Has Globalisation Changed The Disposition Of Music Cultural Studies Essay

Has Globalisation Changed The Disposition Of Music Cultural Studies Essay To begin with the globalisation of music, we will have to understand that Intuitively, globalization is a process fuelled by, and resulting in, increasing cross-border flows of goods, services, money, people, information, and culture (Held et al. 1999:16). Sociologist Anthony Giddens (1990:64; 1991:21) proposes to regard globalization as a decoupling or distanciation between space and time, while geographer David Harvey (1989) and political scientist James Mittelman (1996) observe that globalization entails a compression of space and time, a shrinking of the world. The discourses over globalization of music constructed over these debates of Giddens and Harvey. When we talk about globalisation, we are in a sense talking about unity of the states across the globe. How this unity is brought up? Then how does it link the states together? What are the major contributors in this unification process? Along with a myriad of intellectuals I will also sum- up with an answer, global- culture. However, it is one of the measures required for the unification process. One set of theorists, who are pro-global- culture say, that the global culture is making the world closer and more united. The people of the world are combining their differences and being more cooperative towards one and other. This process of emerging global culture can be seen in times of need when everyone has pulled together to strive for peace and freedom. Although, there exists a wide range of religions of which people are becoming tolerant, forming a homogenised society. If we say that the global culture is the synonym of the common culture, then there are wide range of opinion on it. Wight uses the term common culture so loosely that it is unclear whether he has in mind a deep, historic sense of culture, or the more superficial agreed rules that compose a contractual society. (James 1993: 277-8) Alan James, System or society?, Review of International Studies 19: 3, 1993. I argue that to certain extent global culture is a common culture among the people of the world. Worldbeat is a term for various styles of world popular music, or pop, that are practiced outside the European-American mainstream. The Popular music (music produced and marketed on a mass-commodity basis) first emerged in the early 1900s, during which time numerous distinctive popular music styles began to develop around the world. The rise of such genres was linked to dramatic transformations-especially urbanization and modernization-occurring throughout the world. Such changes disrupted traditional attitudes, lifestyles, and forms of artistic patronage, while creating new urban social classes with new musical tastes. As per Terence Lancashire, The term world music usually conjures up images of musics from remote corners of the world. However, that remoteness is not always geographical and can. The formal emergence of world music in 1987 as a commercial gloss denoting a body of music which hitherto defied conventional categorisation namely musics other than popular and classic forms from North America and Western Europe or, alternatively, the incorporation of such musics into Western popular genres, has met with a variety of responses from musicologists/ethnomusicologists seeking to clarify the dynamics that underlie the production and reception of world musics and the related and sometimes indistinguishable genres of new age and healing. Regional case studies and overviews (e.g. Frith 1991; Keil and Feld 1994; Taylor 1997) often draw attention towards the relationship between the West and the rest where production and presentation of non-Western music has often meant some form of Western control in terms of discovery, production, marketing and distribution. Accusations of cultural exploitation and appropriation have, therefore, often run central to the debate on what appears to be yet another dimension of that unbalanced and uneasy relation between the first and third worlds. In reality, the question of who is exploiting whom is often a complicated one as non-Western musicians find access to markets hitherto only dreamt of. Nevertheless, in order for such musical projects to be realised, financial backing is essential and it is here that resources are, more often than not, concentrated inthe West. Thus, a music flow from south to north and east to west seems to define the world music equation. Yet, there are other players who, through cultural ambiguity, occupy an alternative arena less easily defined. Economic development in the Far East, coupled with rapid modernisation, has meant the emergence of countries which share similar economic goals, cultural interests and perce ptions with the West but, resulting from other cultural differences, most obviously language, are not so often included in debates on musics both popular and world. (Lancashire: 21) Globalisation, which generally implies westernisation and the Asianisation of Asia, is often posited to be a culturally, economically, technologically and socially homogenising force in the distribution of music, whilst localisation refers to the empowerment of local forces and the (re)emergence of local music cultures. These two notions of globalisation and localisation seem to be mutually contradictory, posing a fundamental dilemma for the understanding of the transformation of popular cultures into global forms. As argued by Law (forthcoming), the debate between globality and locality, or between homogeneity and heterogeneity in globalisation discourse, could be regarded as a product of similar antagonisms in the literature of development concerning theories of modernisation, dependency and world systems. Although there is no clear definition or model of globalisation (Hirst and Thompson 1996), its discourse attempts to theorise the phenomenon in terms of The temporal and spatial compression of human activities on the globe, to recognise, explore and explain the interaction and interdependence of economics, politics and cultures beyond local, regional and national boundaries, and to predict possible influences on human activities (Law, forthcoming, also see, for example, Featherstone 1995; Comeliau 1997; Poisson 1998; Jones 1999; Crawford 2000; Croteau and Hoynes 2000). Cohen (1995) suggests that locality could be most usefully used in popular music studies to discuss networks of social relationships, practices, and processes extending across particular places, and to draw attention to interconnections and interdependencies between, for example, space and time, the contextual and the conceptual, the individual and the collective, the self and the other (p. 65). In this respect the local is defined by reference not only to a community, but also to a shared sense of place within global culture. Globalisation promotes the meeting of musical cultures, whilst sim ultaneously encouraging regional differences. Local popular industries perceive their potential audience in international terms, and local pop markets are now awash with global sounds, since, as Wallis and Malm (1984) maintain, globalisation encourages popular musical practices to look towards global styles for possible