Disaster Relief Plan Evaluation of Effectiveness Essay

Disaster Relief Plan Evaluation of Effectiveness - Essay Example re always some issues that are specific to a particular country, which in our case is Thailand, here transparency of the utilization of the relief funds and corruption are considered to be the major issues by the foreign or domestic donor and relief agencies. Without the proper and adequate evaluation of these issues proper Disaster Management Plan could not be evaluated. The most important element when evaluating any disaster relief plan is the integrity, honesty, coordination and availability of the local administration. Relief work would be very difficult if these elements are not available. After that one should consider the accessibility and logistic support available in the affected areas, because it is necessary to determine to scope of relief work. And it should be followed by the availability of trained and qualified professional, who could coup with any particular emergency or disaster. Gathering the support and trust of the locals administration is also very important, this would ensure the security of the relief team and adds to the capacity building of the relief work. Collection, storing and distribution of supplies is of fundamental importance, a good plan must cover these issues, this could be easily achieved through the participation from corporate or private sector of the country (Jaffin & Bob, 2008) As discussed earlier, the misappropriation and corruption in the relief funds is the main issue which the international community closely monitor when considering any relief effort for Thailand. Lack of transparency would cause a sense of unrest and lack of trust in the Sovereign Government, by the foreign or domestic fund or relief agencies. This issue would be of utmost importance when considering any disaster relief plan for Thailand. Efforts to mitigate and reduce the corruption in the funds received for relief of those affected by a catastrophe must be ensured. The foreign and Non-governmental agencies involved in the relief work must ensure

Fourwinds Marina case study Assignment Example | Topics and Well Written Essays - 1000 words

Fourwinds Marina case study - Assignment Example In terms of strengths, the Four Winds Marina has a lot of previous business experience. It is also catering to loyal domestic clients who frequent it on a regular basis. With charges of 21 to 33 dollars per night, the marina is also quite affordable for the majority of citizens. The Four Winds also has extensive grounds and numerous amenities which make it possible for improvements to be made, signaling a potentially high rate of growth. In regards to weaknesses, the Four Winds Marina has not been experiencing peak performance in spite of the hiring of an assortment of general managers. The general manager of the Four Winds could also be a liability if he is completely unable to fully understand all the operations that are required in order for improvements to be realized more technical operations. Keltner is already saddled with responsibilities, as it stands more technical operations. He may need to speak with his boss, Taggart, about the possibility of hiring other skilled and acc omplished assistants who will leave him free to make decisions in what he feels comfortable with, while leaving the other, more technical operations, to his more accomplished junior assistants. This will also ensure that the general manager does not grow too tired with his responsibilities. Sandy has also not invested in more research and development operations that may be necessary to remain relevant. In terms of opportunities, there are numerous developments that the marina is looking to effect.

Reception of photography

Reception of photography Using a broad range of critical, satirical, and photographic texts, assess the cultural reception of photography in the mid nineteenth century. The mid nineteenth century was a time of great technological advancement, and a more modern way of living came to be that bought with it significant cultural and social change. The industrial age was in full swing (as a consequence of the recent development of the steam engine), and photography was an exciting (but also intimidating) technology that caused incredible debate surrounds its status as an art form, and also the ethical and social issues its conception invoked. Although Daguerre/Fox Talbots Victorian audience were generally a receptive and willing one ready to embrace new and exciting technology (Goldberg 1991), there is significant evidence that shows a mixed cultural reception in regards to the emergence of early photographic processes. Wells (2004 p.12) states that: hailed as a great technological invention, photography immediately became the subject of debates concerning its aesthetic status and social uses Henisch (1994 pg.2) agrees stating intense controversies raged concerning its status and role in society. Photography had a huge impact on the Victorian society, and in 1839 artist Paul Delaroche is said to have claimed hysterically upon first seeing a daguerreotype photograph, from this day painting is dead. Japanese artist Renjio Shinoke also reportedly snapped his paintbrushes and become a pioneer of early Japanese photography (Eastman 1962). Whilst these examples are clearly overt exaggerations (almost to the point of satire) , they also highlight genuine fears and anxieties felt by artists (especially portrait) and critics alike, which stimulated and engaged the Victorian society in a plethora of debates surrounding the cultural, ethical and social impact the emergence of photography raised . The majority accepted its ability to record mechanically accurate images that are free of discrimination, but photographys status as an art form (or a creative medium) was much less certain , and something that was fiercely contested. Charles Baudelaire (1821-1867), a French Poet artist (and