The Digital DivideResearch and develop a MS Word document of.docx
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The Digital Divide Research and develop a MS Word document of at least 2000 word that: 1) Discusses the Digital Divide in the in the U.S. and internationally. 2) The paper must include the background/history of the project. What are some of the causes of the divide? What efforts are engaged to reduce the divide? What are things you can do personally? 3) State whether you believe that there is a "digital divide" and why. 4) Write a one or two paragraph conclusion stating what would you say to a decision maker to persuade them to support or disregard the digital divide.. Any safe assign match above 40% will receive a reduction in grade. Any late submission will be awarded a zero. .
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The deadline for the final paper is Monday May 11th at 1159pm. .docx
The deadline for the final paper is
Monday May 11th at 11:59pm
. We will workshop your topics in class next Friday, and you can submit your outlines for me to review by
Tuesday May, 5th.
I hope to give you all feedback on your essay by Wednesday May 6th. As before, it may be best for me to call you over phone (if possible), so if you send me your outline, please provide a contact number if you are comfortable.
And some additional info about the paper: (gratefully adapted from an email the other TA., Prof, Colebrook, send to students in his recitations)
What's the paper about?
As Dr. Appiah discussed in class today, for this final paper, you're being given a wide latitude to write an in-depth, argumentative essay on the subject of your choosing. The only limitations are that (1) it must be about gender, human rights, or economic inequality, either in a national or international context, and (2) it must include some of the philosophical thought of at least two of the traditions we've covered (Confucian, Islamic, or "Western"/Liberal).
How will I be grading it?
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Where do I start?
Here are a few pointers on how to get started. (None of what I say here is
necessary
for the paper, just suggestions).
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is a great place to begin.
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SRINIVASAN VENKATRAMAN, CHRISTY M. K. CHEUNG, ZACH
W. Y. LEE, FRED D. DAVIS, AND VISWANATH VENKATESH
SRINIVASAN VENKATRAMAN ([email protected]) is a Chief Data Scientist
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CHRISTY M. K. CHEUNG ([email protected]; corresponding author) is an
Associate Professor at Hong Kong Baptist University. She earned a Ph.D. in
Information Systems from the College of Business at City University of Hong
Kong. Her research interests include technology use as related to well-being, IT
adoption and use, societal implications of IT use, and social media. She has
published over one hundred refereed articles in scholarly journals and conference
proceedings, including Journal of Information Technology, Journal of Management
Information Systems, Journal of the Association for Information Science and
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MIT’s Sloan School of Management, and he served on the Business School
faculties of University of Michigan, University of Minnesota, University of
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Copyright © Taylor & Francis Group, LLC
ISSN 0742–1222 (print) / ISSN 1557–928X (online)
DOI: https://doi.org/10.1080/07421222.2018.1523531
mailto:[email protected]
mailto:[email protec.
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Monday May 11th at 11:59pm
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And some additional info about the paper: (gratefully adapted from an email the other TA., Prof, Colebrook, send to students in his recitations)
What's the paper about?
As Dr. Appiah discussed in class today, for this final paper, you're being given a wide latitude to write an in-depth, argumentative essay on the subject of your choosing. The only limitations are that (1) it must be about gender, human rights, or economic inequality, either in a national or international context, and (2) it must include some of the philosophical thought of at least two of the traditions we've covered (Confucian, Islamic, or "Western"/Liberal).
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I will use the same rubric I used to evaluate the midterm papers for this essay. You can consult your midterm papers for details on this.
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Here are a few pointers on how to get started. (None of what I say here is
necessary
for the paper, just suggestions).
1. Start with a specific human right or moral claim. The
UDHR
is a great place to begin.
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argumentative
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SRINIVASAN VENKATRAMAN, CHRISTY M. K. CHEUNG, ZACH
W. Y. LEE, FRED D. DAVIS, AND VISWANATH VENKATESH
SRINIVASAN VENKATRAMAN ([email protected]) is a Chief Data Scientist
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scientists in designing, developing, and deploying machine learning and artificial
intelligence algorithms ranging from regression and classification to computer
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Associate Professor at Hong Kong Baptist University. She earned a Ph.D. in
Information Systems from the College of Business at City University of Hong
Kong. Her research interests include technology use as related to well-being, IT
adoption and use, societal implications of IT use, and social media. She has
published over one hundred refereed articles in scholarly journals and conference
proceedings, including Journal of Information Technology, Journal of Management
Information Systems, Journal of the Association for Information Science and
Technology, and MIS Quarterly, among others. Dr. Cheung is President of the
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e-commerce. He has published in such journals as Information & Management,
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Research.
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Information Technology at Texas Tech University. He earned his Ph.D. from
MIT’s Sloan School of Management, and he served on the Business School
faculties of University of Michigan, University of Minnesota, University of
Maryland, and University of Arkansas. Dr. Davis’s research interests include user
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tem development practices, and NeuroIS. His research has been published in MIS
Journal of Management Information Systems / 2018, Vol. 35, No. 4, pp. 1060–1091.
Copyright © Taylor & Francis Group, LLC
ISSN 0742–1222 (print) / ISSN 1557–928X (online)
DOI: https://doi.org/10.1080/07421222.2018.1523531
mailto:[email protected]
mailto:[email protec.
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By Corrie Driebusch
September 15, 2008, was one of the darkest days in the
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infallible. Wall Street no longer offered a guaranteed
career path. Life was more fragile than they knew.
One thing was certain: Their world would never again
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I’m not saying tech is saving the world, but there’s
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Today, several hundred thousand federal rules that apply to businesses carry some form of criminal penalty. That is in addition to more than four thousand federal laws, many of which carry criminal sanctions for their violation. From 2000 to 2019, about 3,200 corporations either were convicted or pleaded guilty to violating federal statutes or rules.
Criminal Convictions
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One landmark case developed the
aggregation test
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actus reus
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mens rea
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Many Pay Substantial Fines in Lieu of Prosecution
More than four hundred corporations reached so-called non-prosecution agreements with the government from 2000 to the beginning of 2019. These agreements typically involve multimillion- or multibillion-dollar fines. This number does not include fines paid to the Environmental Protection Agency or to the Fish and Wildlife Service.
According to law professors Margaret Lemos and Max Minzner, “Public enforcers often seek large monetary awards for self-interested reasons divorced from the public interest and deterrents. The incentives are strongest when enforcement agencies are permitted to retain all or some of the proceeds of enforcement.”
Questions Presented
1)Why might a corporation’s managers agree to pay a large fine rather than to be indicted and proceed to trial?
2)How does a manager determine the optimal amount of legal research to undertake to prevent her or his company from violating the many thousands of federal regulations?
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b.
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e.
6. Meanwhile, China was experiencing a golden age of its own where it ruled over _______________________________ across four million square miles.
7. What necessitated the Chinese inventing the use of paper money?
8. By the 11th century, the Chinese were writing down their recipe for a mixture of saltpeter, sulfur, and charcoal that we now know as ________________________.
Here is the link to the video ...... https://youtu.be/QV7CanyzhZg
.
The Culturally Responsive Social Service Agency The Application o.docx
The Culturally Responsive Social Service Agency: The Application of an Evolving Definition to a Case Study
Julian Chun-Chung Chow PhD & Michael J. Austin PhD
To cite this article: Julian Chun-Chung Chow PhD & Michael J. Austin PhD (2008) The Culturally Responsive Social Service Agency: The Application of an Evolving Definition to a Case Study, Administration in Social Work, 32:4, 39-64, DOI: 10.1080/03643100802293832
Published online: 11 Oct 2008.
Page 39
ABSTRACT. Most of the attention in the last few decades in the human services field has been on the development of culturally competent practice with little attention to the context of this practice. This analysis and case study focuses on the organizational context of social service practitioners seeking to respond effectively to an increasingly diverse client population. Specific attention is given to the development of a working definition of a culturally responsive social service agency. This definition is used to assess a case study of a public sector county social service agency that has a substantial history in promoting culturally responsive practices. The implications for future management practices are noted in the conclusion.
Julian Chun-Chung Chow, PhD, is an Associate Professor affiliated with the School of Social Welfare, University of California, Berkeley. Michael J. Austin, PhD, is a Professor affiliated with the School of Social Welfare, University of California, Berkeley. The authors want to acknowledge the significant roles played by Zonia Sandoval Waldon, MSW, and Gil Villagran, MSW, in the development of a culturally responsive organization prior to their recent retirements in 2004 from the Santa Clara County Social Service Agency. We also want to acknowledge the contributions of the following graduate students: Tiffany Woo, MSW; Allison De Marco, MSW; Jill Nielson, MSW; Sarah Taylor, MSW; Sunshine Wu, MSW; Christine Lou, BA; and Ericka Leer, MSW. Address correspondence to: Michael J. Austin, School of Social Welfare, University of California, 120 Haviland Hall, MC 7400, Berkeley, CA 94720–7400 (E-mail: [email protected]).