inspiration, whilst also looking inwards to (re)create national music styles and forms. For decades, critics have depicted the international circulation of American and British pop as cultural imperialism. Yet US-American and British youth have increasingly been shaped by Asian cultural. Similarly, there is wide-spread recognition of the willingness amongst popular musicians to create novel forms that express a widespread experience of dislocation (Jenkins 2001, p. 89). For example, contemporary Afro-pop sometimes combines the electric guitars of Western rock and roll with melodies and rhythms of traditional African music, whilst Western rock drummers have long adopted a tradition from Africa whereby the sounds of different drums are combined (Croteau and Hoynes 2000, p. 333). Jenkins (2001) describes such musical eclecticism as the product of third culture youths, who fuse elements from mixed racial, national or linguistic backgrounds. Although the big international music companies affect local production, their markets are also influenced by particular local cultures. So, globalisation signifies more than environmental interconnectedness, and the meaning of musical products with global features strikes at the heart of the major social and political issues of our time. This is how Bennett (1999) represents the attempts to rework hip hop as a localised mode of expression by Turkish and Moroccan youth in Frankfurt. Economic globalisation is often con sidered to undermine the local foundations of the popular culture industry. The flow of capital through transnational monetary tems and multinational companies means that words, ideas, images and sounds of different cultures are made available to vast networks of people through the transmission of electronic media. Among the most prominent multinational electronic media companies are two Internet partnerships MusicNet, involving AOL, RealNetworks, EMI, BMG and Warner; and Duet, incorporating Yahoo!, Universal and Sony. The two most recognised online music providers so far, Napster and MP3.com, have also linked up with record companies (Source: http://www.grayzone.com/ifpi61201.htm). Furthermore, the international division of labour and the global circulation of commodities have ensured that processes of production and consumption are no longer confined to a geographically bounded territory. Consequently, economic globalisation has been characterised as the deterritorialisation. ( H o: 144) (Appadurai 1996) or denationalisation (Sassen 1996) of nation-states. Global economic forces reside in global networks that link different nations and cultures in profit-maximising webs of production, leading to the transformation of all sectors of all state economies and their mutual accommodation in the global context (Crawford 2000, pp. 71-2). Negus (1999) maintains that the global market is a concept that has to be constructed in a particular way to target the most profitable categories of music within the recording industry (p. 156). However, as we have seen, the (re)emergence of local cultures competes with global factors in a process that Morley and Robins (1995) refer to as the new dynamics of re-localisation in The attempt to achieve a new global-local nexus, about new and intricate relations between global space and local space (p. 116). Levitt (1983) explains that localisation is practised by multinational companies insofar as they must have a committed operating presence in the markets of other nations. However, electronic communications have also enabled the global broadcasting of messages of universal peace and love, and, in the case of www. indymedia.org, have even served as anti-capitalist noticeboards. Anderson (1983) suggested that the nation depends for its existence upon a sense of social- psychological affiliation to an imagined community, which was facilitated by the emergence of the mechanical printing press and consequent capital investment (Negus and Roman-Velazquez, 2000, p. 330). Similarly nowadays, global electronic communications can evoke a sense of a trans-national imagined community. In music, an example can be well illustrated by the 11 September 2001 tragedies in New York and Washington D.C. The US-American national anthem was thundered Not only all over the States but also in other countries, such as at St Pauls Cathedral in London. Whitney Houstons record company intends to re-release her version of the US-American national anthem that was produced ten years ago during the Gulf War. International popular artists such as U2, Britney Spears, Limp Bizkit and Destinys Child, worked together for the album Whats Going On, the market profits from which will be donated to funds for the relief of the families of victims of the tragedies of September 11. John Lennons Imagine, which evokes a world free from all state boundaries, has now become popular even in some non-English speaking regions, and was sung by all the artists involved in the Carlsbergs Rock Music Concert held in Hong Kong on 24 September 2001, who also prayed for those who died in the disaster two weeks earlier. Globalisation and localisation are in a dynamic dialectic. Globalisation is a process of local hybridisation that determines a great number of processes that change and even transcend the regional and national characteristics of popular music. Current debates about globalisation in popular music show that local actors become increasingly involved in global flows of meanings, images, sounds, capital, people, etc. Through the technology of global networks, new affinity group formation emerge, centring on particular musical styles and ways of expression. Economic globalisation always has cultural effects on the localisation of popular music. (Ho: 146) Hudson and Cohen bring out the detail of local musical cultures, the way in which music, produced through and producing space, may act as social glue.(431) Does globalisation of music produce convergaence? The very first argument for the present paper is the consequences of the globalisation of music as to the convergence of societies towards a uniform pattern of cultural organization. AS expressed in modernization theory, the spread of markets and technology is predicted to cause societies to converge from their preindustrial past, although total homogeneity is deemed unlikely. The sociologists reject the convergence debate by arguing that globalization homogenizes without destroying the local and the particularistic. For example, Viviana Zelizer (1999) about the economy that it differentiates and proliferates culturally in much the same way as other spheres of social life do, without losing national and even international connectedness. Robertson (1995:34-35) sees the global as the linking of localities. Issues of music getting de-territorialised Other argument is that the original is getting lost in the wake of globalisation. Other sets of arguments which emerge from this view are : How do listeners identify music with a particular place? The evolution and geographic distribution of instruments, use of specific melodies or scales, and existence of common rhythms are some key characteristics that help define and limit the territorial range of a music. How common traits can provide telltale clues about where a form of