The Initial Temperature Shock free essay sample

The water appeared crystalline and ice-cold the first time I readied myself to jump off the high dive. I knew I wouldn’t die, yet an intangible force restrained me until I closed my eyes, bent my knees, propelled myself off the board, and cut through the surface. The no man’s land between the board and the water was behind me. In middle school, I was the girl who walked through the halls with her eyes facing the floor, who hesitated to speak in class out of fear of being noticed. I once believed myself unlikely to join a club, let alone lead one, and couldn’t imagine speaking on stage or introducing myself to a stranger. I’ve come a long way since then, and my motto is, If you think you cant do something, prove yourself wrong. Ever since I realized the most challenging experiences can also be the most worthwhile, I have set out to prove I can do what I once believed myself incapable of accomplishing. We will write a custom essay sample on The Initial Temperature Shock or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Each ice-cold pool is an experience I now embrace. The path of my journey toward finding my voice was paved with printer paper. When I joined my school newspaper in 10th grade, I learned that investigating my school’s goings-on required me to be inquisitive, outgoing, and constantly aware of my surroundings. I discovered an entirely new dimension of Friends Academy. Who would have known that my teachers had such unique views on the environment, or that the school psychologist had so much insight into the social scene? I did more investigating this summer, when my print and photojournalism classes required me to approach and interview people—often complete strangers—whom I would not have otherwise gotten to know. I even spent an hour one day in a shoe store, documenting a salesman’s life through photography. Throughout these experiences, I learned not only about the topics of my articles, but also that, if I opened my eyes just a little wider, countless perspective-altering interactions awaited me. This confidence has led me to openly question what I learn in class as well. The curious toddler in me lives on, but she now has a voice. My favorite question is â€Å"Why?† because it has the power to get to the essence, the true meaning, and the origin of everything. I have known for some time that you can’t divide by zero, that metals lose electrons, and that the ancient Greeks founded democracy, but why? When I discover the answer, it’s almost never what I expected. Each answer opens a new door leading to a room of â€Å"whys† and â€Å"why nots,† and then another, and another, until I am several doors closer in my life-long expedition toward truth. Now, â€Å"why† is my guide as I constantly dive into new explorations and adventures. Why don’t we â€Å"be the change we want to see in the world,† and how can we? Why is passive resistance more effective than violence? Why are there so few women in politics? These kinds of questions have compelled me to donate blood, try out for school plays, enter artwork in exhibitions, travel to South America, and read original poems for audiences. Each â€Å"interview† with life brings me closer to understanding the answers to my questions. I know that the greatest treasures lie at the bottom of the deep end, and that life’s most fulfilling moments take place out of my comfort zone, off the diving board, and only because of each gigantic leap of faith. My next leap will be college, and I feel excited and extremely well prepared to dive off, cut through that no man’s land, and triumph over the initial temperature shock.