Administration in Social Work, Vol. 32(4) 2008 Available online at http://www.haworthpress.com © 2008 by The Haworth Press. All rights reserved. doi:10.1080/03643100802293832
Page 40
KEYWORDS. Social services delivery, organizations, cultural responsiveness, ethnicity
INTRODUCTION
Since the War on Poverty in the 1960s, social service organizations have been searching for ways to become responsive to the cultural diversity of their client populations. Beginning in the 1970s, concerted attention was given to helping agency staff members become more culturally aware (Green, 1999), more culturally knowledgeable (Cox & Ephross, 1998; Davis & Proctor, 1989; Harrison & Wodarski, 1992), and recently more culturally competent (Devore & Schlesinger, 1999; Fong & Furuto, 2001; Leigh, 1998; Lum, 2003). With regard to training.
The cult of Machismo (masculine superiority) appeared early in Latin.docx
The assigned reading discusses how the cult of machismo promoted masculine superiority in early Latin America, yet many colonial families contradicted this stereotype. The culture box "Elite Women and Economic Power" on page 24 presents evidence that some elite women held significant economic power and did not always conform to expected gender roles.
The CultureBooksdu r ing t he f ir s t se a son of her.docx
The Culture
Books
du r ing t he f ir s t se a son of her cr i t i-
cally acclaimed HBO series, Girls, Lena
Dunham’s character Hannah Horvath,
high on opium, tells her parents, “I don’t
want to freak you out, but I think that I
may be the voice of my generation—or
at least a voice of a generation.” The line
made waves as people conflated the fic-
tional character with her creator, perhaps
not wrongly. How dare a young woman
make such a bold claim? All too often our
culture tells young women their voices
don’t matter or deserve to be heard.
In her debut essay collection, Not That
Kind of Girl: A Young Woman Tells You
What She’s “Learned,” Dunham demon-
strates her 28-year-old voice’s admirable
range. While some celebrity essay col-
lections and memoirs are lackluster,
even embarrassing to read, Not That Kind
of Girl suffers few missteps. Dunham’s
cinematic flair translates to the page
with vigor and clarity—not unlike the
late Nora Ephron, to whom she is often
compared and to whom the book is
dedicated (along with Dunham’s family
and her boyfriend Jack Antonoff of the
indie-rock band fun.). Instead of tossing
pithy, pseudo-motivational observations
at the reader, Dunham has crafted warm,
intelligent writing that is both deeply
personal and engaging, clustered in five
topical sections: “Love & Sex,” “Body,”
“Friendship,” “Work” and “Big Picture.”
Each of the 29 pieces—essays mixed
with lists, like “18 Unlikely Things I’ve
Said Flirtatiously”—is confident and
assured, sidestepping self-deprecation
and instead offering intense self-
examination. Dunham’s self-awareness
can almost overwhelm with truthiness,
as in “Barry,” her glancing, tragicomic
account of being raped by a “mustachioed
campus Republican” who, among other
nonconsensual acts, removes his condom
without her permission or knowledge.
“A sexual encounter that no one can
classify properly” sounds precisely like
a voice of her generation, one struggling
to come to terms with rape culture.
(And yet, “I feel like there are fifty ways
it’s my fault . . . But I also know that at no
moment did I consent to being handled
that way” sounds like a voice of every
generation of women.)
Unlike Hannah Horvath, Dunham in
her self-awareness does not come across
as self-obsessed. When she is absurd,
she acknowledges that absurdity. “13
Things I’ve Learned Are Not Okay to
Say to Friends” is among the most drolly
enlightened of the lists, made up of osten-
sible real-life Dunham quotes like “No,
please don’t apologize. If I had your moth-
er I’d be a nightmare, too” and “There’s
nothing about you in my book.”
She reveals her vulnerabilities in
a deadpan manner, showing us how she
loves and has been loved, how she has
wronged and been wronged. But it’s not
all laughing around the hard stuff. At
the end of “Barry” comes a teary phone
call with Antonoff, in which she tells
him what happened with the hipster
rapist; here the narrative tur.
The CultureBooksduring the first season of her criti-.docx
The Culture
Books
during the first season of her criti-
cally acclaimed HBO series, Girls, Lena
Dunham’s character Hannah Horvath,
high on opium, tells her parents, “I don’t
want to freak you out, but I think that I
may be the voice of my generation—or
at least a voice of a generation.” The line
made waves as people conflated the fic-
tional character with her creator, perhaps
not wrongly. How dare a young woman
make such a bold claim? All too often our
culture tells young women their voices
don’t matter or deserve to be heard.
In her debut essay collection, Not That
Kind of Girl: A Young Woman Tells You
What She’s “Learned,” Dunham demon-
strates her 28-year-old voice’s admirable
range. While some celebrity essay col-
lections and memoirs are lackluster,
even embarrassing to read, Not That Kind
of Girl suffers few missteps. Dunham’s
cinematic flair translates to the page
with vigor and clarity—not unlike the
late Nora Ephron, to whom she is often
compared and to whom the book is
dedicated (along with Dunham’s family
and her boyfriend Jack Antonoff of the
indie-rock band fun.). Instead of tossing
pithy, pseudo-motivational observations
at the reader, Dunham has crafted warm,
intelligent writing that is both deeply
personal and engaging, clustered in five
topical sections: “Love & Sex,” “Body,”
“Friendship,” “Work” and “Big Picture.”
Each of the 29 pieces—essays mixed
with lists, like “18 Unlikely Things I’ve
Said Flirtatiously”—is confident and
assured, sidestepping self-deprecation
and instead offering intense self-
examination. Dunham’s self-awareness
can almost overwhelm with truthiness,
as in “Barry,” her glancing, tragicomic
account of being raped by a “mustachioed
campus Republican” who, among other
nonconsensual acts, removes his condom
without her permission or knowledge.
“A sexual encounter that no one can
classify properly” sounds precisely like
a voice of her generation, one struggling
to come to terms with rape culture.
(And yet, “I feel like there are fifty ways
it’s my fault . . . But I also know that at no
moment did I consent to being handled
that way” sounds like a voice of every
generation of women.)
Unlike Hannah Horvath, Dunham in
her self-awareness does not come across
as self-obsessed. When she is absurd,
she acknowledges that absurdity. “13
Things I’ve Learned Are Not Okay to
Say to Friends” is among the most drolly
enlightened of the lists, made up of osten-
sible real-life Dunham quotes like “No,
please don’t apologize. If I had your moth-
er I’d be a nightmare, too” and “There’s
nothing about you in my book.”
She reveals her vulnerabilities in
a deadpan manner, showing us how she
loves and has been loved, how she has
wronged and been wronged. But it’s not
all laughing around the hard stuff. At
the end of “Barry” comes a teary phone
call with Antonoff, in which she tells
him what happened with the hipster
rapist; here the narrative turns deeply
.
The critique of the Musical Cats must include the following informat.docx
The critique of the Musical Cats must include the following information:
1- Who was in the play meaning the actors and the characters they played?
2- What era is the play supposed to be taking place in?
3- Where does it take place?
4- How and Why did you connect emotionally and intellectually?
5- What was it about (breif plot synopsis)?
6- Were you able to relate to a part or most of the play (what part if any?
This musical was based on Old Possum's Book of Practical Cats by TS. Eliot
.
The CSI effect at university forensic science students’ telev.docx
The CSI effect at university: forensic science students’ television viewing
and perceptions of ethical issues
Roslyn Weavera*, Yenna Salamonsona, Jane Kocha,b and Glenn Porterc
aUniversity of Western Sydney, Family and Community Health Research Group; bUniversity of
Technology, Sydney, School of Nursing, Midwifery and Health; cUniversity of Western Sydney,
School of Science and Health
(Received 3 January 2012; final version received 3 May 2012)
Although the so-called ‘CSI effect’ has received attention in the literature for the
influence of forensic science television on jurors’ expectations of evidence
admitted into trials, less research explores the influence of such television
programs on university students enrolled in forensic science degrees. This paper
describes the quantitative and qualitative results of a study of forensic science
students regarding the forensic-related television programs they watch, such as
CSI, Bones and Dexter. We asked students to share their impressions of the
accuracy, ethics, professionalism and role models in the programs. The results
show that forensic science students are almost universally disparaging about the
realism of these programs and have mixed impressions of how the programs
portray forensic science professionalism and ethics. Most students believed that
the programs gave an unrealistic representation of the profession to the public;
yet students were also able to identify positive elements for recruitment and
education purposes.