music originated and how it spread? How can music retain its association with certain places in an increasingly global society? If these questions could be answered the music could be retained as intact. IDENTITIES: Music and its origin Other argument flows that in a globalised village, where is the identity of the music? Four basic positions are highlighted in the successive integration of both MUSIC and identities, from separation to fusion: demonizing exclusion, primitivist polarization, diversifying hybridization and normalizing assimilation. Lomax also states that due to the widespread distribution of industrialized music and the loss of music that exemplifies cultural aspects and characteristics, civilizations are not maintaining a sense of national pride and identity. Without these distinguishing lines, Schiller states that at one time it was cultural diversity that flourished, and now we are witnessing the diffusion of such a process, if such a process of cultural breakdown were to keep evolving, we would have to face a global consumer monoculture. AMERICANISATION: Westernisation or polarisation of music Another argument of the discourses on the globalisation of music is that the music which is going global is by and large Americanised. One of the major fears associated with the globalization of music is the creation of a global monoculture. Barlow investigates how the global monoculture has infiltrated every corner of the earth. He feels that North American corporate culture, including the music industry, is destroying local tradition, knowledge, skill, artisans and values. Specifically artisans have been affected through the fact that the product that they have tried to market has been outdated and overrun by the popstar garbage that has taken over the world and destroyed cultures. The premise of Barlows argument finds that this is corporate America is not only destroying traditions, but it is burying a cultures overall identity. As best said by Nawal Hassan, a Egyptian artisan activist, This is an issue of identity. All our civilizations has ceased to be spiritual. Our civilizati on has become commercial. (Barlow 2001) I came up with the view that People arguing over the loss of a nations cultural identity, the terror of westernization, and the reign of cultural imperialism. Through topics such as these we explore the possibilities or the existence of hybridization of cultures and values, and what some feel is the exploitation of their heritage. One important aspect that is not explored that such influences can also be more than just a burden and an overstepping of bounds. These factors can create an educational environment as well as a reaffirmation of ones own culture. With the music being the highly profitable, capitalist enterprise that it is today, it is no wonder that it is controlled and regulated by a few large conglomerates. COMMERCIALISATION: Consumerism of music Another issue of debate is that the transnational corporations are making money on music, whether the music is twisted or re-mixed. So it is a kind of threat on the originality of the music. Growth of a profitable and varied music services industry producing everything from remixes to music marketing strategies. Standing at the forefront of this growth industry are a large number of firms attempting to combine in innovative ways music and ICT. This can take a variety of forms, for instance: selling and distributing music over the internet; web design and computerised advertising services tailored to music products; software design focused on multimedia products and virtual instruments; high-tech post-production and mixing services; and virtual centres and communities of music industry actors. Brunnette in empirical studies of market concentration in music (1990, 1993),reports that seven corporations together controlled no less than 50 percent of market share in any country where they had operations and up to 80 percent in some countries (199:104-5).The seven corporations, with their nation of origin and reported 1990 sales, are:Sony (Japan, $3 billion), Time/Warner (U.S., $2.9 billion),Polygram(Netherlands/Germany, $2.6 billion), Bertelsmann Media Group (Germany, $2 billion),Thorn/EMI (U.K., $1.88 billion),MCA(U.S., $1 billion), and Virgin (U.K., $500 million), total 1990 sales $13.88 billion (1993, pp. 141-143).With no. such as these it is nearly impossible to deny the fact that these companies do not have a great affect on the influence of music and media that they distribute. Conglomerates not only run the market for music,but determine which music is to be distributed and to where, therefore pushing an idea or culture onto a nation. Seeing that westernization has beco me a industry term for many businesses it is surprising that recently much of the profit that has been received from music conglomerates has been non-U.S. artists. The contemporary music industry The making of music is not only a cultural and sociological process but an economic one. However, economic geography perhaps because of a lingering productivist bias has yet to undertake a serious appraisal of the dynamics of the music industry (see Sadler 1995). Trends of globalization, internal corporate restructuring and global-local relations are, however, as evident here as in other sectors. In 1992, the music industry generated worldwide sales of US$29 000 million, dominated by just five major global corporations: Warners, Bertlesmann Music Group, Polygram International Group, EMI-Virgin and Sony. Seventy per cent of world record sales were generated in just five national markets, each dominated by the majors which between them captured 73 per cent of sales in the USA (31 per cent of the global market), 60 pe cent of sales in Japan (15 per cent), 90 per cent of sales in Germany (9 per cent), 73 per cent of sales in the UK (7 per cent) and 87 per cent of sales in France (7 per c ent) (Monopolies and Mergers Commission 1994). (Leyshon. Mayshell, Revill: 427) Music and traditions? The music is a tradition? It is another issue of debate. Because there are other instances which suggest that sometimes the popular music of a place was against the traditions. In some cases, as with jazz, Greek rebetika, and the Argentine tango, the emergent popular music styles came from the colorful underworlds of urban taverns and brothels. As such styles grew in sophistication, they came to attract the interest of cultural nationalists and middle-class enthusiasts. Eventually these styles shed their less reputable origins and developed into dynamic national genres. Powne (1968:vii-viii) referred to a debased or Westernized music in Ethiopia, and Price (l930a; 16) to the slovenly and immoral music called jazz, which he regarded as crude, negroid in form and vulgar. Even the sensitive scholar Kunst referred to the partially Western-derived genre of Indonesian kroncong as a monotonous and characterless wail,listing it as one of the causes why the native is either dying away or dege nerating (ibid.) Some writers have indulged in a romantic zeal to save traditional music everywhere from the contamination that was often supposed to result from musical contact between the West and the non-West. Fryer (ibid., 482) laments cuts in musical education, For Fryer, the environment of