cash-free society: Pushing citizens into criminal activities and exposing them to economic dangers / Published in a journal titled Journal of Money Laundering Control / Volume 22 / Issue 2 / Pages 350-358 / DOI: https://doi.org/10.1108/JMLC-04-2018-00432 Introduction A cashless economy is not required to be completely devoid of cash. Instead, there are very few cash-based transactions while other payment methods, especially electronic ones, are widely used in this kind of economy. However, the ultimate goal of the cashless policy is to eventually achieve a cash-free economy – i.e., completing all transactions without the use of physical cash. Therefore, even when some external realities prevent a country’s government from forcing their economy to go completely cash free, the rationale behind the policy remains – to constantly push their economy further and further toward making less cash available to the public. -p. 350- [Text taken out] Arguments for cashless economic policies A major rationale behind the advocacy of a cashless society is to decrease crime. Proponents suggest that in order to reduce money laundering and organized crime, governments should decrease the use and availability of money – specifically referring to paper money – circulating through the economy. The argument makes sense to a point because there have been numerous incidents where individuals have been targeted by criminal organizations primarily for carrying cash. The idea that reducing cash circulation by a government will decrease the crime rate is not novel. Many proponents of this theory go even further to argue that the policy will have several positive effects: (1) increasing government control over the money supply, (2) decreasing the amount the government has to spend on printing money, (3) decreasing theft, (4) decreasing corruption, and (5) encouraging many individuals within the population who do not currently have bank accounts to open them. All of these arguments make sense, and are true to some extent. However, whether this policy will actually work is a matter of debate, and there are certainly some potential consequences from taking this step. -p. 351- [Text taken out] Arguments against cashless economic policies On the issue of corruption, Ayoola (2013) found that Nigeria’s cashless policy seemed to only reduce petty corruption. Petty corruption, as defined by Ayoola, occurs when junior-level public sector employees accept tips, commissions and kickbacks in exchange for official services to be rendered. These official services can include any and all basic administrative duties these employees are already supposed to do – i.e., their job – and it is essentially the white-collar equivalent of petty theft. However, the larger versions of corruption, which mainly pertained to the political corruption of elected officials and the culture of corruption in the country as a whole, were left generally unaffected. In fact, not only did large-scale corruption 6 remain unaffected by the adoption of a cashless economic policy, but unemployment also increased. -p. 355- [Text taken out] Another significant negative impact the policy had was to disenfranchise a large segment of the population from the economy. Criminals are not the only people who prefer cash. Many poor people who live in rural areas and who may distrust banks, also prefer to operate in cash. To open an account, an individual must be able to prove their identity. This is not easy in a poor country, where record keeping is not as organized and where obtaining official documentation may come with a price tag in the form. of bribes, which many poor people may not be able to afford. According to Sharman (2011), the official financial system is inaccessible to 2.7 billion of adults in the developing world. A cashless economic policy to these people means cutting them off from their only “official” source of money. The policy also discourages jobs paid in cash in many developing countries, thereby leading to higher unemployment rates among the underprivileged who do not have bank accounts. Another drawback associated with a cashless economy is the rise of anonymous transactions, which can lead to a higher rate of financial crime. Financial systems which promise individuals the ability to conduct financial transactions with no questions asked have become so popular worldwide – not just with criminals. A typical example is Bitcoin, a non-government backed digital currency. Even though many countries have tried to make the use of Bitcoin illegal, enforcing those laws is difficult given Bitcoin’s anonymity provision. This anonymity feature allows people to establish accounts with absolutely no personal identifying information. The laws also cannot stop individuals from turning to other types of zombie-money or even to terrorist organizations, which offer people an alternative way to receive financial services through the hawala system. This system is a non-official way to transfer money from one place to another without physically moving any money and without the monitor of any formal financial institutions. Also, it is possible that some other forms of crime, such as computer crime or embezzlement, might even increase from those who can and do participate in this new cashless economy. -p. 356- [Text taken out] Text 2: Authored by P. Marszelek and K. Szarzec / 2021 / From a book chapter titled The transition to a cashless economy / Published in