Contemporary Political Action †Political Science Research Paper

Contemporary Political Action – Political Science Research Paper Free Online Research Papers Contemporary Political Action Political Science Research Paper This project presents the research proposal â€Å"Mediactivism and the carnivalization of protest in contemporary political action†. By this, I intend to draw a panorama of recent political activism in various parts of the world, highlighting some vertentes of this activist wave in which we can see the choice for dramatized, spectacular, carnivalized or â€Å"fun† political manifestations. Drawing from this panorama, we can start an analysis of the groups who practice this particular form of protest and what leads them to do that. Hypothetically, media comes as an important factor for these new types of protest manifestations. Contemporary activism seems to be strongly media-directed: groups prepare media manuals (inserir nota sobre media manuals que eu conheà §o), organize to record, edit and divulge manifestations videos, e assumem configuraà §Ãƒ µes which subvert marketing, propaganda and public relations techniques for their cause. As it is put by Luca Casarini, spokesman for the Italian group Tute Bianche, We know what we need to make people talk about us () We use the winning languages, the ones that reach people. Hollywood doesn’t win by chance. This is the communications society. We can’t ignore the codes. (PEDEMONTE, 2001: 12-13) (nota de rodapà ©: adapted from the portuguese version) Proceeding on the hypothesis, pranksterism comes as part of this media-centered activist culture. The laugh, the subversion, the debauchery, the prank – they all come, hypothetically, as adaptations of one of the fundamental logics of media: diversion. To draw the attention of viewers, media must constantly afastar-se do cotidiano, do corriqueiro, from the usual business of everyday life. This is not to say that the point of media is to entertain, but to create new, and more dramatized, ambiences to represent the world. The political prank is fundamentally a rupture with all convictions about political action. It goes against seriousness, it goes against violence (not only physical violence, but the violence contained as well in speeches, in acts of discourse), it goes against the preconceived notions about the â€Å"revolucionrio† who hides his face, carries guns and confronts the police with molotovs or rocks. Media may have a part in this too: as well as it serves as a watchdog of state repression, it would go against the violence in activist manifestations. (falar sobre atenà §o que o novo ativismo recebe) John Downing (2002), Michael Hardt e Antonio Negri (2001), John Holloway (2003), Harry Cleaver (1997, 1998), Slavoj Zizek (2003), Antonio Albino Canelas Rubim (1997, 2001, 2001b), Maria da Glà ³ria Gohn (2002, 2003) e Nicolau Sevcenko (2001, 2002), Naomi Klein Sem Logo (1999) e Cercas e Janelas (2003) George Monbiot (2004), Paul Kingsnorth (2003) e Josà © Chrispiniano (2002), Christophe Aguiton (2002), Kalle Lasn (2000), Josà © Bovà © (2001) Campanhas publicitrias Jogos (State of Emergency) Mà ºsica (Rage Against the Machine, System of a Down, Atari Teenage Riot) Ficà §o (Cosmà ³polis, The Dreamers) Documentrios (Michael Moore, The Corporation, The Take, The Weather Underground, The Fog of War) This making of a new world is a serious business. If we can’t laugh, the world we make will be square, and we won’t be able to turn it. (Subcomandante Marcos, quoted by KINGSNORTH: 2003: 28) como um radicalismo revigorado , â€Å"o maior movimento global da histà ³ria† (MONBIOT, 2004: 20), â€Å"novas, efetivas e urgentes condià §Ãƒ µes de luta pela democracia† (SEVCENKO, 2002: 12) e â€Å"a emergà ªncia de uma rebelio global sem precedentes† (NOTES FROM NOWHERE, 2003: 14). It’s not a revolution in the sense that the twentieth century has taught us to understand the word: not a massing of red flags this time, not a determination to seize the state, not a gathering of Peoples’ Parties with blueprints for a new Utopia. (KINGSNORTH, 2004: online) I know so many different techniques that make it look like the whole ad was reprinted with its new message, as opposed to somebody coming at it with a spray-paint can. (†¦) The technology allows us to use Madison Avenue aesthetics agains itself. That is the most important aspect of this new wave of people using the guerilla tactic, because that’s what the MTV generation has become accostumed to – everything’s flashy, everything’s bright and clean. If you spend time to make it cleaner it will not be dismissed.† (KLEIN, 1999: 285-286) It’s mostly nuts and bolts of media for activists: how to write a good press release; how to flack your story; how to identify and develop friendly media ties. But the most important thing we teach is how to distill very complex campaign themes into very simple messages, that can pass through the filter of corporate-controlled media and still make it out the other side into the homes of the American or global public, in a form that you would still consider effective – and can begin to create the political will we need to turn these things around. (SELLERS, 2001: 75) (Journalists love fun stories, just like everyone else. The more fun the story, the more likely it is to get covered.) (RTMARK poster) (colocar naquela apresentaà §o inicial menà §Ãƒ µes ao bloco medieval e ao trabalho com o cachimbo do cara da Dinamarca) This outline is only a pre-presentation of my research problem. It was prepaired only as a solicitation for making appointments with members of the research staff. I have no intention of applying to the course for this year, and possibly not for 2006 as well, as I am still finishing my MA in Communications Science. When I have real intention of applying to the course, I will surely prepare a much better and aprofundada research proposal. BIBLIOGRAPHY AGUITON, Christophe. O Mundo nos Pertence. So Paulo: Viramundo, 2002. European edition: Le monde nous appartient : Porto Alegre, Florence, Evian : les acteurs dune autre mondialisation. 1018, 2003. ANTOUN, Henrique. â€Å"Jornalismo e Ativismo na Hipermà ­dia†, in Revista da FAMECOS no. 16, pp. 135-147. Porto Alegre: EDIPUCRS, december 2001 (a). 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Flamingo: 2003. NOTES FROM NOWHERE (eds.). We are everywhere: the irresistible rise of global anticapitalism. London: Verso, 2003. ORTELLADO, Pablo e RYOKI, Andrà ©. Estamos Vencendo! Resistà ªncia global no Brasil. So Paulo: Conrad, 2004. RHEINGOLD, Howard. Smart Mobs: the Next Social Revolution. Final manuscript draft: april, 2002. RODRIGUES, Adriano Duarte. Estratà ©gias da Comunicaà §o. Lisboa: Presenà §a Editorial, 1997. SELLERS, John. â€Å"Raising a Ruckus†, in New Left Review no. 10, pp. 71-85. London: New Left Review, julho-agosto de 2001. SEVCENKO, Nicolau. A Corrida para o Sà ©culo XXI. So Paulo: Companhia das Letras, 2001. SEVCENKO, Nicolau. â€Å"A primavera que no quer acabar†, in CHRISPINIANO, Josà ©. A Guerrilha Surreal. So Paulo: Conrad, 2002. STARHAWK. â€Å"Como bloqueamos a OMC†, in Lugar Comum no. 11, pp. 9-14. Rio de Janeiro: Editora da UFRJ, 2000. THOREAU, Henry David. A Desobedià ªncia Civil. Porto Alegre: LPM, 2002. UK edition: Civil Disobedience. Dover: 1993. VANEIGEM, Raoul. A Arte de Viver para as Novas Geraà §Ãƒ µes. So Paulo: Conrad, 2002. UK edition: The Revolution of Everyday Life. Rebel Press: 1983. THE YES MEN. The Yes Men: the true story of the end of the world trade organization. New York: Disinformation, 2004. Research Papers on Contemporary Political Action - Political Science Research PaperRelationship between Media Coverage and Social andAnalysis Of A Cosmetics AdvertisementEffects of Television Violence on ChildrenQuebec and CanadaMarketing of Lifeboy Soap A Unilever ProductPETSTEL analysis of IndiaCanaanite Influence on the Early Israelite ReligionCapital PunishmentInfluences of Socio-Economic Status of Married MalesThree Concepts of Psychodynamic