pop is an anti-culture with universally commercialized African rhythm undermining the universal cultural standards of the classical wester canon. For Bunge, the new and global is to be celebrated because it is popular and young; Fryer (ibid, 482) chastises a resurrection by a professed radical of the discredited economic doctrine of consumer sovereignty. (Leyshon. Matless, Revill: 424) Caroline Bithell says, The world music marketplace opens up a new area of representation of a culture by its own participants, while the high density of recording in its turn stimulates an increased preoccupation within the culture with questions of musical identity, all of which provides fertile ground for ethnomusicological research. The ensuing detective work is aimed not at flushing out cases of inauthenticity, but at uncovering ever more pieces of a multi-dimensional jigsaw rich in unexpected meetings and happy accidents and documented in different ways by field recordings and commercial recordings alike. While some of the groups identify themselves completely with the notion of the tradition, regardless of what they are actually doing in practice, others are quite clear that they are simply doing what they want to do and resent the imposition of the spectre of tradition as a restrictive framework (e.g. Minicale interview 1994). They do not in any case view the tradition as some thing fixed this can only lead to ossificationbut as a continually evolving organic entity which needs to find contemporary forms of expression (e.g. Poli interview 1995). (Bithell: 61) They feel that they should not be held to ransom by the notion of tradition or More precisely by other peoples perception of their tradition. (They remain concerned, nonetheless, that they should be seen as being grounded in the tradition.) What is at stake is not what is done but the way in which the traditional label is appropriated. At the same time, the concept of tradition itself is clearly flexible and contested and does not necessarily imply either great age or superior status. (The alternative designation popular does not share this problem but, in the modern media age, creates new difficulties. It also fails to bestow a sufficiently elevated aura.) There is also a danger of idealising or romanticising the workings of the oral tradition where songs were passed down directly from one generatio n to the next. In reality, the process did not always run smoothly. Some older singers were jealous of their repertoire and reluctant to pass on their secrets to younger singers. In many places, singing remained the prerogative of the older men (Sarrocchi interview). The availability of commercial recordings means that some of these human difficulties can be by-passed and the younger generations of singers can empower themselves as and when they are ready to do so.( Bithell: 62) Globalisation of music J. Mc Gregor Wise : Music is a landscape in which people negotiate their identities. There is prevalent a view that the growing ease with which capital and commodities cross international boundaries will serve to erode and perhaps even obliterate that which might be considered local. This particular conviction invokes a range of starkly different political responses. On the one hand, there are high modernists like Anthony Giddens who foresee that individuals will be enabled increasingly to transcend the strictures of the local in order to participate in what is understood as the rather richer environs of a global community forged out of the communications revolution (Giddens 1991, pp. 1467; 1998, p. 36). On the other, there is a swelling band of critics who fear that globalisation entails simply the homogenisation of cultural practice and taste. These anxieties are captured best perhaps in the lucid polemic of Naomi Klein (2000). While the contention that trans-national forces are inexorably eroding that which is particular to given societies exercises considerable a ppeal, it has of course been challenged in various quarters. Some social scientists have sought to suggest that the process of globalisation will not in fact impose homogeneity but rather will illuminate and foster the local. This particular reading of contemporary social trends finds an especially keen illustration in a new book by Andy Bennett. In Popular Music and Youth Culture we encounter a distinctive conception of the ways in which the social world is experienced and understood. The author sets out to challenge the view that popular music constitutes a cultural text that has a meaning independent of its audience. Social actors are not Bennett insists mere cultural innocents who passively consume the wares of the music business. On the contrary, he argues, people are in fact reflexive agents who interpret and appropriate popular music in ways that are critical and creative. As a consequence, the meanings of musical texts should be acknowledged not as singular and given but r ather as plural and contested. The particular reading advanced within Popular Music and Youth Culture insists not only that social actors engage critically with popular music but that they do so principally in the context of the local. This is defined throughout the text not as a demarcated physical space but rather as a set of discourses. The specific discursive practices through which the local is called into being are, Bennett asserts, intimately associated with the production and consumption of popular music. Those musical texts that originate elsewhere are routinely read through sensibilities that emerge out of a specific understanding of place. These particular sensibilities are themselves, however, heavily influenced by exposure to musical texts that originate else- where. Looking at musicalised forms of social practice would seem to suggest, therefore, that the relationship of the global to the local is a complex one not of dominance but rather of dialogue. (See Willet : rev iew) African American musical adaptations formed the roots of blues, jazz, and other genres of modern music in the United States. But elsewhere in the Americas, especially in the Caribbean and Brazil, drums remained integral to the black musical tradition. In these areas, African music has mixed with both indigenous and non-African traditions to produce a variety of musical styles, including calypso and reggae. Further Andrew Leyshon, David Matless, George Revill, talk about universal and national music. Shepherd, the assumed fixed criteria against which all music can be judged are rooted in the musical languages of ruling groups privileging the classical over the popular and the masculine against the feminine. Such cultural distinctions were brought to bear both within and beyond thewest.n Leppert and McClary (1987, xviii) show how such formulations have legitimized western sophistication and complexity against the primitive and suggest that ethnomusicological questioning of music and society has been acceptable only when applied to other cultures: recognizing that other musics are bound up with social values does not necessarily lead to the conclusion that our music likewise might be: more often it simply results in the chauvinistic, ideological reaffirmation of the superiority of Western art, which is still widely held to be autonomous.