an edited book titled Digitalization and firm performance: Examining the strategic impact / Edited by M. Ratajczak and L. Smith / Springer / Pages 251-281 / https://doi.org/10.1007/978-3-030-83333-2_10 Definitions and features of a cashless economy A cashless economy, perceived as an issue inherently related to the recent expansion of technological solutions, is not a new issue. Somehow paradoxically, it was considered and discussed already before the emergence of the fourth industrial revolution, the birth of cryptocurrencies, and the proliferation of sophisticated financial instruments and financial engineering. Still, the term is not clearly defined or understood. It should be clearly emphasized that a cashless economy is not the same as a barter economy, although the latter is, obviously, also “cashless”. A cashless economy should not be – though it often is, mistakenly – identified with the situation of an economy with no money. Money exists in a cashless economy; it just has no physical form. In other words, one might say that a cashless economy is equivalent to a situation in which there is no physical means of payment and government money is only a unit of account, but other means of payment function in the economy. -p. 254- [Text taken out] The advantages of a cashless economy Traditionally, it is argued that a cashless economy diminishes the shadow (or grey) economy, where transactions and economic activities are not reported, and thus contributes to higher revenues for the government. It is highly impossible to hide income or evade taxes if all financial records are digitized. The absence of banknotes and coins would also prevent the practice of money laundering that allows criminals to spend illegally gained money. Non-cash money is easy to track and control, so financial crime (not to mention false banknotes) would probably become obsolete in a cashless economy, and the scale and freedom of financial crime, terrorism and drug trafficking would shrink. -p. 264- [Text taken out] The literature emphasizes that a cashless economy is a greener and universal solution (however, one should consider the huge cost of energy connected with cryptocurrencies, which are perceived as digital money of the future, and are one of the symbols of the non-cash economy). Cash-free payments are also faster, which is a major issue for time-sensitive businesses operating under very short transaction time horizons in the contemporary economy. Very often, when people pay by cash, the transaction becomes slower. Replacing cash with cards, for example, will speed up service, as contactless and prepaid digital payment methods are significantly more efficient. It also eliminates a need for cash registers, which simultaneously lowers the risk of theft. At the same time, it is possible for merchants who accept only non-cash payments to save on labour time, as there is no need to count cash and then transport it to the bank (which also is connected with the risks of transporting large amounts of cash). Additionally, accounting time and the number of employees who spend time reconciling transactions are reduced. With digital money, merchants can simply download a report of all transactions, and the appropriate funds are then transferred electronically to individual accounts. Cashless service also helps the merchants to avoid problems related to potentially forged banknotes; it also reduces the need for spare change and helps solve the problems associated with accepting large denominations. Cashless transactions are also more convenient and need less contact. This feature turned to be crucial during the COVID-19 pandemic, when many merchants strongly encouraged e-payment or even completely banned cash payments. A virus could live on paper money and coins (Angelakis et al., 2014), and thus paying by card or smartphone reduces the risk of transmitting disease. -p. 267- [Text taken out] The disadvantages of a cashless economy Cashless forms of payment require some specialized equipment, knowledge, and a significant level of trust. However, for people who are vulnerable to financial exclusion, meeting these requirements is difficult. At the same time, the basic condition for encouraging the development of a cashless economy is to provide sufficient and accessible infrastructure of payments, which obviously requires involvement of banks and access to banks by ordinary persons. Yet, this condition is not fulfilled in many countries, as it is typical for there to be a significant proportion of people who make up the so-called “unbanked”. According to Kunt et al. (2018), globally about 1.7 billion adults remained unbanked – without an account at any financial institutions or through a mobile money provider. This phenomenon is not equally distributed and the problem is most serious in Asia and Africa. However, even in the United States, as the report of Federal Deposit Insurance Corporation (2019) shows, six and a half percent of households were unbanked in 2017. Data shows that low-income individuals are the most likely to be unbanked and that 70 percent of this group use cash for daily purchases. In a cashless world, millions of unbanked citizens would have difficulties buying what they need for daily life. People with no technological knowledge, bank accounts, or modern technological devices will struggle to keep up with rapidly evolving cashless technology. Thus, if digital payments become typical or even the