well known and very vocal critic of early photography) wrote: If photography is allowed to deputize for art, it will not be long before it has supplanted or corrupted art altogether (Baudelaire 1859 pg.297) Baudelaire suggests photography simply should not be allowed to supplant more traditional artistic methods, and to allow it do so would not only undermine, or negatively impact art, but corrupt it altogether. Baudelaire was not alone, as Goldberg (1991 pg.10) declares William Wordsworth shared in Baudelaires cynical view of photography, and in the 1840s penned a sonnet which declared the degradation of mans noblest attire', and expressed fears that a dumb art would lead his once-intellectual land back to the caves. Here Wordsworth is stipulating photographys potential to instigate the death of human intellect, and again, whilst such arguments are surely sensationalist, these declarations shows that not only was there an opposition to photographys ability to render art useless, but also a fear that its mechanical nature would dumb down society by removing a large part of the human aspect from the creative process. Both views show people believed (among what we can consider high artist s) that photography was a genuine threat to the fine arts of the time. Perhaps artists felt threatened by the technology? Threatened by its ability to so effortlessly paint reality, and ultimately achieve what they had been trying to do for long? Satirical publications in circulation in the mid nineteenth century, of which Punch magazine was the most popular, produced a number of cartoons highlighting these very issues. One such untitled illustration (1860 pg. 140) portrays a fashionable photographer forbidding smoking in his studio, as he declares himself not a common artist. Clearly an underhanded attack on the attitudes photographers took to their work which wasnt shared by their critics. Another satirical sketch, titled How the Famous Photographer Nadar Elevates Photography to the Level of Art show the French artist and photographer Fà ©lix Nadar taking to the sky in an air balloon, clutching a camera under his arm, physically lifting photography into the realms of high art. Su ch a picture of absurdity is surely meant to openly ridicule photography and its quest to be recognised as fine art. The latter picture serves a secondary purpose though, as Nadar was famous for his unsuccessful attempt to build a gigantic air balloon named Le Gà ©ant (or The Giant) around the same time as his photographic exploits. These are just two examples of many cartoons published around the mid nineteenth century that served to ridicule not only photographys quest for a higher status, but also many criticized the photographic studios and the rising popularity of carte de visite . In the photographic studios defence, famous photographic studio owner Richard Beard ran a series of advertisements for his business that served as much to promote his business as they did to promote photography as an art form. Close scrutiny of one of his earliest advertisements (Beard 1843) circulated in 1843 reveals the words Photography is indeed as grand a step in the fine arts as the steam engi ne was in the mechanical arts. This isnt to say everybody had difficulty accepting photography as true art, as many did indeed lament the skill that was required of a competent photographer, and the innate talent required to turn out a successful exposure. A Victorian periodical titled Once a Week published in 1862 states that To produce a good photograph, it requires a thoroughly artistic hand. Francious Argo (1930), when asked by the French government to assess the daguerreotypes successes concluded that M Daguerres wonderful discovery is an immense service rendered to art. This prompted the French government to subsidise Daguerre a pension of 6,000 francs for life, and his son 4,000 on the understanding they could use and adapt it for their own need (Goldberg 1991). Newell states that Argos memorandum mustnt be taken as a reflection of the attitudes of all artists to the new discovery. It appears that it was mainly established artists that held the biggest contempt for photograph y, and I believe not only suggests a fear for their livelihoods, but also a fear that the status of artist, usually reserved for a chosen few, would know be available to anyone with enough money to purchase a camera. It is difficult to truly gauge just how profoundly photography affected art in these early days, but it can be certain it was definitely believed at least possible by many that photography could be a form of artistic expression. as Goldberg (1981 pg.20) states photography and art have always been tangled, are tangled still. Millions of daguerreotype portrait photographs were taken in the 1840s and 1850s (to the dismay of photographys critics) as it began to supersede the more traditional painted portraitures. As Goldberg (1991 pg.12) states: After 1839 people who were not wealthy enough to commission portraits by a painter like Jean-Augusta-Dominique Ingres were no longer had to do with silhouettes and stiff pink renditions of their faces turned out by itinerant painters Portrait painters simply couldnt supply the demand necessary, and the affordability and fast turnaround of mainly studio based daguerreotype photographers (there were also the travelling carts) could offer was simply impossible to match. Photographic studios were the staple of early photography, the most famous of which were the Beard chain of studios (aptly ran by Richard Beard) which began opening in London in 1943. His studios were incredibly successful and lucrative business opportunity at the time, as the deal he made with Daguerre (who held the patent to his process) ensured his studios were the only ones in the UK throughout the early years of photography. Punch magazine (18 ran numerous satirical cartoons that highlighted what appears to be a clear distaste for the photographic