Keywords: forensic science; CSI effect; students; television; education; Australia
Introduction
Popular media have suggested that crime science television programs such as CSI
may influence how lay jurors consider forensic evidence during criminal trials1–8.
This influence has been described as the CSI effect and named after the popular
television drama. It is suggested that jurors confuse the capacity of forensic evidence
with the fictional idealisation of forensic evidence as portrayed on the television
program2. Goodman-Delahunty and Verbrugge4 suggest that, despite the popular
media claims, there is little objective evidence to support the notion that crime scene
dramas such as CSI have a negative impact on jury verdicts. Wise5 indicated that
there are two issues relating to the ‘CSI effect’ proposition, with each affecting either
the prosecution or defence position; (i) the jurors held an inflated value of the
forensic evidence producing guilty verdicts2–5,9, or (ii) in the absence of forensic
evidence or when the evidence failed to reach the juries’ idealised expectations the
juries would acquit2–3,5. Evidence of the influence of the CSI effect, as claimed in the
popular media, has been mixed1–9.
Although the so-called CSI effect has received attention in the literature for the
influence of CSI on jurors’ expectations of forensic evidence admitted into criminal
*Corresponding author. Email: [email protected]
Australian Journal of Forensic Sciences
Vol. 44.
The Covid-19 pandemic caused a slow time during the Thanksgiving f.docx
The Covid-19 pandemic caused a slow time during the Thanksgiving festival last year. At the time, my aunt decided that since we would not be inviting family from all over, as it was tradition, we would make it into a neighborhood Thanksgiving. She invited their neighbors over; I bumped into one of their new neighbors on the block, Mr. Landry, in the kitchen while he conversed with my aunt. As I walked into the kitchen, he went silent with no eye contact, and as soon as I left the kitchen, he got back to the conversation. I overheard part of the conversation where Mr. Landry talked about Mrs. Boudreaux’s hospitalization while describing how she looked to be reeling in pain when he visited her. By that snippet of the conversation, I assumed that Mr. Landry was a gossip, only to find out later that he was a doctor in the hospital where Mrs. Boudreaux was. He was pleading with us to visit Mrs. Boudreaux and offer blood donations for her upcoming surgery. I was mortified, having learned this later.
According to the social psychology theory, individuals make first impressions based on traits, beliefs, and non-verbal cues from people one meets. Aronson et al. (2019) state that one’s traits from birth or parenting help us interpret social cues. Some of these traits include openness and being sociable is part of these traits show individuals to be social. Flynn (2005) agrees with this, reiterating that non-verbal behavior adds to first impressions on individuals. Therefore, Mr. Landry’s silence when I walked into the room and continually talking about someone else's condition without their consent triggered my perception that he was a gossip.
Increasing my reason for the first impression of Mr. Landry was his lack of eye contact on top of his silence when I walked into the kitchen (Flynn, 2005). As an adaptive response, Mr. Landry went silent because of his privileged status of revealing information to children that would later get conveyed in the proper channels.
Conclusively, Mr. Landry went silent and did not keep eye contact to remain confidential when I walked into the kitchen. However, my perception of this is that he was a gossip, furthering my first impression that was later in the day debunked when adequately explained.
References:
Aronson, E., Wilson, T. D., Akert, R. M., & Sommers, S. R. (Eds.). (2019).
Social psychology
(10th ed.). Boston, MA: Pearson.
Flynn, F. J. (2005). Having an Open Mind: The Impact of Openness to Experience on Interracial Attitudes and Impression Formation.
Journal of Personality and Social Psychology, 88(5), 816-826. doi:10.1037/0022-3514.88.5.816
.
The Customer Experience and Value Creation Chapter 4 O.docx
The Customer Experience
and Value Creation
Chapter 4 Objectives
Life-cycle Cost and customer value creation
Performance and customer value
Measuring perceived value
MBM6
Chapter 4
1
Life-Cycle Cost and Customer Value Creation
In this section we will look at different ways companies can assess the dollar value they create in customer savings relative to competitors.
MBM6
Chapter 4
The Customer Experience
and Value Creation
Southwest Airlines
Total Cost of Purchase
MBM6
Chapter 4
3
Sources of Life-Cycle Cost
MBM6
Chapter 4
4
Life-cycle Cost & Economic Value
MBM6
Chapter 4
Economic Value = Life-cycle cost (competitor)- Life-Cycle Cost (company)
5
AirCap Total Cost per Shipment
MBM6
Chapter 4
6
Communicating Value
MBM6
Chapter 4
7
Lowering Disposal Costs as
A Source of Value Creation
MBM6
Chapter 4
8
Price-Performance and Customer Value Creation
Performance can also include product features and functions that do not save money but enhance usage and create customer value.
MBM6
Chapter 4
The Customer Experience
and Value Creation
9
Performance vs. Price and Customer Value
Customer Value = Product Price – Fair Price
Data Source: “Digital Cameras,” Consumer Reports (April 2010)
MBM6
Chapter 4
10
Customer Value and Value Map
Canon A590
11
Sport Utility Vehicle Value Map
MBM6
Chapter 4
How would you evaluate the Toyota Highlander value based on these results?
(Data Source: “Best and Worst New and Used Cars,” Consumer Reports (2011): 43.)
12
Relative Performance and Customer Value
MBM6
Chapter 3
If the average performance rating of sixty-two printers is 61 according to Consumer Reports, and HP’s performance rating is 73, what is HP’s relative performance rating?
Relative Performance = (73/61)*100= 120.
Product Performance Rating
Average Performance Rating
X 100
Relative Performance =
13
Measuring Perceived Customer Value
Customer perceptions shape assessments of customer value. In many cases, customers consider more than product performance when they assess the overall value of a product.
MBM6
Chapter 4
The Customer Experience
and Value Creation
14
Perceived Customer Value
MBM6
Chapter 4
Perceived Customer Value
= Overall Performance Index (Overall benefits) – Cost of Purchase Index (cost)
= (Perceived Product Performance + Perceived Service Performance + Perceived Brand Reputation) – Cost of Purchase
15
Measuring Perceived Product Performance
MBM6
Chapter 4
1
2
3
Advantage: When the business is significantly better (>1 points) than a competitor, it gets the relative importance points.
Disadvantage: If it is significantly worse (> -1 points), it loses the relative importance points.
No advantage/disadvantage: Between -1 and +1 no points are won or lost.
16
Servic.
The Creation of the DHSDevelop an analytical PowerPoint® present.docx
The Creation of the DHS
Develop an analytical PowerPoint® presentation (18-22 slides) about the creation of the DHS.
Important:
Please keep slides “clean and readable” (e.g., do not overload your slides with verbiage). Do include talking points in the presenter’s note section below the slide.
In this Assignment, address all of the following:
Do you think DHS needed to be formed? Use the following five identified major factors and underlying challenges that led to the establishment of the DHS:
A political need for a response to the 9/11 attack,
An attempt to better "connect-the-dots" in order to prevent and deter attacks on the USA Homeland,
Creation of a more effective response structure to attacks,
Creation of a more effective response structure to disasters,
Creation of a more cost effective homeland security apparatus.
Analyze the above five factors and explain how they contributed to the formation of DHS, then answer the following questions:
Did the federal government take too long to move from the Cold War model of homeland protection?
Is DHS and the IC (Intelligence Community) properly structured?
Does DHS include too many agencies and/or are there some critical agencies missing?
In addition to fulfilling the specifics of the Assignment, you should format your presentation in accordance with the following guidelines:
Include at least two sources in your presentation.
Use one basic slide design and layout.
Use charts and graphs as needed.
Limit slides to between 6 and 8 lines of content.
Use bullets for your main points.
Use speaker notes to fully explain what is being discussed in the bullet points as though you are presenting to an audience.
Use APA citations on appropriate slides.
Pass Turnit in
.
The Criminal Justice System Consists of three agencies1. .docx
The Criminal Justice System Consists of three agencies:
1. Law Enforcement (Police)
2. Courts
3. Corrections
Criminal justice systems include several major subsystems, composed of one or more public institutions and their staffs: police and other law enforcement agencies;trial and appellate courts; prosecution and public defender offices; probation and parole agencies; custodial institutions (jails, prisons, reformatories, half-way houses, etc.); and departments of corrections (responsible for some or all probation, parole, and custodial functions).