only option, people who are unable or unwilling (for example for privacy reasons) to use such services risk being excluded from the economy. -p. 269- [Text taken out] Text 3: Authored by H. Ha, P. W. Qiu and Y. W. Lin / 2020 / From an article titled Risks and rewards of a cashless economy / Published in a journal titled Journal of Reviews on Global Economics / Volume 9 / Issue 1 / Pages 216-223 / DOI: https://doi.org/10.6000/1929-9211.2020.09.20 The benefits of a cashless economy Today, the speed, convenience and safety of non-cash payments are being paid attention to by the government because the effectiveness of payments greatly affects the efficiency of mobilizing and allocating social capital. This also shows the development or stagnation of a nation’s economy. In a cashless economy, the government will benefit from improved tax evasion control and reduced illegal cash flows. The central bank has better control over the money supply, thereby making the monetary policy more appropriate. A cashless economy provides transparency in business transactions and this will inevitably lead to an increase in tax revenue and an increase in infrastructure development which is important for economic development. Singh et al. (2013) investigated whether the long-term transition to credit and debit cards stimulated economic growth in 56 countries around the world. They found that electronic card payments can increase efficiency and boost the economy’s consumption. Moreover, the application of electronic transactions is essential for transparency, accountability and reduction of cash-related fraud, the key elements of economic growth and development. There is evidence of a causal relationship between cash and crime involving cash. It is found that reducing cash flow reduced overall crime rates, and rates for theft and assault. Local crime rates in poor neighbourhoods have improved after reducing the amount of cash on the street. Because cash is important to pursuing many illegal activities, restricting cash flow plays a role in curbing the root cause of street crime. Moreover, limiting cash flow may combat underground crime since the anonymous nature of cash makes it helpful to tax evaders and other criminals to realize value from their illegal behaviors. Rogoff (2016) reported that at least half of existing currency is held and used in underground economies for tax evasion, drug and human trafficking, and funding of terrorism. Therefore, reducing cash circulation tends to lower overall crime rates. -p. 217- [Text taken out] The drawbacks of a cashless economy A cashless society will bring inconvenience to individuals who do not have access to e-payments. The most apparent benefit of cash is its current, nearly ubiquitous acceptance. Related to this is that currently cash is relatively easy to access for most individuals. Although the convenience may differ across markets, most people have access to cash from automated teller machines (ATMs), grocery stores and bank branches (Mende et al., 2019). In addition to its nearly universal availability, cash, unlike its digital counterparts, is not tethered to remote accounts and can be reliably used without connectivity or electricity. A cashless economy will marginalize individuals who do not have access to digital payments. It is essential to ensure the inclusion of socially vulnerable citizens who may not have bank accounts or who lack the necessary digital skills. For these reasons, cash is regularly used by citizens of all ages, all educational levels and all income groups, considering all cultural differences and payment habits in individual countries. The independent choice of payment method and desirable form. of money is seen as a manifestation of economic and civil rights in the market economy. At the same time, a cashless economy creates an environment in which the government is able to access a wealth of data on households, enterprises and organizations. This gives the government too much power over its citizens and raises fears of a techno-dystopia. With non-democratic regions, such an ability to monitor – through a full record of transactions and the circulation of digital money – any economic activity could reinforce a dictator’s ability to clamp down on dissent. Even in cashless democracies, individuals may be the subject of over control from the side of the government, as well as commercial firms that are able to track spending patterns and send targeted marketing. Thus, the transition to non-cash money, by undermining privacy, can be seen as a major threat to civil liberties. -p. 219- [Text taken out] There are also other non-economic and non-efficiency considerations with regard to the flaws of a cashless economy. Given the ease of control and visibility of cash flow, a cashless economy can create bad spending habits, deprive the money of emotional value (e.g., emotional value of saving processes and charity), and increase dependence on technology at the expense of human qualities and skill. Certainly, the technology and procedures associated with non-cash payments are extremely well designed and secured. However, even if digital payments are designed to be as robust as possible, they still remain vulnerable to potential disruptions, such as energy blackouts or technical failures. Such factors, even if only temporary, can generate severe problems, undermining trust in digital money and non-cash payments. -p. 220- [Text taken out]