studio. One cartoon named Step in, and be done sir! features a cat trying to lure a mouse into a photographic studio. More an echo of the society in which photography was operating, this piece could be looked at in a number of different ways. Perhaps the photographer being the cat (fat cat) and the enchanted lower/middle classes being the mice, echoing how the sitters are led into the studios under what could be considered false pretences in order to have their money relieved of them. Julia F Munro (2009 pg.167) states: George Dodd personified the by-then popular process of photography as the optical stranger, and as [s]trange, scientific, mournful, all at once. Such a figuration typifies the Victoria reaction to the uncanny qualities of the new technology. This statement was retrieved from an article entitled Busy with the photograph, published on April 29th 1854, and encapsulates the mixed reactions of the Victorian public towards early photography and more importantly the photographic studio. The idea of the optical stranger was one that was re-enforced by La Gazette de France in 1839, as they declared the invention of photography upsets all scientific theories of light and optics. The whole act of having ones picture taken was seen by many as a mysterious and bizarre concept, and the resulting exposures were often cited as too-real images (Munro 2009 p.168) and encouraged diverse reaction, ranging from that of excitement, to anxiety and fear, often leading to suggestions of magic (the transfiguration of the common photographer to the role of a magician or illusionist). Literature from the mid nineteenth century is rife with personal accounts of visits to local daguerreotype photographers studios and the wonders of photography. A le tter, published in the Times newspaper in 1852, where-by a middle aged man talks of his recent visit to a photography studio discusses how with a fluttering heart he approaches the mysterious apartment. He is of course simply referring to a typical early photographic studio setup, but these anxieties were very real for the everyday person. Another letter, written by a women this time, was published in the Times newspaper in 1854 describes the photographer disappearing into a mysterious closet and alludes to some hocus pocus being indulged in before he returns with the exposed plate. The photos were perceived as taking on a life of their own to a naive Victorian subject. The tone and lack of colour often provoked reactions of dismay, and many linked what were known as the dark mysterious chambers to execution houses (Munro 2009). The small stiff chairs (encouraging the sitter to sit upright), complete with leg clamps. Further controversy was sown by the nature of daguerreotype. Many referred the way a photograph could only be viewed in certain light, and as Munro (2009 pg.172) puts it seemingly wasnt to be seen one moment, only to burst into view the next. Being photographed and indeed even seeing a photograph were completely new and exotic experiences. For many Victorians, photography was too-real, and a large part of the fear was simply a natural reaction to the newness of the communicative medium, and novelty of a strange new and exotic process (Munro 2009 pg.169). The quoted realness of the photos could suggest a sense of fear relating to just how life like the photos were to a first time viewer, or suggest a much more deep routed fear related to magic and the unknown. It wasnt only the daguerreotype that achieved large scale success among the Victorian public. A large trade in what was known as carte de visite photographs soon came about after their circulation became widespread, as highlighted in the Victorian periodical Once a Week. Carte de visite photo graphs were small paper portrait photographs which usually originated from the albumen process (which allowed for paper based prints to be made from the negative, meaning it was a simple process to produce copies). Once a Week (1862 pg 135) states Literary men have a constant sale and their carte de visites were bought for every album. It becomes clear that collecting these small portrait photographs of the rich and famous was a popular pastime among the middle classes. It became so popular among the middle classes that it was often referred to as Cardomania (Once a Week 1862). We can clearly see that there was a need for photography, but these needs arose after its introduction and were not in place before its conception. There was certainly something about early photography which caused an anxiety in the general public, but also fascinated them enough to endure it (even embrace it). It is now widely accepted that photography wasnt truly discovered until 1839, as it was then that Daguerre and Fox Talbot made their discoveries of early photographic processes, the daguerreotype and calotype respectively, and shared them with the world. Goldberg (1991) agrees that it was much earlier when people began to realise a need and take interest in using light as a way of recording images, the need to preserve a moment accurately and without discrimination. Goldberg (1991 pg.10) goes on to state that desire was abroad to catch nature in a net, and that photography came to serve a much needed purpose, one that had been recognised much earlier that its first conception. Indeed as early as the late eighteenth century, devices such as the camera obscura (optical device used mainly to aid drawing) and camera lucida (a piece of technology which allowed artists the ability to precisely record contours of landscape) were rife, and captured the eye of professional and amateur artists alike. Henry Fox Talbot (1800-1877), sometimes referred to as the Grandfather of Photography, was one of many people searching for an answer to the void that existed before the conception of photography, and was most interested in its ability to record nature accurately. Talbot states is his manual The Pencil of Nature (1844) that his photography