The Criminal Justice components create a system when they apply their functions together looking for the same objective; to enforce justice into society. Even when the components of the Criminal Justice system are working to accomplish the same objective they work in different fields and the job of each component is very different from the others.
Assignment
For this assignment you will provide
three
scenarios on how the agencies work together
Resources
Course resources
Grading Criteria
Be sure to answer questions in full. For essay or questions requiring longer answers, more is always better than less.
You must have a minimum of 500 words.
(This does not include re-writing the question).
Lecture Notes: Effectiveness of the System
Power Point Presentation Calculating Crime Rates
Power Point Presentation Crimes Against Property
Power Point Presentation Crimes Against Persons
Uniform Crime Report
National Crime Victimzation Survey (NCVS)
National Incident-Based Reporting System (NIBRS)
Power Point Presentation: Classical and Neo-Classical Criminology
Power Point Presentation: Classical and Neo-Classical Criminology - Alternative Formats
Web Link: Top 10 Pros and Cons Arguments about the Death Penalty
Youtube Video: Death Penalty Documentary, Execution Tour of NC Death Row
.
The Courts and Courtroom ActorsAssignment Content1. .docx
The Courts and Courtroom Actors
Assignment Content
1.
Top of Form
There are different actors in the courtroom, and each has a specific role in how a trial or session will progress. There are also differences between the federal and state courts that are important to understand. In this assignment, you will outline details about the actors in the courtroom and federal and state courts. You will gain an understanding of the courts that will prepare you to participate in the courtroom process.
Imagine
you are a court administrator for the local superior court. You have been asked to speak to a high school civics class. Specifically, the teacher would like you to provide a general overview of federal and state courts and discuss the primary actors in each court system.
Create
an 9-slide Microsoft® PowerPoint® presentation in which you:
o Identify actors in the courtroom.
o Who are the actors in federal courts and state courts? (Include actors the two courts have incommon and any actors who are different.)
o What are their responsibilities?
o Why is it important for these responsibilities to be fulfilled adequately? (Consider the effect of overzealousness compared to the effect of underperformance.)
o Identify what is different between these actors in federal courts from the same actors in the state courts.
o Judges
o Defense attorneys
o Prosecutors
o Juries
o Contrast federal and state (your state or the state you’re from) courts (consider creating a diagram/chart/table).
o Structure
o Jurisdiction
o Roles of each court
o Case types
*Aesthetics and graphic files add great value*
Include
detailed speaker notes and at least 1 illustration, such as a chart, diagram, table, etc.
Cite
a minimum of 2 sources (one source for state courts and one source for federal courts).
.
THE CRAB CANNERY SHIP 1 BUDDY, WERE OFF TO HEL.docx
THE
CRAB
CANNERY
SHIP
1
"BUDDY, WE'RE OFF TO HELL!"
Leaning over the deck railing, two fishermen looked out on the
town of Hakodate stretched like a snail embracing the sea. One of
them spit out a cigarette he had smoked down to his fingertips. The
stub fell skimming the tall side of the ship, turning playfully every
which way. The man reeked of liquor.
Steamships with red bulging bellies rose from the water; others
being loaded with cargo leaned hard to one side as if tugged down
by the sea. There were thick yenow smokestacks, large bell-like
buoys, launches scurrying like bedbugs among ships. Bleak whirls
of oil soot, scraps of bread, and rotten fruit floated on the waves as
if forming some special fabric. Blown by the wind, smoke drifted
over waves wafting a stifling smell of coal. From time to time a harsh
rattle of winches traveling along the waves reverberated against the
flesh.
19
..
21 KOBAYASHI TAKIJI 20
Directly in front of the crab cannery ship Hakkomaru rested a
sailing ship with peeling paint, its anchor chain lowered from a
in its bow that looked like an ox's nostril. Two foreign sailors with
pipes in mouth paced the deck back and forth like automatons. The
ship seemed to be Russian. No doubt it was a patrol vessel sent to keep
an eye on the Japanese cannery ship.
"I don't have a damned penny left. Shit, look:' One of the fish
ermen moved closer to the other, gripped his hand and pressed it
against the pocket of the corduroy trousers beneath his jacket. The
pocket seemed to contain a small box.
The other man silently watched his mate's face.
"He, he, he:' chuckled the first man. "They're cards:'
The ship's captain was smoking a cigarette and strolling along the
deck like an admiral. The smoke he exhaled broke into sharp angles as
it passed the tip of his nose, and flew away in shreds. Sailors draggling
wooden-soled zori were bustling in and out of the forward cabins,
food pails in hand. Preparations had been completed and the ship
was ready to sail.
The two fishermen, peering down through the hatch into workers'
quarters in the dim bottom of the ship, saw a noisy commotion inside
the stacked bunks, like a nest full of birds' darting faces. The workers
were all boys of fourteen or fifteen.
"Where're you from?"
"X District:'
They were all children from Hakodate's slums. Poverty had
brought them together.
"What about the guys in the bunks over there?"
"They're from Nambu:"
"And those?"
"Akita:' Each cluster of bunks belonged to a different region.
"Where in Akita?"
"North Akita:' The boy's nose was running with thick, oozing
mucus, and the rims of his eyes were inflamed and drooping.
"You farmers?"
"Yeah:'
The air was stifling, filled with the sour stench of rotten fruit.
'ft,"
The Crab Cannery
Dozens of barrels of pickled vegetables were stored next door, adding
their own shit-like odor.
"From now on you can sleep hugging your old Dad here:' smil.
The Creativity CrisisBy Po Bronson and Ashley MerrymanFiled.docx
The Creativity Crisis
By Po Bronson and Ashley Merryman
Filed: 7/10/10 at 4:00 AM | Updated: 1/23/14 at 4:19 PM
http://www.newsweek.com/creativity-crisis-74665
Back in 1958, Ted Schwarzrock was an 8-year-old third grader when he became one of the “Torrance kids,” a group of nearly 400 Minneapolis children who completed a series of creativity tasks newly designed by professor E. Paul Torrance. Schwarzrock still vividly remembers the moment when a psychologist handed him a fire truck and asked, “How could you improve this toy to make it better and more fun to play with?” He recalls the psychologist being excited by his answers. In fact, the psychologist’s session notes indicate Schwarzrock rattled off 25 improvements, such as adding a removable ladder and springs to the wheels. That wasn’t the only time he impressed the scholars, who judged Schwarzrock to have “unusual visual perspective” and “an ability to synthesize diverse elements into meaningful products.”
The accepted definition of creativity is production of something original and useful, and that’s what’s reflected in the tests. There is never one right answer. To be creative requires divergent thinking (generating many unique ideas) and then convergent thinking (combining those ideas into the best result).
In the 50 years since Schwarzrock and the others took their tests, scholars—first led by Torrance, now his colleague, Garnet Millar—have been tracking the children, recording every patent earned, every business founded, every research paper published, and every grant awarded. They tallied the books, dances, radio shows, art exhibitions, software programs, advertising campaigns, hardware innovations, music compositions, public policies (written or implemented), leadership positions, invited lectures, and buildings designed.
Nobody would argue that Torrance’s tasks, which have become the gold standard in creativity assessment, measure creativity perfectly. What’s shocking is how incredibly well Torrance’s creativity index predicted those kids’ creative accomplishments as adults. Those who came up with more good ideas on Torrance’s tasks grew up to be entrepreneurs, inventors, college presidents, authors, doctors, diplomats, and software developers. Jonathan Plucker of Indiana University recently reanalyzed Torrance’s data. The correlation to lifetime creative accomplishment was more than three times stronger for childhood creativity than childhood IQ.
Like intelligence tests, Torrance’s test—a 90-minute series of discrete tasks, administered by a psychologist—has been taken by millions worldwide in 50 languages. Yet there is one crucial difference between IQ and CQ scores. With intelligence, there is a phenomenon called the Flynn effect—each generation, scores go up about 10 points. Enriched environments are making kids smarter. With creativity, a reverse trend has just been identified and is being reported for the first time here: American creativity scores are falling.
Kyung H.
The course research paper is a formatted APA paper, double-spaced. .docx
The course research paper is a formatted APA paper, double-spaced. Paper length requirement content from Title Page through References.
The Final papers will contain a title page, abstract, introduction/topic paragraph, summary/conclusion, and reference page.
Research paper topics can be on any course-related topic in the field of Information Technology, Governance Concepts, Strategies, and Best Practices.
.
BÀI TẬP BỔ TRỢ TIẾNG ANH LỚP 9 CẢ NĂM - GLOBAL SUCCESS - NĂM HỌC 2024-2025 - ...