Hamlet: Essay On Act I :: Shakespeare Hamlet Essays

Hamlet: Essay On Act I         Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Act one of HAMLET   is an excellent introductory act.   Shakespeare establishes atmosphere, by introducing the major characters, the role of the supernatural, the revenge plot, the love plot, and the contrast of the Fortinbras plot, as well as Hamlet's fiegned madness.   Through his unique writing style, Shakespeare sets us up for the rest of the story, and captures the reader's attention, making him want read more.      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Shakespeare establishes the atmosphere of the play, in scene I.   The scene takes place in Elsinore, on a platform before the castle.   The atmosphere is one of dark battlements, and nervous sentries, which catches the audiences attention right away.   As the bell tolls twelve on a frosty night, a silent ghost of the late King Hamlet apperars twice.   This provides one of the high points of the scene, along with this, Shakespeare presents the reader with information, regarding the military preparations in Denmark.   All of this provides for a dark, mysterious atmosphere, where the reader is wanting to know more.   Shakesperare continues to establish atmosphere in scene III.   In this scene, atmosphere of a diferent kind is created. This scene is a family scene, in which brotherly, and fatherly advice creates an atmosphere quite different from that of the appearance of the ghost and the problems of Hamlet and his relatives.   This creates an atmosphere of love, and betrayall, whereby Ophelia is forced to obey her father Polonious, and is told to be careful with Hamlet, as he is a prince, and will not look to marry just anyone, such as herself. Shakespeare continues to develop atmosphere throughout the act, and uses the atmosphere to introduce some of the characters in the play.      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Shakespeare introduces some of the major characters in the play, and leaves lasting impressions of each on the reader.   Bernardo, and Francisco are introduced in the first scene, as officers watching their posts, but it is Horetio that leaves the greatest impression, as he is described as a well educated scholar, and seems to have great importance to the development of the play. In scene II, Claudious, the present King of Denmark is introduced.   He is the uncle of Hamlet, and just so happens to be masrried to Hamlet's mother, creating a definate first impression.   Hamlet is aslo introduced, and the impression perceived is one of a troubled individual, who is grieving his father's death, and is angry at his mother for marrying his uncle Claudious. Ophelia, Hamlet's girlfriend, and the daughter of Polonious is introduced in scene III.   She is described as a rather affectionate, but rather docile

Mobile Phones Have Improved Our Lives in Every Way

MOBILE PHONES HAVE IMPROVED OUR LIVES IN EVERY WAY We live in the era of smart phones and not that smart people. Are mobile phones really necessary or are they just toys that think instead of us and help us escape from our boring lives? On one hand mobile phones are very beneficial. Thanks to all intelligent technological tools, you can call or text anyone you want, even if they are not close. You can call the emergency if you are stuck in an accident.In addition, one of the perks is definitely the internet access which you can reach wherever you are. Whether you are waiting for someone to come and are bored, you can listen to music. Nowadays you do not have to carry and agenda with you, because this sophisticated apparatuses remember all the appointments and reminders you might forget. On the other hand, you can easily get distracted by mobile phones, what sometimes can lead to obsessions. Not to mention the radiation and its consequences which cause infertility and many other healt h risks.Is it not sad when you meet and old friends of yours for a coffee and you both end up hanging on the mobile phones and become extremely anti-social? All in all, technological phenomenon of modern time are one of the greatest discoveries so far and our lives would never be the same if they did not exist, because they have made our lives easier in every single way. I believe that the benefits of using mobile phones outweigh the disadvantages, but only if the usage is under control. Therefore, we must not let them use us, we must use them!

How to Overcome Makeshift Marketing CoSchedule Buyers Guide

How to Overcome Makeshift Marketing Buyers Guide Marketing  departments are busy places. Everyone has too much to do, and not enough time. Plus, there are always competing deadlines to meet, metrics to monitor, and channels to manage. None of this makes keeping teams organized any easier. In fact, sometimes, it feels downright impossible. Naturally, most marketers rely on a variety of tools to keep things under control. From planning to execution to measurement, there’s a tool or ten for everything. They’re supposed to make life easier. They’re supposed to make marketing management feel, well, manageable. Except they don’t. Not as well as you’d like, at least. Everything feels scattered, and your disjointed workflows don’t seem to work at all. So, what gives? In an ironic twist, your tools could actually be killing your marketing team’s productivity. Fortunately, this problem has a name, and you can fix it. How to Overcome Makeshift Marketing: The Buyers GuideWhat Is Makeshift Marketing (And How Does It Hold You Back)? Marketers often do marketing with non-marketing tools. Like spreadsheets. Too many spreadsheets. For everything. Or, they choose single-solution tools that do one thing †¦ but don’t integrate with other software. This is what we call makeshift marketing, and it’s no way to work. What makes this approach so painful? It makes developing efficient workflows impossible. Switching between multiple tools that don’t sync with each other leads to a lot of tab-switching. It necessitates a lot of inefficient hacks and workarounds. Tedious copy-and-paste processes aren’t fun, and they leave too much room for error. It makes collaboration feel like a trip to the dentist. Clunky tools lead to clunky processes that lead to dreading going into the office. Fortunately, there’s a better solution out there: . Free Pitch Deck: Are you sold on but need help educating your team? Grab your free slide deck to pitch to your boss. What Is ? is the  industry-leading marketing suite  that brings all your content, social, asset management, email, and marketing project management tools together on one unified platform. It’s mission control for your marketing team, making it easy to plan and execute your entire marketing strategy. In short, it’s the all-in-one answer to makeshift marketing. Could makeshift marketing be blocking your marketing teams productivity?Who Is For? Anyone in marketing who needs to get organized. That includes †¦ Professional Marketing Teams Keeping in-house teams focused and collaborating effectively isn’t easy. With , managing everything from small projects to full-fledged multi-channel campaigns isn’t only possible, but it might actually be fun. Learn More: For Professional Marketers: One Calendar to Rule Them All Marketing Agencies Instead of managing multiple clients with multiple tools, get all your clients into . You can finally stop trying to manage tons of different platforms and get everyone on the same page. Learn More: For Agencies: Every Client. Every Project. One Platform. Small Businesses SMBs have enough things to worry about, without worrying about