should be thought of as photogenic drawing. Talbot (1844) goes on to say he pursued his development of the calotype photographic process mainly as a result of his poor ability as an artist. Lewis (1996 pg.16) states: The canon of images to which we are so attached reveals as much and perhaps more about the intervening century Talbots photography, The Open Door for instance, appears to serve very little artistic purpose, and could merely be interpreted as a mechanically accurate recording, something he was simply incapable of doing by hand. On the other it could be seen as an example of how photography could supplant the more traditional arts, an early example of the photographers ability to shape, to frame, and to manipulate reality how he saw fit. We may never know, as whilst we are able to appreciate early photographs, it is impossible to know the original context, how they were read, and indeed, what made them meaningful to the society of which they were a product. It is even more difficult to gauge the early intentions of photographic pioneers. Many widely believed that photography was going to bring a truth to society that had never been seen, its potential as a truth bearer, and an accurate recorder of history. Ernst Mach, an Austrian empiricist (ironically) stated How tranquil politics will be!, an d even the notorious critic Baudelaire (1859 pg. 297) stated photography could be considered a handmade of the arts and sciences although he goes on to say a very humble handmaid. Society became increasingly aware of its benefits as a scientific tool and embraced the possibilities this afforded with open arms: A new found purpose perhaps, a commitment to relating to truth? As Goldberg (1981 pg. 16) states: The engine was an extension of the muscle, the telegraph a superhuman voice, and the photograph an unblinking eye with a new outlook on history and knowledge Baudelaire (1859) also suggests photography was merely a sign of the times, showing that links were made between the mechanical nature of photography and societies rising industrial prowess and reliance on machines. The unstoppable rise of industry so to speak. Wells (2004) states a society will also invest and put time into developing new technologies in order to help satisfy previously unseen social needs, and goes on to summarise (2004 pg. 12) that photography was a consequence, and not a cause of culture. I believe that photography was not a cause of change, but an answer to an unforeseen social need brought about by the emerging modern metropolitan lifestyle. It has become clear to me that there certainly was a need for photography, and the Victorians were fascinated with it, whether they loved it or hated it. As Bede (1855) begins is his satirical book Photographic Pleasure with a metaphor comparing men and womens intrigue with photography to the same intrigue they hold for a h uman child: The ladies are enamoured of him: The gentlemen evince their affection by suggestions for his improvement, and by general attention to his welfare.All are fond of him: everyone is declaring that he is the most beautiful baby yet born to Science. It is entirely feasible that the reason it raised such widespread controversy, why it was so widely debated, and ultimately why it was so popular as an amateur hobby or leisure pursuit was simply because the technology was still in its infancy. It was still new, and fresh. Artists were fearful of photography , not only because their jobs were endangered, but also their status as artists. A profession usually only available to a truly gifted few now had the potential to be available to anyone. These critics only served to fuel the anxieties that were common place among the general public, but, despite this, the public did allow photography room to grow (albeit carefully, and with great caution and concern). It was a new technology which people needed time to come to terms with, time to understand, and time to flourish and co-exist peacefully with other more established art forms in the new, fast paced, and modern Victorian metropolitan lifestyle. Bibliography WELLZ, L. 2004. Photography: A critical introduction. Oxford: Routledge. CLARKE, G. 1997. The Photograph. Oxford: Oxford University Press. BAUDELAIRE, C. 1859. The Salon of 1859. Unknown. BRIGGS, A. 1998. A Victorian Portrait. London: Cassell Publishers Limited. GOLDBERG, V. 1991. The Power of Photography: How photographs changed our lives. New York: Abbeville Publishing Group. BEARD, R. 1843. Advertisement [Accessed 2rd December 2009]. Available from: http://www.gettyimages.com/detail/73604552/Hulton-Archive GOLDBERG, V. 1981. Photography in Print: Writings from 1816 to the present. New York: University of New Mexico Press GREEN-LEWIS, J. 1996. Framing the Victorians. New York: Cornell University Press. HEINZ, K. 1994. The Photographic Experience 1839-1914. Pennsylvania: Pennsylvania State University Press. MARIEN, M. 1997. Photography and its Critics. Cambridge: Cambridge University Press. MUNRO, J. F. July 2009 The Optical Stranger: Photographic anxieties in British periodical literature of the 1840s and 1850s. Journal of early popular visual culture 7(2) pp167-183. UNKNOWN. 1860 Punch magazine October 6th. p.140 UNKNOWN. 1861 Punch magazine June 1st pg.221 ARGO, F. 1930 Bulletin de la Socià ©tà © Fran?aise de Photographie NEWELL, B., and R. DOTY. 1962. The value of photography to the artist, 1839. The Bulletin of the George Eastman House of Photography [online]. 11 (6), [Accessed December 2nd 2009], pp. 25-40. Available From: http://image.eastmanhouse.org/files/GEH_1962_11_06.pdf Daumier, H. 1862. How the Famous Photographer Nadar Elevates Photography to the Level of Art [Accessed 3rd December 2009]. Available from: http://www.superstock.com/stock-photos-images/463-5227 BEDE, C. 1855. Photographic Pleasures. London: T McLean. UNKNOWN. 1862 Once a Week. Unknown TALBOT, H. F. 1844. The Open Door [Accessed 4th December 2009]. Available from: http://cai.ucdavis.edu/waters-sites/aesthetic_movement/opendoorphoto.jpg BEARD, R. 1843. Advertisement [Accessed 2rd December 2009]. Available from: http://www.gettyimages.com/detail/73604552/Hulton-Archive Daumier, H. 1862. How the Famous Photographer Nadar Elevates Photography to the Level of Art [Accessed 3rd December 2009]. Available from: http://www.superstock.com/stock-photos-images/463-5227 TALBOT, H. F. 1844. The Open Door [Accessed 4th December 2009]. Available from: http://cai.ucdavis.edu/waters-sites/aesthetic_movement/opendoorphoto.jpg