BÀI TẬP BỔ TRỢ TIẾNG ANH LỚP 9 CẢ NĂM - GLOBAL SUCCESS - NĂM HỌC 2024-2025 - ...Nguyen Thanh Tu Collection
https://app.box.com/s/tacvl9ekroe9hqupdnjruiypvm9rdaneSouth African Journal of Science: Writing with integrity workshop (2024)
South African Journal of Science: Writing with integrity workshop (2024)Academy of Science of South Africa
A workshop hosted by the South African Journal of Science aimed at postgraduate students and early career researchers with little or no experience in writing and publishing journal articles.More Related Content
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The data in the case are quotes taken from interviews of parents.docx
This document provides interview quotes from parents, faculty, and staff at an elementary school collected by the principal Nancy. It asks the reader to organize the data in two different ways, notice any demographic details or themes, and consider how to structure feedback meeting with Nancy to present the key themes found in the analysis.
The Dark Side of the Force”Language & ProcessRisk Aversio.docx
This document provides a reading list of articles related to entrepreneurship, risk, and ethics in governance. The articles discuss whether public sector workers are more risk averse than private sector workers, the types of entrepreneurship as productive, unproductive or destructive, entrepreneurship as a cause or consequence of development, the relationship between public ethics and entrepreneurship, models for improving government performance, and a critique of regulatory politics and entrepreneurial governance. The document concludes by asking for an essay response on the critique of entrepreneurial governance in public management.
The Criminalization of American BusinessWhat do Bank of Americ.docx
The Criminalization of American Business
What do Bank of America, Citigroup, JPMorgan Chase, and Goldman Sachs have in common? All paid hefty fines for purportedly misleading investors about mortgage-backed securities. In fact, these companies paid the government a total of $50 billion in fines. The payments were made in lieu of criminal prosecutions.
Today, several hundred thousand federal rules that apply to businesses carry some form of criminal penalty. That is in addition to more than four thousand federal laws, many of which carry criminal sanctions for their violation. From 2000 to 2019, about 3,200 corporations either were convicted or pleaded guilty to violating federal statutes or rules.
Criminal Convictions
The first successful criminal conviction in a federal court against a company—the New York Central and Hudson River Railroad—was upheld by the Supreme Court in 1909 (the violation: cutting prices). Many other successful convictions followed.
One landmark case developed the
aggregation test
, now called the Doctrine of Collective Knowledge. This test aggregates the omissions and acts of two or more persons in a corporation, thereby constructing an
actus reus
and a
mens rea
out of the conduct and knowledge of several individuals.
Not all government attempts at applying criminal law to corporations survive. Courts have sometimes found insufficient evidence to show that a company acted with specific intent to commit a crime. Often, however, companies choose to reach settlement agreements with the government rather than fight criminal indictments.
Many Pay Substantial Fines in Lieu of Prosecution
More than four hundred corporations reached so-called non-prosecution agreements with the government from 2000 to the beginning of 2019. These agreements typically involve multimillion- or multibillion-dollar fines. This number does not include fines paid to the Environmental Protection Agency or to the Fish and Wildlife Service.
According to law professors Margaret Lemos and Max Minzner, “Public enforcers often seek large monetary awards for self-interested reasons divorced from the public interest and deterrents. The incentives are strongest when enforcement agencies are permitted to retain all or some of the proceeds of enforcement.”
Questions Presented
1)Why might a corporation’s managers agree to pay a large fine rather than to be indicted and proceed to trial?
2)How does a manager determine the optimal amount of legal research to undertake to prevent her or his company from violating the many thousands of federal regulations?
.
The Creation of the Ocean FloorSCI209Running head .docx
The Creation of the Ocean Floor
SCI/209
Running head: THE CREATION OF THE OCEAN FLOOR
1
THE CREATION OF THE OCEAN FLOOR
5
The Creation of the Ocean Floor
One scientific speculation about the beginning of ocean water declares that as Earth developed from a gas and dust cloud more than 4.5 billion years ago, an enormous quantity of insubstantial elements such as oxygen and hydrogen became confined inside the liquefied inner part of the newly formed planet (Advameg, 2013). In the course of the first few billion years following planets formation, these basic gases emerged across thousands of miles of red-hot and liquefying rock to discharge on the Earth’s surface through fissures (long narrow cracks) and volcanoes.
Inside the earth and atop the exterior, the gas hydrogen joined oxygen developing water. Massive amounts of liquid blanketed the planet as an extraordinarily heavy atmosphere of water cloud. Close to the uppermost part of the atmosphere, where high temperature may possibly dissipate to outward reaches of the earth, water vapor concentrated to a liquid form and dropped into the stratum below, chilling the level. This atmospheric cool down procedure lasted till the initial precipitation dropped to the planet’s young exterior and flared into a misty haze. This came to pass as the creation of an astonishing downpour that through the course of time, progressively filled the ocean cavities.
There are three major classes of tectonic plate boundaries: divergent boundaries, covergent boundaries, and transform boundaries. The divergent boundaries outstanding features are fresh crust is produced as two or more plates tear away from one other. Oceans are generated and grow broader where plates deviate or pull apart. Seafloor expanding is a process in which the molten rock produces new ground underneath water. This progression takes millions of years to establish a 10 foot hill because growth fluctuates from two to 10 centimeters yearly. The convergent boundaries outstanding features are here crust is demolished and reprocessed back into the inside of the Earth as one plate descents under another. These are recognized as Subduction Zones - volcanoes and mountains are often discovered where plates come together. The kinds of volcanoes that can occur depend on the chemical composition of the molten rock that decides its fluidity. There are three kinds of convergent boundaries: Oceanic-Continental Convergence, Oceanic-Oceanic Convergence, and Continental-Continental Convergence (Platetectonics, 2010). The transform boundaries outstanding features are when two plates are skimming parallel by each other. These are additionally identified as transform boundaries or in addition normally called faults. The San Andreas Fault is the best known and considered the most lethal translational line.
One natural event that occurs as a direct result of plate boundary interactions is a tsunami. Plate tectonics are the secondary trigger of tsunamis. When a maj.
The creation of a weak acid titration plot is described in chapter 1.docx
The creation of a weak acid titration plot is described in chapter 10-5 of your technique book. A generic four-step procedure is given. Rewrite the four steps to be a specific prcedure to be used to titrate a sample of potassium hydrogen phthalate (MM 204.22 g/mol) using the NaOH soluiton you will prepare.
.
The Dark Ages World History Crash Course #141. The period b.docx
The Dark Ages: World History Crash Course #14
1. The period between ________ and _______________ is often called the ________________________ in Europe because it came between the Roman Empire and the beginning of the modern age. And it’s sometimes called the Dark Ages because it was purportedly ________________________.
2. What is feudalism?
3. How was feudalism an economic system in addition to the political system described above?
4. Regarding Islam in the Dark Ages, the Umayyad Dynasty was overthrown in _________ and was replaced by the ______________________. They moved the capital to Baghdad and were welcoming of _________________________________ into positions of power.
5. The “golden age” of Islamic learning was centered in Baghdad. What were five accomplishments of this time-period you found to be the most interesting?
a.
b.
c.
d.
e.
6. Meanwhile, China was experiencing a golden age of its own where it ruled over _______________________________ across four million square miles.
7. What necessitated the Chinese inventing the use of paper money?
8. By the 11th century, the Chinese were writing down their recipe for a mixture of saltpeter, sulfur, and charcoal that we now know as ________________________.
Here is the link to the video ...... https://youtu.be/QV7CanyzhZg
.
The Culturally Responsive Social Service Agency The Application o.docx
The Culturally Responsive Social Service Agency: The Application of an Evolving Definition to a Case Study
Julian Chun-Chung Chow PhD & Michael J. Austin PhD
To cite this article: Julian Chun-Chung Chow PhD & Michael J. Austin PhD (2008) The Culturally Responsive Social Service Agency: The Application of an Evolving Definition to a Case Study, Administration in Social Work, 32:4, 39-64, DOI: 10.1080/03643100802293832
Published online: 11 Oct 2008.
Page 39
ABSTRACT. Most of the attention in the last few decades in the human services field has been on the development of culturally competent practice with little attention to the context of this practice. This analysis and case study focuses on the organizational context of social service practitioners seeking to respond effectively to an increasingly diverse client population. Specific attention is given to the development of a working definition of a culturally responsive social service agency. This definition is used to assess a case study of a public sector county social service agency that has a substantial history in promoting culturally responsive practices. The implications for future management practices are noted in the conclusion.