keeping marketing organized. Our marketing calendar keeps things together so business owners and small business marketers can spend their limited resources doing work that matters. Learn More: For Small Business: The #1 Marketing Calendar For Your Growing Business and Keeping Your Sanity Solopreneuers When you’re a solo marketer, you’re responsible for everything that needs to get done. Fortunately, there’s one tool built to keep your life in order, so you can focus on building your business. Learn More: For Solopreneuers: The #1 Editorial Calendar For the Solopreneuer Who Does Everything Universities When managing marketing campaigns and communications across multiple departments, there’s a lot that can do wrong. That’s why top schools like American University and the University of Georgia depend on to keep everything organized in one place. Learn More: For Higher Education: Mission Control For Higher Education Teams Why Use ? Most marketing teams use a wide array of tools to get work done: Editorial calendars  to plan pieces and content themes in advance. Google Calendar  to manage meetings and events. Social media management platforms  to wrangle multiple networks. Email platforms  to schedule and deliver newsletters. Spreadsheets  to build reports. More spreadsheets  to track project progress. Yet another spreadsheet  to store future marketing ideas. †¦ too †¦ many †¦ spreadsheets. You have nightmares about endless color-coded columns. Analytics platforms  to prove your work is driving results. Communication apps  to keep inner-office chatter out of your inbox. Numerous publishing and execution tools  for different types of content. Note-taking apps  for storing memos and documentation. Project management tools  to keep creative teams organized. If that sounds like a lot of software, this list is only scratching the surface. Here’s a visualization of the martech landscape from back in 2011: Of course, the marketing industry has matured since then. The number of tools we have to choose from has grown accordingly. Here’s a similar visualization from 2017: That is an overwhelming number of tools and services to choose from. If looking at this makes you feel like popping an aspirin, you’re not alone. But, the market has grown because marketer’s needs have grown. We have more options for more specialized solutions than ever. In theory, this should make life easier, right? The answer is a resounding â€Å"kind of.† Marketers are still left using tools that weren’t made with marketers in mind. To make matters worse, purpose-built marketing solutions often don’t integrate with one another, either. This means: Marketing tool stacks are disconnected. When tools can’t talk to each other, keeping things organized gets difficult. Inefficient tools lead to inefficient work. For marketers, time is money, and time wasted due to tools that don’t scale is unacceptable. Managing projects and campaigns across multiple tools increases odds for errors. Copying and pasting content out of a static calendar into a CMS? Tracking progress between a spreadsheet and two team management apps? The more manual effort required to move data, the more opportunities exist for things to go wrong. Referring back to the marketing tool map above, it all leads to one question: Do you really need (at least) one tool from each of those product categories? With so much work to do and software to manage, marketing teams need one version of truth to guide them. Something that can consolidate the tools they use most day-to-day. A platform that’s actually built for marketers. One that can replace copy-and-paste processes and end the tyranny of countless spreadsheets. That platform is . Im replacing my copy-and-paste marketing processes with @How Can Help Beat Makeshift Marketing? is built to empower teams to push past makeshift marketing for good. Let’s take a deep dive into some key areas where streamlining marketing workflows with makes more sense than doing things the old-school way. One Place to Start Every Project With a makeshift marketing approach, projects live in several different tools. That makes it tough to know where to look, for what, and when. With as your team’s go-to marketing hub, you have one place to start planning every project and campaign. Visualize your entire marketing strategy. With Custom Content Types, mapping out every piece of content you’re working on it simple. See every project and campaign on one calendar. becomes your marketing team’s single version of truth  to see what’s ahead. Stop switching tabs between multiple apps. Eliminate confusion over which projects live in which app. Bring them all home into one cohesive marketing hub. With @as your team’s go-to marketing hub, you have one place to start planning everyOne Place to Manage Every Workflow From planning to execution, managing marketing workflows  isn’t easy. There are plenty of ways things can go wrong. Odds are, you’ve experienced a lot of them yourself. Part of the problem stems from tools that aren’t built to support smart marketing workflows at all. That’s why is designed to organize every phase of your marketing processes. Communicate. With Discussion Threads, you can keep all communication attached to every project and piece of content. No more missing messages or email threads. Collaborate. Pass comments, exchange files, and manage version control. Create. With key integrations, you can execute everything in one place. @is designed to organize every phase of your marketing processes.Content: One Unified Editorial Calendar. enables teams to manage every project on one calendar. This gives everyone full visibility into all your marketing efforts. No more missed deadlines or last-minute surprises. It’s also easy to drag and drop entries from one day to another. Plus, with our WordPress integration, you can schedule blog posts to publish automatically. Write content in Word, Google Docs, or the built-in text editor, and you can even convert your docs directly into WordPress posts, or convert and download them as HTML (to be imported into another CMS). @enables teams to manage every project on one calendar. Heres how:Social Media Marketing: Schedule. Publish. Measure. Bringing your content and social media calendars together yields several benefits: Manage all your content in one place. Create content and schedule social promotion, together. Curate content from anywhere on the web with our Chrome extension. Stop switching between multiple platforms. You need to know what’s publishing, and when, regardless of the medium or channel. Instead of managing content in one place and scheduling social posts in another, bringing both under one roof makes it easier to get the full picture on your publishing schedule. Save time automating scheduling and reporting. Use ReQueue  to reshare top performing posts. Use Best Time Scheduling  to post at optimal times without manual effort. Use deep social analytics  to measure performance and produce visually appealing reports. Stay on top of all your social media conversations with Social Conversations Inbox. Reply, message and engage directly from your account. Instead of using multiple tools, manually building posting schedules and reports, you can save tons of time automating everything with a purpose-built platform. Plus, with our mobile app, you can easily manage social scheduling no matter where you are. @helps marketing teams save time creating, scheduling, and measuring social media postsMarketing Project Management: Stop Herding Cats. Get More Done. Creative professionals are hired because they’re good at what they do. Sometimes, they’re not the best at getting organized, though. In fact, it’s not unusual to see a writer or designer with a desk that looks like this: What looks like chaos, is actually a sign of a genius at work (or, at least, that’s what they’ll say). 