Physics :: essays research papers

Electricity has three features that include current, voltage and resistance. Current is the flow of electrons round a circuit that is measured by the ammeter in amps (A). Whilst the voltage, refer to as potential difference, is the driving force that circulates the current around the circuit that acts like an electrical pressure. The unit of measurement for this is Volts (V), which is measured by a voltmeter. Resistance is a force that slows down the current; consequently it slows down the flow of current. This is measured in Ohms (W). Between the voltage and resistance there is equilibrium, where the voltage impels the current, whereas the resistance is opposing this electrical pressure. The relative sizes of the voltage and resistance decide how big the current will be. Increasing the voltage allows more current to flow, whilst increasing the resistance would decrease the amount of current flowing round the circuit. Discovered by George Ohm in 1826, the current is in direct relative amounts to the potential difference. If the temperature is kept constant as well as other conditions, Ohms law is obeyed. The graph on the side illustrates the current through a resistor is proportional to the voltage. V=IR gives the formula for Ohms law. In order for current to flow it requires electrons to carry the electric current. The electrons are the negative charge that can freely move about. Within metals there are a sea of electrons that can carry the electric current, which is reason why they conduct so well and are used for many purposes, such as wires. Factors During the investigation there will be many factors that will affect the resistance in a wire. These factors include:  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Length of wire – If the wire length increases, the distance for the electrons to pass through would take a longer period of time since the electrons collide more with atoms of the wire. As a result there is an increase in resistance as the number of collisions cause the electrons to flow slowly, which justifies the term for resistance. Conversely if the length of the wire is shortened, the time taken for electrons to travel is reduced given that there are not as many electrons colliding with atoms. As results there are a small number of collisions, hence reduces the resistance.  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Thickness of wire - A wider breadth of the wire causes atoms within the wire to expand a small distance between each other.

Company Introduction, Market Segmentation

Market Segmentation, and Product Positioning Keenan Pierson Dry. Steven Englander Marketing October 28, 2013 A. The Company Smart Option e-cigarette Is a metal rechargeable electric cigarette brand, Glenn smokers an alternative smoking option to conventional tobacco products. Smart Option takes pride in putting an emphasis on making its e-cigarette as close as possible to the weight, size, feel, flavor and inhalation of real cigarettes. Targeting seasoned smokers, Smart Option e-cigarettes produce non-disposable smoking products.The Smart Option e-cigarette kit comes with an atomized plus a cartridge tit a flavor enhancer. Consumers enjoy the brand's option of varied flavor enhancers but is popular, more so, because Smart Option Is known for its longer- lasting batteries. Popular, trendy and well-established, the Smart Option brand desires to expand to Include the Smarts compatible rechargeable cartridges and chargers. Smart Option was established In 2010 and Is headquartered In Atla nta.Keenan Pierson Is the SSP of Product Development, spearheading the brand's technological advance. Smart option's strategic mission statement Is â€Å"To provide a great price for the sophisticated smoker, focusing on quality and increased accessibility. † Foreign Market Cigarette use is the largest segment of the tobacco market In Russia, accounting for 98 percent of the market's total value (Russia, 2013). E-cigarette use in Russia is a means for controlling smoking (â€Å"Popularity,† 2011), and its popularity is growing there as well.Smart Option consumers primarily are based in the United States, but Smart Option sees an opportunity to expand the brand as it prepares to launch the Smarts component. Currently, the majority of electric cigarettes enter the Russian market from China (Research and Markets, 2012). Increasing exports will help grow the brand. With Smarts compatible rechargeable cartridges and chargers, the goal Is to pioneer and capture significant m arket share through a sense of necessity from consumers in the U. S. And abroad, creating brand loyalty. B. Marketing Plan smoker.It has the look of classic cigarettes with an excellent nicotine delivery system. Consumers enjoy its variety of forms, its battery life and ease of use. The Smart Option e-cigarette brand is the solution for the long-term consumer seeking a premium product. While priced slightly higher than competitors selling disposable reduces, the Smart Option e-cigarette kit is equivalent to receiving up to three packs of conventional cigarettes above the standard two. Smarts compatible rechargeable cartridges and chargers will be for consumers looking for the longer investment in the e-cigarette.Smarts will provide the best and most technologically-advanced electronic cartridges and compatible chargers in the industry. All e-cigarette