Julian Chun-Chung Chow, PhD, is an Associate Professor affiliated with the School of Social Welfare, University of California, Berkeley. Michael J. Austin, PhD, is a Professor affiliated with the School of Social Welfare, University of California, Berkeley. The authors want to acknowledge the significant roles played by Zonia Sandoval Waldon, MSW, and Gil Villagran, MSW, in the development of a culturally responsive organization prior to their recent retirements in 2004 from the Santa Clara County Social Service Agency. We also want to acknowledge the contributions of the following graduate students: Tiffany Woo, MSW; Allison De Marco, MSW; Jill Nielson, MSW; Sarah Taylor, MSW; Sunshine Wu, MSW; Christine Lou, BA; and Ericka Leer, MSW. Address correspondence to: Michael J. Austin, School of Social Welfare, University of California, 120 Haviland Hall, MC 7400, Berkeley, CA 94720–7400 (E-mail: [email protected]).
Administration in Social Work, Vol. 32(4) 2008 Available online at http://www.haworthpress.com © 2008 by The Haworth Press. All rights reserved. doi:10.1080/03643100802293832
Page 40
KEYWORDS. Social services delivery, organizations, cultural responsiveness, ethnicity
INTRODUCTION
Since the War on Poverty in the 1960s, social service organizations have been searching for ways to become responsive to the cultural diversity of their client populations. Beginning in the 1970s, concerted attention was given to helping agency staff members become more culturally aware (Green, 1999), more culturally knowledgeable (Cox & Ephross, 1998; Davis & Proctor, 1989; Harrison & Wodarski, 1992), and recently more culturally competent (Devore & Schlesinger, 1999; Fong & Furuto, 2001; Leigh, 1998; Lum, 2003). With regard to training.
The cult of Machismo (masculine superiority) appeared early in Latin.docx
The assigned reading discusses how the cult of machismo promoted masculine superiority in early Latin America, yet many colonial families contradicted this stereotype. The culture box "Elite Women and Economic Power" on page 24 presents evidence that some elite women held significant economic power and did not always conform to expected gender roles.
The CultureBooksdu r ing t he f ir s t se a son of her.docx
The Culture
Books
du r ing t he f ir s t se a son of her cr i t i-
cally acclaimed HBO series, Girls, Lena
Dunham’s character Hannah Horvath,
high on opium, tells her parents, “I don’t
want to freak you out, but I think that I
may be the voice of my generation—or
at least a voice of a generation.” The line
made waves as people conflated the fic-
tional character with her creator, perhaps
not wrongly. How dare a young woman
make such a bold claim? All too often our
culture tells young women their voices
don’t matter or deserve to be heard.
In her debut essay collection, Not That
Kind of Girl: A Young Woman Tells You
What She’s “Learned,” Dunham demon-
strates her 28-year-old voice’s admirable
range. While some celebrity essay col-
lections and memoirs are lackluster,
even embarrassing to read, Not That Kind
of Girl suffers few missteps. Dunham’s
cinematic flair translates to the page
with vigor and clarity—not unlike the
late Nora Ephron, to whom she is often
compared and to whom the book is
dedicated (along with Dunham’s family
and her boyfriend Jack Antonoff of the
indie-rock band fun.). Instead of tossing
pithy, pseudo-motivational observations
at the reader, Dunham has crafted warm,
intelligent writing that is both deeply
personal and engaging, clustered in five
topical sections: “Love & Sex,” “Body,”
“Friendship,” “Work” and “Big Picture.”
Each of the 29 pieces—essays mixed
with lists, like “18 Unlikely Things I’ve
Said Flirtatiously”—is confident and
assured, sidestepping self-deprecation
and instead offering intense self-
examination. Dunham’s self-awareness
can almost overwhelm with truthiness,
as in “Barry,” her glancing, tragicomic
account of being raped by a “mustachioed
campus Republican” who, among other
nonconsensual acts, removes his condom
without her permission or knowledge.
“A sexual encounter that no one can
classify properly” sounds precisely like
a voice of her generation, one struggling
to come to terms with rape culture.
(And yet, “I feel like there are fifty ways
it’s my fault . . . But I also know that at no
moment did I consent to being handled
that way” sounds like a voice of every
generation of women.)
Unlike Hannah Horvath, Dunham in
her self-awareness does not come across
as self-obsessed. When she is absurd,
she acknowledges that absurdity. “13
Things I’ve Learned Are Not Okay to
Say to Friends” is among the most drolly
enlightened of the lists, made up of osten-
sible real-life Dunham quotes like “No,
please don’t apologize. If I had your moth-
er I’d be a nightmare, too” and “There’s
nothing about you in my book.”
She reveals her vulnerabilities in
a deadpan manner, showing us how she
loves and has been loved, how she has
wronged and been wronged. But it’s not
all laughing around the hard stuff. At
the end of “Barry” comes a teary phone
call with Antonoff, in which she tells
him what happened with the hipster
rapist; here the narrative tur.
The CultureBooksduring the first season of her criti-.docx
The Culture
Books
during the first season of her criti-
cally acclaimed HBO series, Girls, Lena
Dunham’s character Hannah Horvath,
high on opium, tells her parents, “I don’t
want to freak you out, but I think that I
may be the voice of my generation—or
at least a voice of a generation.” The line
made waves as people conflated the fic-
tional character with her creator, perhaps
not wrongly. How dare a young woman
make such a bold claim? All too often our
culture tells young women their voices
don’t matter or deserve to be heard.
In her debut essay collection, Not That
Kind of Girl: A Young Woman Tells You
What She’s “Learned,” Dunham demon-
strates her 28-year-old voice’s admirable
range. While some celebrity essay col-
lections and memoirs are lackluster,
even embarrassing to read, Not That Kind
of Girl suffers few missteps. Dunham’s
cinematic flair translates to the page
with vigor and clarity—not unlike the
late Nora Ephron, to whom she is often
compared and to whom the book is
dedicated (along with Dunham’s family
and her boyfriend Jack Antonoff of the
indie-rock band fun.). Instead of tossing
pithy, pseudo-motivational observations
at the reader, Dunham has crafted warm,
intelligent writing that is both deeply
personal and engaging, clustered in five
topical sections: “Love & Sex,” “Body,”
“Friendship,” “Work” and “Big Picture.”
Each of the 29 pieces—essays mixed
with lists, like “18 Unlikely Things I’ve
Said Flirtatiously”—is confident and
assured, sidestepping self-deprecation
and instead offering intense self-
examination. Dunham’s self-awareness
can almost overwhelm with truthiness,
as in “Barry,” her glancing, tragicomic
account of being raped by a “mustachioed
campus Republican” who, among other
nonconsensual acts, removes his condom
without her permission or knowledge.
“A sexual encounter that no one can
classify properly” sounds precisely like
a voice of her generation, one struggling
to come to terms with rape culture.
(And yet, “I feel like there are fifty ways
it’s my fault . . . But I also know that at no
moment did I consent to being handled
that way” sounds like a voice of every
generation of women.)
Unlike Hannah Horvath, Dunham in
her self-awareness does not come across
as self-obsessed. When she is absurd,
she acknowledges that absurdity. “13
Things I’ve Learned Are Not Okay to
Say to Friends” is among the most drolly
enlightened of the lists, made up of osten-
sible real-life Dunham quotes like “No,
please don’t apologize. If I had your moth-
er I’d be a nightmare, too” and “There’s
nothing about you in my book.”
She reveals her vulnerabilities in
a deadpan manner, showing us how she
loves and has been loved, how she has
wronged and been wronged. But it’s not
all laughing around the hard stuff. At
the end of “Barry” comes a teary phone
call with Antonoff, in which she tells
him what happened with the hipster
rapist; here the narrative turns deeply
.
The critique of the Musical Cats must include the following informat.docx
The critique of the Musical Cats must include the following information:
1- Who was in the play meaning the actors and the characters they played?
2- What era is the play supposed to be taking place in?
3- Where does it take place?
4- How and Why did you connect emotionally and intellectually?
5- What was it about (breif plot synopsis)?
6- Were you able to relate to a part or most of the play (what part if any?
This musical was based on Old Possum's Book of Practical Cats by TS. Eliot
.