😉 Now, this isn’t to say marketers are inherently disorganized. Far from it. But, even the most coordinated amongst us need tools to keep our work days, weeks, and months straight. Marketing project managers know this. And, if you’ve ever tried managing multiple teams or clients in numerous toolsets (a common headache for agencies and enterprises, in particular), you know the pain is real. Instead, is made to make corralling creatives and marketers easier. Here’s how we do it: Organize complex campaigns with Marketing Campaigns. Keep every piece of every campaign organized on one visual timeline. Use Task Templates  to build project checklists. Maintain consistent workflows  with these reusable checklists. Plus, approve (or reject) work with Task Approvals. Measure productivity with Team Performance Reports. See who’s crushing it, who’s falling behind, and adjust workloads accordingly. Plus, with our Zapier integration, you can easily sync popular project management tools including Asana, Trello, Basecamp, and Wrike with your calendar. Email Marketing: Schedule Newsletters With Your Favorite Email Service Provider. Email marketing drives 4,000% ROI. With Email Marketing from , you can: Seamlessly integrate with your *favorite* email marketing platform.  You already have a kick-a$$ email platform you know and love, so why give it up? With Email Marketing, you can easily connect your preferred email platform to with just a couple clicks. Write click-worthy email subject lines†¦every time.  With Email Marketing, you can use ’s *exclusive* Email Subject Line Tester to optimize and perfect every subject line to drive  more  opens,  more  clicks, and  more  conversions. Get full visibility into your ENTIRE  marketing strategy.  Say â€Å"buh-bye† to disjointed marketing content (and constantly jumping from screen to screen). With Email Marketing, it’s easy to see how your email campaigns relate to the rest of your marketing strategy and quickly make adjustments if necessary. And when it’s this easy to manage + optimize your already-powerful email marketing strategy†¦ †¦imagine how much  more  ROI you can drive with everything in one place.  Ã°Å¸Ëœâ€° currently integrates with MailChimp, Constant Contact, Active Campaign, and Campaign Monitor. How to Overcome Makeshift Marketing Buyers Guide Marketing  departments are busy places. Everyone has too much to do, and not enough time. Plus, there are always competing deadlines to meet, metrics to monitor, and channels to manage. None of this makes keeping teams organized any easier. In fact, sometimes, it feels downright impossible. Naturally, most marketers rely on a variety of tools to keep things under control. From planning to execution to measurement, there’s a tool or ten for everything. They’re supposed to make life easier. They’re supposed to make marketing management feel, well, manageable. Except they don’t. Not as well as you’d like, at least. Everything feels scattered, and your disjointed workflows don’t seem to work at all. So, what gives? In an ironic twist, your tools could actually be killing your marketing team’s productivity. Fortunately, this problem has a name, and you can fix it. How to Overcome Makeshift Marketing: The Buyers GuideWhat Is Makeshift Marketing (And How Does It Hold You Back)? Marketers often do marketing with non-marketing tools. Like spreadsheets. Too many spreadsheets. For everything. Or, they choose single-solution tools that do one thing †¦ but don’t integrate with other software. This is what we call makeshift marketing, and it’s no way to work. What makes this approach so painful? It makes developing efficient workflows impossible. Switching between multiple tools that don’t sync with each other leads to a lot of tab-switching. It necessitates a lot of inefficient hacks and workarounds. Tedious copy-and-paste processes aren’t fun, and they leave too much room for error. It makes collaboration feel like a trip to the dentist. Clunky tools lead to clunky processes that lead to dreading going into the office. Fortunately, there’s a better solution out there: . Free Pitch Deck: Are you sold on but need help educating your team? Grab your free slide deck to pitch to your boss. What Is ? is the  industry-leading marketing suite  that brings all your content, social, asset management, email, and marketing project management tools together on one unified platform. It’s mission control for your marketing team, making it easy to plan and execute your entire marketing strategy. In short, it’s the all-in-one answer to makeshift marketing. Could makeshift marketing be blocking your marketing teams productivity?Who Is For? Anyone in marketing who needs to get organized. That includes †¦ Professional Marketing Teams Keeping in-house teams focused and collaborating effectively isn’t easy. With , managing everything from small projects to full-fledged multi-channel campaigns isn’t only possible, but it might actually be fun. Learn More: For Professional Marketers: One Calendar to Rule Them All Marketing Agencies Instead of managing multiple clients with multiple tools, get all your clients into . You can finally stop trying to manage tons of different platforms and get everyone on the same page. Learn More: For Agencies: Every Client. Every Project. One Platform. Small Businesses SMBs have enough things to worry about, without worrying about keeping marketing organized. Our marketing calendar keeps things together so business owners and small business marketers can spend their limited resources doing work that matters. Learn More: For Small Business: The #1 Marketing Calendar For Your Growing Business and Keeping Your Sanity Solopreneuers When you’re a solo marketer, you’re responsible for everything that needs to get done. Fortunately, there’s one tool built to keep your life in order, so you can focus on building your business. Learn More: For Solopreneuers: The #1 Editorial Calendar For the Solopreneuer Who Does Everything Universities When managing marketing campaigns and communications across multiple departments, there’s a lot that can do wrong. That’s why top schools like American University and the University of Georgia depend on to keep everything organized in one place. Learn More: For Higher Education: Mission Control For Higher Education Teams Why Use ? Most marketing teams use a wide array of tools to get work done: Editorial calendars  to plan pieces and content themes in advance. Google Calendar  to manage meetings and events. Social media management platforms  to wrangle multiple networks. Email platforms  to schedule and deliver newsletters. Spreadsheets  to build reports. More spreadsheets  to track project progress. Yet another spreadsheet  to store future marketing ideas. †¦ too †¦ many †¦ spreadsheets. You have nightmares about endless color-coded columns. Analytics platforms  to prove your work is driving results. Communication apps  to keep inner-office chatter out of your inbox. Numerous publishing and execution tools  for different types of content. Note-taking apps  for storing memos and documentation. Project management tools  to keep creative teams organized. If that sounds like a lot of software, this list is only scratching the surface. Here’s a visualization of the martech landscape from back in 2011: Of course, the marketing industry has matured since then. The number of tools we have to choose from has grown accordingly. Here’s a similar visualization from 2017: That is an overwhelming number of tools and services to choose from. If looking at this makes you feel like popping an aspirin, you’re not alone. But, the market has grown because marketer’s needs have grown. We have more options for more specialized solutions than ever. In theory, this should make life easier, right? The answer is a resounding â€Å"kind of.