brands are battery operated. Presently, consumers of e-cigarettes have to be loyal to their brand because rechargeable cartridges and chargers are not versatile, meaning that chargeable cartridges are not compatible with each other. There are so many electric cigarettes available that it may be difficult – and expensive – for the consumer to determine which brand satisfies their tastes.The consumer also must find the store that sells their preferred brand. With Smart Option's Smarts compatible rechargeable cartridges and chargers, consumers no longer have to commit. The product and the service component of the Smarts compatible rechargeable cartridges and chargers will drive sales. Smarts will be bundled with the existing Smart Option products and sold separately to attract users of competing eggs. Like most cartridges, the Smarts compatible rechargeable cartridges include miniature lithium batteries. Smarts is unique because its 4. -volts also contain a small universal adapter for compatibility with other brands, creating an â€Å"android† mechanism for use across all brands of e-cigarettes. A unique feature of the Smarts compatible rechargeable cartridges includes longer-life batteries, which has made Smart Option popular among consumers. As an enhancement, the Smarts battery will automatically go into standby mode when not in use to preserve its life. The product and the Smarts compatible rechargeable cartridges and chargers will be expensed through vending machines and will be widely available at gas stations and convenience stores.Consumers will see the cost savings over time, enjoying the versatility of the Smart compatible rechargeable cartridges and chargers, making the overall product and its service even more attractive. A report from the Centers of Disease Control and Prevention finds that one-fifth of Americans – about 46 million – are still smoking (â€Å"The Electric Cigarette,† 2010). Tobacco use is responsible for nearly 1 in 5 deaths in the United States (â€Å"AS Choice,† 2010). Users of conventional cigarette make are respo nding to the rise in health risk awareness, using e-cigarettes as a healthier alternative.Currently it is estimated that 1 in 40 smokers are now using e- cigarettes as an alternative (â€Å"The Electric Cigarette,† 2010), and the trend is growing at phenomenal speed. E-cigarettes have three basic components: a battery, an atomized and a mouthpiece cartridge. E-cigarettes deliver nicotine without the harmful toxins found in tobacco smoke yet creates the same hand-to-mouth experience. Instead of lighting up, an electric cigarette has a cartridge that resembles a filter that heats nicotine into a vapor. An LED light glows at the tip during the inhale, simulating the glowing tip of a regular cigarette.It is a safer alternative to smoking, and reduces secondhand smoke exposure since they do not produce smoke. E-cigarettes are sum, e-cigarettes are a smarter smoking solution. E-cigarette users are â€Å"vamping† rather than smoking. The sale of e-cigarettes is a niche busine ss that is a growing segment of the tobacco industry, although no tobacco exists in eggs. Created in 2003 by a Chinese pharmacist, the segment is emerging, and it is estimated that about a million people used electric cigarettes (Seltzer, 2011).Word about the product is spreading as consumers are becoming educated about the dangers of tobacco use and about the availability of smoke-free alternatives. Increased accessibility and universality will help the industry continue to grow. The Smart Option e-cigarette tastes like a real cigarette and offers a variety of cigarette flavor enhancers, including a nicotine-free version. Smart Option focus groups revealed that consumers are attracted to the brand's Smart LED and the option of purchasing higher capacity batteries but expressed frustration over their inability to use e-cigarettes interchangeably.Smart Option's answer is a universal battery-operated rechargeable atomized cartridge and charger. Smarts compatible rechargeable cartridge s and chargers will offer various charging options such as car chargers. Consumers have found problems with the taste and reliability in their search for the preferred e- cigarette. Neither cartridges nor chargers are interchangeable, making it difficult – and expensive – for the consumer to determine which brand satisfies their tastes.Smarts compatible rechargeable cartridges and chargers will provide consumers with a plethora of options and alternatives to enjoy the brand of their choice. No other brand or innovation currently exists to cater to e-cigarette users who want that versatility. There are different sizes of batteries in varying brands of e-cigarettes. The convenience and instant gratification of purchasing the Smart Option e-cigarette and/or purchasing the Smarts compatible rechargeable cartridges and charger is effective to drive growth and will strengthen market share.The Smarts compatible rechargeable cartridges and charger will come with a universal ad apter, creating an â€Å"android† mechanism for use across all brands of e-cigarettes. Consumers also will enjoy the system's longer-life rechargeable cartridges, eliminating the hassle of purchasing several devices in search of the desired taste and nicotine strength. Getting buy-in from the skeptical consumer will be a challenge to overcome since a weakness from competitors is weaker battery performances.The widespread smoking prohibition, not to mention the increase in taxes, and growing social stigma of conventional cigarette smoke creates opportunities for the e-cigarette market. Convenience stores have seen a reduction in retail sales, resulting in lower profit margins from selling conventional cigarettes. Unlike conventional cigarettes, tobacco taxes do not exist because there is not tobacco in the product, making it an affordable alternative for consumers. Electric cigarettes offer convenience stores lower taxes and much higher profit