The CSI effect at university forensic science students’ telev.docx
The CSI effect at university: forensic science students’ television viewing
and perceptions of ethical issues
Roslyn Weavera*, Yenna Salamonsona, Jane Kocha,b and Glenn Porterc
aUniversity of Western Sydney, Family and Community Health Research Group; bUniversity of
Technology, Sydney, School of Nursing, Midwifery and Health; cUniversity of Western Sydney,
School of Science and Health
(Received 3 January 2012; final version received 3 May 2012)
Although the so-called ‘CSI effect’ has received attention in the literature for the
influence of forensic science television on jurors’ expectations of evidence
admitted into trials, less research explores the influence of such television
programs on university students enrolled in forensic science degrees. This paper
describes the quantitative and qualitative results of a study of forensic science
students regarding the forensic-related television programs they watch, such as
CSI, Bones and Dexter. We asked students to share their impressions of the
accuracy, ethics, professionalism and role models in the programs. The results
show that forensic science students are almost universally disparaging about the
realism of these programs and have mixed impressions of how the programs
portray forensic science professionalism and ethics. Most students believed that
the programs gave an unrealistic representation of the profession to the public;
yet students were also able to identify positive elements for recruitment and
education purposes.
Keywords: forensic science; CSI effect; students; television; education; Australia
Introduction
Popular media have suggested that crime science television programs such as CSI
may influence how lay jurors consider forensic evidence during criminal trials1–8.
This influence has been described as the CSI effect and named after the popular
television drama. It is suggested that jurors confuse the capacity of forensic evidence
with the fictional idealisation of forensic evidence as portrayed on the television
program2. Goodman-Delahunty and Verbrugge4 suggest that, despite the popular
media claims, there is little objective evidence to support the notion that crime scene
dramas such as CSI have a negative impact on jury verdicts. Wise5 indicated that
there are two issues relating to the ‘CSI effect’ proposition, with each affecting either
the prosecution or defence position; (i) the jurors held an inflated value of the
forensic evidence producing guilty verdicts2–5,9, or (ii) in the absence of forensic
evidence or when the evidence failed to reach the juries’ idealised expectations the
juries would acquit2–3,5. Evidence of the influence of the CSI effect, as claimed in the
popular media, has been mixed1–9.
Although the so-called CSI effect has received attention in the literature for the
influence of CSI on jurors’ expectations of forensic evidence admitted into criminal
*Corresponding author. Email: [email protected]
Australian Journal of Forensic Sciences
Vol. 44.
The Covid-19 pandemic caused a slow time during the Thanksgiving f.docx
The Covid-19 pandemic caused a slow time during the Thanksgiving festival last year. At the time, my aunt decided that since we would not be inviting family from all over, as it was tradition, we would make it into a neighborhood Thanksgiving. She invited their neighbors over; I bumped into one of their new neighbors on the block, Mr. Landry, in the kitchen while he conversed with my aunt. As I walked into the kitchen, he went silent with no eye contact, and as soon as I left the kitchen, he got back to the conversation. I overheard part of the conversation where Mr. Landry talked about Mrs. Boudreaux’s hospitalization while describing how she looked to be reeling in pain when he visited her. By that snippet of the conversation, I assumed that Mr. Landry was a gossip, only to find out later that he was a doctor in the hospital where Mrs. Boudreaux was. He was pleading with us to visit Mrs. Boudreaux and offer blood donations for her upcoming surgery. I was mortified, having learned this later.
According to the social psychology theory, individuals make first impressions based on traits, beliefs, and non-verbal cues from people one meets. Aronson et al. (2019) state that one’s traits from birth or parenting help us interpret social cues. Some of these traits include openness and being sociable is part of these traits show individuals to be social. Flynn (2005) agrees with this, reiterating that non-verbal behavior adds to first impressions on individuals. Therefore, Mr. Landry’s silence when I walked into the room and continually talking about someone else's condition without their consent triggered my perception that he was a gossip.
Increasing my reason for the first impression of Mr. Landry was his lack of eye contact on top of his silence when I walked into the kitchen (Flynn, 2005). As an adaptive response, Mr. Landry went silent because of his privileged status of revealing information to children that would later get conveyed in the proper channels.
Conclusively, Mr. Landry went silent and did not keep eye contact to remain confidential when I walked into the kitchen. However, my perception of this is that he was a gossip, furthering my first impression that was later in the day debunked when adequately explained.
References:
Aronson, E., Wilson, T. D., Akert, R. M., & Sommers, S. R. (Eds.). (2019).
Social psychology
(10th ed.). Boston, MA: Pearson.
Flynn, F. J. (2005). Having an Open Mind: The Impact of Openness to Experience on Interracial Attitudes and Impression Formation.
Journal of Personality and Social Psychology, 88(5), 816-826. doi:10.1037/0022-3514.88.5.816
.
The Customer Experience and Value Creation Chapter 4 O.docx
The Customer Experience
and Value Creation
Chapter 4 Objectives
Life-cycle Cost and customer value creation
Performance and customer value
Measuring perceived value
MBM6
Chapter 4
1
Life-Cycle Cost and Customer Value Creation
In this section we will look at different ways companies can assess the dollar value they create in customer savings relative to competitors.
MBM6
Chapter 4
The Customer Experience
and Value Creation
Southwest Airlines
Total Cost of Purchase
MBM6
Chapter 4
3
Sources of Life-Cycle Cost
MBM6
Chapter 4
4
Life-cycle Cost & Economic Value
MBM6
Chapter 4
Economic Value = Life-cycle cost (competitor)- Life-Cycle Cost (company)
5
AirCap Total Cost per Shipment
MBM6
Chapter 4
6
Communicating Value
MBM6
Chapter 4
7
Lowering Disposal Costs as
A Source of Value Creation
MBM6
Chapter 4
8
Price-Performance and Customer Value Creation
Performance can also include product features and functions that do not save money but enhance usage and create customer value.
MBM6
Chapter 4
The Customer Experience
and Value Creation
9
Performance vs. Price and Customer Value
Customer Value = Product Price – Fair Price
Data Source: “Digital Cameras,” Consumer Reports (April 2010)
MBM6
Chapter 4
10
Customer Value and Value Map
Canon A590
11
Sport Utility Vehicle Value Map
MBM6
Chapter 4
How would you evaluate the Toyota Highlander value based on these results?
(Data Source: “Best and Worst New and Used Cars,” Consumer Reports (2011): 43.)
12
Relative Performance and Customer Value
MBM6
Chapter 3
If the average performance rating of sixty-two printers is 61 according to Consumer Reports, and HP’s performance rating is 73, what is HP’s relative performance rating?
Relative Performance = (73/61)*100= 120.
Product Performance Rating
Average Performance Rating
X 100
Relative Performance =
13
Measuring Perceived Customer Value
Customer perceptions shape assessments of customer value. In many cases, customers consider more than product performance when they assess the overall value of a product.
MBM6
Chapter 4
The Customer Experience
and Value Creation
14
Perceived Customer Value
MBM6
Chapter 4
Perceived Customer Value
= Overall Performance Index (Overall benefits) – Cost of Purchase Index (cost)
= (Perceived Product Performance + Perceived Service Performance + Perceived Brand Reputation) – Cost of Purchase
15
Measuring Perceived Product Performance
MBM6
Chapter 4
1
2
3
Advantage: When the business is significantly better (>1 points) than a competitor, it gets the relative importance points.
Disadvantage: If it is significantly worse (> -1 points), it loses the relative importance points.
No advantage/disadvantage: Between -1 and +1 no points are won or lost.
16
Servic.
The Creation of the DHSDevelop an analytical PowerPoint® present.docx
The Creation of the DHS
Develop an analytical PowerPoint® presentation (18-22 slides) about the creation of the DHS.
Important:
Please keep slides “clean and readable” (e.g., do not overload your slides with verbiage). Do include talking points in the presenter’s note section below the slide.
In this Assignment, address all of the following:
Do you think DHS needed to be formed? Use the following five identified major factors and underlying challenges that led to the establishment of the DHS:
A political need for a response to the 9/11 attack,
An attempt to better "connect-the-dots" in order to prevent and deter attacks on the USA Homeland,
Creation of a more effective response structure to attacks,
Creation of a more effective response structure to disasters,
Creation of a more cost effective homeland security apparatus.
Analyze the above five factors and explain how they contributed to the formation of DHS, then answer the following questions:
Did the federal government take too long to move from the Cold War model of homeland protection?
Is DHS and the IC (Intelligence Community) properly structured?
Does DHS include too many agencies and/or are there some critical agencies missing?
In addition to fulfilling the specifics of the Assignment, you should format your presentation in accordance with the following guidelines:
Include at least two sources in your presentation.
Use one basic slide design and layout.
Use charts and graphs as needed.
Limit slides to between 6 and 8 lines of content.
Use bullets for your main points.
Use speaker notes to fully explain what is being discussed in the bullet points as though you are presenting to an audience.
Use APA citations on appropriate slides.