Math 54 Online - Project Information Handout This small project will give you a chance to apply what you have learned about simple linear regression and study a problem that you find interesting. In this project, you will perform a statistical analysis to investigate how two quantitative variables (not qualitative variables) are associated and how one influences the other. You can choose what two variables you are interested in studying and will use your own data in order to perform an analysis. I will provide you with a few good sources from which you might be interested in obtaining your data. The requirements for this project are discussed in detail below. You may work individually or with up to three other classmates maximum (so for a group of up to 4 people, including you). Use of Excel or other computer statistical software will be required to carryout various calculations, produce tables and graphs, and to perform a statistical analysis. You will be required to write a 2 or more page report (double-spaced) briefly discussing the problem being studied, your analysis and findings, as well as additional or concluding remarks. Note that the 2 or more page minimum length does not include any tables or graphs (which will be included separately after the paper). You will include the Excel graphs or charts produced after the report, as well as the raw data collected. This project will be worth 70 points in total, and the project will count for 6% of your course grade. However, a project survey in the form of a Canvas quiz, in which you can give your preferences for the project, will be worth an additional 5 points (so for 75 points including the survey). Your report should be well-written with proper grammar. Below I have a suggested framework of how to structure your short project report (for after you have completed your summary output using technology). Following this will make writing your report much easier. You must include these key points, but you can alter the ordering slightly, if you wish. A. Suggested Paragraph Structure for the Written Report (Minimum 2 pages, double-spaced) Paragraph 1: First, give an introduction discussing the problem being studied, some background on the topic, and why it is of interest to you. Second, mention how your data was obtained, citing your data source. Lastly, describe which variable would be the explanatory variable and which one is the response variable, and why so. Paragraph 2: First, interpret the meaning of the correlation coefficient from your summary output in in a sentence for your project example (follow the structure that I taught in my notes and videos). Second, include the linear regression equation in the report with the determined intercept and slope values. Third, interpret the slope and intercept values from the regression equation in sentences (follow the structure that I taught in my notes and videos). Paragraph 3: First, state what the coefficient of determination value is, and interpret its meaning in a sentence for your project (follow the structure that I taught in my notes and videos). Second, perform. diagnostics on the regression model using the residual plots from your summary, based on material taught in section 4.3 (chapter 4); here comment on (1) whether or not a linear model should be appropriate, (2) whether or not the residual error term appears to have constant variance, and (3) whether or not there are any outliers. Paragraph 4: Briefly describe, in conclusion, if this regression model does a good job in explaining the dataset, based on your Excel findings. Here you can make additional comments about the regression model that you think are worth mentioning. This is your chance to be creative and provide additional insight, but there is not really a right or wrong way to do this. B. Requirements for the Appendix After the Written Report: a) A scatter diagram showing the relationship between the 2 variables being analyzed. Include a graph of the linear regression equation in this plot as well. Be sure to label the axes and the plot. b) Show the tables, determined using Excel toolbars and functions, which display coefficient values, t values for the regression coefficients, and the p-values. c) The residual plot, as shown in class. Be sure to label the axes and the plot. d) The raw data collected. e) Describe how you and your group member each contributed to the project (if you worked in a group). [If you worked alone then you will not need to do anything for this parte)]. Note: Full credit (100%) will be given on the project if you: (1) follow correctly all of the guidelines from the suggested framework (from this document) for the report section with proper sentence interpretations for your project variables, and if your report is well-written , (2) if you follow the requirements for the appendix graphs and charts shown right above on this page. Thus, if you allow enough time for this project and follow my suggestions it should not be hard to get an ‘A’ grade on it. Each group only has to turn in 1 paper (including Excel graphs or calculations. This will be submitted on Canvas. I will check the report for plagiarism. This project must be submitted no later than Saturday, February 15 by 11:59pm. Note that Iam giving a few extra days to complete the project than the due date on the syllabus. This means that you must submit your report (or your group’s report) by that time. No late reports will be accepted.