margins.Imposing additional cigar ette-specific taxes on the sale of e-cigarette products would be a threat as it would lessen the number of consumers willing to buy the products. Smart Option e-cigarette brand is plentiful and diverse, and the goal is for the Smarts compatible rechargeable cartridges and chargers to be as well. Consumers experience a relaxing and licensable feeling with each Smart Option smoke that they perceive as positive and satisfying. The aim is to position the product and service as more than an e-cigarette this push will come in the form of heavy promotional spending.New technologically- savvy vending machines will be Smart Option's way to sell the product, making it a standout brand. Each vending machine will have an online hub with up-to-date e- cigarette Smart Option brand information as an example of such marketing. APS accessible from smart mobile phones will support consumers' need to get the latest reduce information, including GAPS capability to provide nearest locations. The Smart O ption e-cigarette brand has a reliable website with an easy-to-use menu for online transactions by credit or debit.This will provide the best possible option for delivery for the Smarts compatible rechargeable cartridge and charger. Wide accessibility in brick-and-mortar stores such as gas stations, convenience stores, grocery stores, drug stores and big box retailers, will help diversify and increase sales distribution. Smart Option e-cigarette and the Smarts compatible rechargeable cartridges will be the best option for the lowest price possible. The brand and supporting devices will deliver more enriched quality and versatility to consumers.

How Is Poverty Constructed as a Social Problem in the UK Today Essay

The term ‘social problem’ refers to certain problems that are socially recognised by society and are felt to threaten certain values cherished by the public. This essay will investigate the different types of poverty that occur in the U. K and will explore the sociological arguments as to how poverty links with social problems such as social exclusion, gender discrimination in the work place, lone-parenting and disability and look at how these problems are perceived in today’s society. Poverty is an ever increasing issue in the UK and is perceived as a major social problem due to the consequences that it brings with it . The term ‘social problem’ refers to specific problems in our society which are sociologically recognised. These problems are socially constructed and can be distinguished when certain values that are cherished by the public are felt threatened by a particular event that is happening in society and can be thought of to threaten the stability of a community or society as the public already know it. Firstly, this essay will explore the different types of poverty that exist in the UK. Secondly, it will explore why poverty exists and explain the reasons as to why certain people are affected by poverty and how this links with structure and agency. In conclusion, this essay will emphasise the main arguments as to why poverty is constructed as a social problem in today’s society. When exploring the different types of poverty that commonly exist in the UK, it can be categorised into two main groups, absolute poverty and relative poverty. Absolute definitions of poverty are usually seen to have logic to them based around the topic of subsistence; what is needed to sustain our lives’ (Alcock, 2006:66). Anyone who is below the subsistence level is said to be suffering from absolute poverty. The term ‘poverty’ gives the connotations of deprivation, hardship, shortage and scarcity etc; however the word ‘absolute’ emphasises the extent of poverty that one is living in. Absolute poverty refers to people who do not have access to the day to day resources that are needed to meet their subsistence levels in order to maintain a healthy lifestyle. For example sufferers of this type of poverty are known to be lacking the essential, basic needs such as a clean water supply, a good food source, shelter, sanitation, clothing and a good income are absent in peoples’ lives who are suffering from this type of poverty. However, subsistence level is what we need to sustain our life, and differs on time and place. Thus introducing the idea that different people need different things in different places according to different circumstances (Alcock, 2006:67). Research has shown that sociologist Rowntree, developed an idea to determine levels of poverty. He established a basic diet theory from the judgement of nutritionists to act as a subsistence definition of poverty which showed that people were living in poverty to very different extents. This theory adopted the definition of ‘Relative Poverty’ which is a more cultural and social definition due to the changes in poverty overtime. Relative poverty can be seen as a comparison between the standard of living between other members of society who are living in poverty to different levels. The main idea being suggested with relative poverty is that some needs are not related in any way to the maintenance of physical health (Kane, 2003:51). For example, a person may have the basic needs to sustain a healthy life such as food, water, shelter, sanitation and some sort of income; but they also possess such things which are not directly related to ‘the maintenance of physical health’ such as a television, radio, newspapers, books, alcohol and tobacco, or even means of transport. When considering relative poverty, it is essential to look at what becomes the ‘essential needs’ for a person as time changes, standards of life improve and peoples’ expectations grow. In support of this, an excellent way of understanding poverty can be seen as a ‘comparison between the standard of living of those who are poor and those who are not, or by the distinction between the merely existing and the living’ (Alcock,2006). Poverty is seen as a social problem as the