Pass Turnit in
.
The Criminal Justice System Consists of three agencies1. .docx
The Criminal Justice System Consists of three agencies:
1. Law Enforcement (Police)
2. Courts
3. Corrections
Criminal justice systems include several major subsystems, composed of one or more public institutions and their staffs: police and other law enforcement agencies;trial and appellate courts; prosecution and public defender offices; probation and parole agencies; custodial institutions (jails, prisons, reformatories, half-way houses, etc.); and departments of corrections (responsible for some or all probation, parole, and custodial functions).
The Criminal Justice components create a system when they apply their functions together looking for the same objective; to enforce justice into society. Even when the components of the Criminal Justice system are working to accomplish the same objective they work in different fields and the job of each component is very different from the others.
Assignment
For this assignment you will provide
three
scenarios on how the agencies work together
Resources
Course resources
Grading Criteria
Be sure to answer questions in full. For essay or questions requiring longer answers, more is always better than less.
You must have a minimum of 500 words.
(This does not include re-writing the question).
Lecture Notes: Effectiveness of the System
Power Point Presentation Calculating Crime Rates
Power Point Presentation Crimes Against Property
Power Point Presentation Crimes Against Persons
Uniform Crime Report
National Crime Victimzation Survey (NCVS)
National Incident-Based Reporting System (NIBRS)
Power Point Presentation: Classical and Neo-Classical Criminology
Power Point Presentation: Classical and Neo-Classical Criminology - Alternative Formats
Web Link: Top 10 Pros and Cons Arguments about the Death Penalty
Youtube Video: Death Penalty Documentary, Execution Tour of NC Death Row
.
The Courts and Courtroom ActorsAssignment Content1. .docx
The Courts and Courtroom Actors
Assignment Content
1.
Top of Form
There are different actors in the courtroom, and each has a specific role in how a trial or session will progress. There are also differences between the federal and state courts that are important to understand. In this assignment, you will outline details about the actors in the courtroom and federal and state courts. You will gain an understanding of the courts that will prepare you to participate in the courtroom process.
Imagine
you are a court administrator for the local superior court. You have been asked to speak to a high school civics class. Specifically, the teacher would like you to provide a general overview of federal and state courts and discuss the primary actors in each court system.
Create
an 9-slide Microsoft® PowerPoint® presentation in which you:
o Identify actors in the courtroom.
o Who are the actors in federal courts and state courts? (Include actors the two courts have incommon and any actors who are different.)
o What are their responsibilities?
o Why is it important for these responsibilities to be fulfilled adequately? (Consider the effect of overzealousness compared to the effect of underperformance.)
o Identify what is different between these actors in federal courts from the same actors in the state courts.
o Judges
o Defense attorneys
o Prosecutors
o Juries
o Contrast federal and state (your state or the state you’re from) courts (consider creating a diagram/chart/table).
o Structure
o Jurisdiction
o Roles of each court
o Case types
*Aesthetics and graphic files add great value*
Include
detailed speaker notes and at least 1 illustration, such as a chart, diagram, table, etc.
Cite
a minimum of 2 sources (one source for state courts and one source for federal courts).
.
THE CRAB CANNERY SHIP 1 BUDDY, WERE OFF TO HEL.docx
THE
CRAB
CANNERY
SHIP
1
"BUDDY, WE'RE OFF TO HELL!"
Leaning over the deck railing, two fishermen looked out on the
town of Hakodate stretched like a snail embracing the sea. One of
them spit out a cigarette he had smoked down to his fingertips. The
stub fell skimming the tall side of the ship, turning playfully every
which way. The man reeked of liquor.
Steamships with red bulging bellies rose from the water; others
being loaded with cargo leaned hard to one side as if tugged down
by the sea. There were thick yenow smokestacks, large bell-like
buoys, launches scurrying like bedbugs among ships. Bleak whirls
of oil soot, scraps of bread, and rotten fruit floated on the waves as
if forming some special fabric. Blown by the wind, smoke drifted
over waves wafting a stifling smell of coal. From time to time a harsh
rattle of winches traveling along the waves reverberated against the
flesh.
19
..
21 KOBAYASHI TAKIJI 20
Directly in front of the crab cannery ship Hakkomaru rested a
sailing ship with peeling paint, its anchor chain lowered from a
in its bow that looked like an ox's nostril. Two foreign sailors with
pipes in mouth paced the deck back and forth like automatons. The
ship seemed to be Russian. No doubt it was a patrol vessel sent to keep
an eye on the Japanese cannery ship.
"I don't have a damned penny left. Shit, look:' One of the fish
ermen moved closer to the other, gripped his hand and pressed it
against the pocket of the corduroy trousers beneath his jacket. The
pocket seemed to contain a small box.
The other man silently watched his mate's face.
"He, he, he:' chuckled the first man. "They're cards:'
The ship's captain was smoking a cigarette and strolling along the
deck like an admiral. The smoke he exhaled broke into sharp angles as
it passed the tip of his nose, and flew away in shreds. Sailors draggling
wooden-soled zori were bustling in and out of the forward cabins,
food pails in hand. Preparations had been completed and the ship
was ready to sail.
The two fishermen, peering down through the hatch into workers'
quarters in the dim bottom of the ship, saw a noisy commotion inside
the stacked bunks, like a nest full of birds' darting faces. The workers
were all boys of fourteen or fifteen.
"Where're you from?"
"X District:'
They were all children from Hakodate's slums. Poverty had
brought them together.
"What about the guys in the bunks over there?"
"They're from Nambu:"
"And those?"
"Akita:' Each cluster of bunks belonged to a different region.
"Where in Akita?"
"North Akita:' The boy's nose was running with thick, oozing
mucus, and the rims of his eyes were inflamed and drooping.
"You farmers?"
"Yeah:'
The air was stifling, filled with the sour stench of rotten fruit.
'ft,"
The Crab Cannery
Dozens of barrels of pickled vegetables were stored next door, adding
their own shit-like odor.
"From now on you can sleep hugging your old Dad here:' smil.
The Creativity CrisisBy Po Bronson and Ashley MerrymanFiled.docx
The Creativity Crisis
By Po Bronson and Ashley Merryman
Filed: 7/10/10 at 4:00 AM | Updated: 1/23/14 at 4:19 PM
http://www.newsweek.com/creativity-crisis-74665
Back in 1958, Ted Schwarzrock was an 8-year-old third grader when he became one of the “Torrance kids,” a group of nearly 400 Minneapolis children who completed a series of creativity tasks newly designed by professor E. Paul Torrance. Schwarzrock still vividly remembers the moment when a psychologist handed him a fire truck and asked, “How could you improve this toy to make it better and more fun to play with?” He recalls the psychologist being excited by his answers. In fact, the psychologist’s session notes indicate Schwarzrock rattled off 25 improvements, such as adding a removable ladder and springs to the wheels. That wasn’t the only time he impressed the scholars, who judged Schwarzrock to have “unusual visual perspective” and “an ability to synthesize diverse elements into meaningful products.”
The accepted definition of creativity is production of something original and useful, and that’s what’s reflected in the tests. There is never one right answer. To be creative requires divergent thinking (generating many unique ideas) and then convergent thinking (combining those ideas into the best result).
In the 50 years since Schwarzrock and the others took their tests, scholars—first led by Torrance, now his colleague, Garnet Millar—have been tracking the children, recording every patent earned, every business founded, every research paper published, and every grant awarded. They tallied the books, dances, radio shows, art exhibitions, software programs, advertising campaigns, hardware innovations, music compositions, public policies (written or implemented), leadership positions, invited lectures, and buildings designed.
Nobody would argue that Torrance’s tasks, which have become the gold standard in creativity assessment, measure creativity perfectly. What’s shocking is how incredibly well Torrance’s creativity index predicted those kids’ creative accomplishments as adults. Those who came up with more good ideas on Torrance’s tasks grew up to be entrepreneurs, inventors, college presidents, authors, doctors, diplomats, and software developers. Jonathan Plucker of Indiana University recently reanalyzed Torrance’s data. The correlation to lifetime creative accomplishment was more than three times stronger for childhood creativity than childhood IQ.
Like intelligence tests, Torrance’s test—a 90-minute series of discrete tasks, administered by a psychologist—has been taken by millions worldwide in 50 languages. Yet there is one crucial difference between IQ and CQ scores. With intelligence, there is a phenomenon called the Flynn effect—each generation, scores go up about 10 points. Enriched environments are making kids smarter. With creativity, a reverse trend has just been identified and is being reported for the first time here: American creativity scores are falling.
Kyung H.
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