issues that derive around it affect our society as a whole. Poverty exists in the U. K for a number of reasons, however it has been found that there is not one solitary answer as to why it exists and many people have diverse opinions on the subject matter. However, discarding the different definitions or descriptions of poverty, academics and policy makers do agree that poverty is a social problem and is seen as an unacceptable state of affairs (Alcock:2006:4). Poverty exists due to many reasons including unemployment, crime, low income, the amount of education and skill, social inequality and exclusion, gender, age, disability and ethnicity and when put into perspective these issues can be linked with structure and agency. Social exclusion is an individual and collective problem that examines the topic of how living standards recognize not only what a person or family have but also what they do. Thus portraying the idea social exclusion can be significant in representing whether or not an individual is suffering from poverty or not, as social exclusion prevents them from participating in specific common and popular social groups thus reinforcing the idea that social exclusion depends crucially on independent agency. ‘Social exclusion is a shorthand term for what can happen when people or areas have a combination of linked problems such as unemployment, poor skills, low incomes, poor housing, high crime and family breakdown’ (Ridge, 2008:46). This is a good example of how poverty is constructed as a social problem as if one is living in relative poverty, and cannot seek employment and is welfare dependent living off benefits, then the individual will be socially excluded in that they may not be able to afford to join certain social clubs, or get to remote public services and in general the issue of discrimination will stop people from joining certain activities and entering certain areas. ‘Social exclusion is a problem for society if there are those who are unable to take part in social relations, including in a democracy, political participation and involvement’ (Ridge, 2008:47). Women are more prone to live in low income circumstances than men, hence introducing the social problem of gender discrimination. Women have been discriminated in the workplace over time in that they are paid less than men in specific jobs and are not seen to be ‘suited’ to particular jobs, especially in the manufacturing and trade industries. Marxist feminist Margaret Benston believed that women were oppressed by capitalism in that they were treated almost as a back-up, or secondary option of cheap labour that enabled profits to be kept up. ‘In 1994, 6. 1 million women were in low-paid jobs and on average women’s full-time gross weekly pay was 72 percent of that of men’(Kane, 2003:115). The public representation of the ‘typical single parent’ can be rather distorted, however research has shown that the majority or lone-parents who are likely to suffer from poverty, are women. ‘Women’s retirement income is boosted significantly by having a partner with a history of well-paid work, but women who have had children and are separated or divorced face very high risks of pension poverty’(Ridge,2008:138). This piece of evidence shows that if the women has separated from her partner then she is likely to face poverty in bringing up their children alone and this in itself is subject to cause many other social problems. Raising a family as a single mother, whilst suffering from relative poverty can, in some cases, lead to related social problems such as crime, alcohol and drug misuse, vandalism, discrimination, unemployment and suicide. If a child is brought up in a household which lacks the basic needs to sustain a healthy life, then they may be pulled into a more anti-social lifestyle, which in turn could lead to unemployment for them when they get older and resorting to sleeping rough on the streets, and thus increasing the number of homeless people in our society. Similarly, discrimination towards disabled people is a common problem in today’s society determined by individualism. Disabled people are more likely to suffer from poverty than those without a disability. The poverty rate for adults with disabilities is 30%, twice that for adults without a disability’ (Ridge, 2008:244). This can be illustrated by the fact that disabled people are confronted with a lot of discrimination in their lifetime, especially when seeking employment. Hence why a lot of disabled people are unemployed and living in poverty. Recent studies highlighted the additional costs for a disabled person to meet their needs and it was found that even when a disabled person is receiving the maximum benefit levels, those suffering with a disability are given approximately ? 00 a week less than the weekly amount required for them to ensure a minimum standard of living (Ridge,2008:245). Consequently, this is because not only do people with disabilities have a low income, their living costs are much higher due to the expenditure needed on special equipment, utilities and food. Throughout this essay, I have explored the different types of poverty that are commonly found in our society and have highlighted some of the main reasons as to why poverty is constructed as a social problem in the U. K today and by whom it is affected by. For problems to become socially recognised they need to have an impact on society in a way that certain values cherished by the public are felt to be threatened. By examining the issues of social exclusion, gender, lone parenting and disability we can conclude that these issues are definitely seen problems in our society. It becomes evident that the subject of discrimination links into all these issues, and thus emphasising that poverty is distinguished as a social problem in the U. K, and although the extent of these problems changes over time and place, it will most likely be a recurring problem in our society for entirety.