† Marketers are still left using tools that weren’t made with marketers in mind. To make matters worse, purpose-built marketing solutions often don’t integrate with one another, either. This means: Marketing tool stacks are disconnected. When tools can’t talk to each other, keeping things organized gets difficult. Inefficient tools lead to inefficient work. For marketers, time is money, and time wasted due to tools that don’t scale is unacceptable. Managing projects and campaigns across multiple tools increases odds for errors. Copying and pasting content out of a static calendar into a CMS? Tracking progress between a spreadsheet and two team management apps? The more manual effort required to move data, the more opportunities exist for things to go wrong. Referring back to the marketing tool map above, it all leads to one question: Do you really need (at least) one tool from each of those product categories? With so much work to do and software to manage, marketing teams need one version of truth to guide them. Something that can consolidate the tools they use most day-to-day. A platform that’s actually built for marketers. One that can replace copy-and-paste processes and end the tyranny of countless spreadsheets. That platform is . Im replacing my copy-and-paste marketing processes with @How Can Help Beat Makeshift Marketing? is built to empower teams to push past makeshift marketing for good. Let’s take a deep dive into some key areas where streamlining marketing workflows with makes more sense than doing things the old-school way. One Place to Start Every Project With a makeshift marketing approach, projects live in several different tools. That makes it tough to know where to look, for what, and when. With as your team’s go-to marketing hub, you have one place to start planning every project and campaign. Visualize your entire marketing strategy. With Custom Content Types, mapping out every piece of content you’re working on it simple. See every project and campaign on one calendar. becomes your marketing team’s single version of truth  to see what’s ahead. Stop switching tabs between multiple apps. Eliminate confusion over which projects live in which app. Bring them all home into one cohesive marketing hub. With @as your team’s go-to marketing hub, you have one place to start planning everyOne Place to Manage Every Workflow From planning to execution, managing marketing workflows  isn’t easy. There are plenty of ways things can go wrong. Odds are, you’ve experienced a lot of them yourself. Part of the problem stems from tools that aren’t built to support smart marketing workflows at all. That’s why is designed to organize every phase of your marketing processes. Communicate. With Discussion Threads, you can keep all communication attached to every project and piece of content. No more missing messages or email threads. Collaborate. Pass comments, exchange files, and manage version control. Create. With key integrations, you can execute everything in one place. @is designed to organize every phase of your marketing processes.Content: One Unified Editorial Calendar. enables teams to manage every project on one calendar. This gives everyone full visibility into all your marketing efforts. No more missed deadlines or last-minute surprises. It’s also easy to drag and drop entries from one day to another. Plus, with our WordPress integration, you can schedule blog posts to publish automatically. Write content in Word, Google Docs, or the built-in text editor, and you can even convert your docs directly into WordPress posts, or convert and download them as HTML (to be imported into another CMS). @enables teams to manage every project on one calendar. Heres how:Social Media Marketing: Schedule. Publish. Measure. Bringing your content and social media calendars together yields several benefits: Manage all your content in one place. Create content and schedule social promotion, together. Curate content from anywhere on the web with our Chrome extension. Stop switching between multiple platforms. You need to know what’s publishing, and when, regardless of the medium or channel. Instead of managing content in one place and scheduling social posts in another, bringing both under one roof makes it easier to get the full picture on your publishing schedule. Save time automating scheduling and reporting. Use ReQueue  to reshare top performing posts. Use Best Time Scheduling  to post at optimal times without manual effort. Use deep social analytics  to measure performance and produce visually appealing reports. Stay on top of all your social media conversations with Social Conversations Inbox. Reply, message and engage directly from your account. Instead of using multiple tools, manually building posting schedules and reports, you can save tons of time automating everything with a purpose-built platform. Plus, with our mobile app, you can easily manage social scheduling no matter where you are. @helps marketing teams save time creating, scheduling, and measuring social media postsMarketing Project Management: Stop Herding Cats. Get More Done. Creative professionals are hired because they’re good at what they do. Sometimes, they’re not the best at getting organized, though. In fact, it’s not unusual to see a writer or designer with a desk that looks like this: What looks like chaos, is actually a sign of a genius at work (or, at least, that’s what they’ll say). 😉 Now, this isn’t to say marketers are inherently disorganized. Far from it. But, even the most coordinated amongst us need tools to keep our work days, weeks, and months straight. Marketing project managers know this. And, if you’ve ever tried managing multiple teams or clients in numerous toolsets (a common headache for agencies and enterprises, in particular), you know the pain is real. Instead, is made to make corralling creatives and marketers easier. Here’s how we do it: Organize complex campaigns with Marketing Campaigns. Keep every piece of every campaign organized on one visual timeline. Use Task Templates  to build project checklists. Maintain consistent workflows  with these reusable checklists. Plus, approve (or reject) work with Task Approvals. Measure productivity with Team Performance Reports. See who’s crushing it, who’s falling behind, and adjust workloads accordingly. Plus, with our Zapier integration, you can easily sync popular project management tools including Asana, Trello, Basecamp, and Wrike with your calendar. Email Marketing: Schedule Newsletters With Your Favorite Email Service Provider. Email marketing drives 4,000% ROI. With Email Marketing from , you can: Seamlessly integrate with your *favorite* email marketing platform.  You already have a kick-a$$ email platform you know and love, so why give it up? With Email Marketing, you can easily connect your preferred email platform to with just a couple clicks. Write click-worthy email subject lines†¦every time.  With Email Marketing, you can use ’s *exclusive* Email Subject Line Tester to optimize and perfect every subject line to drive  more  opens,  more  clicks, and  more  conversions. Get full visibility into your ENTIRE  marketing strategy.  Say â€Å"buh-bye† to disjointed marketing content (and constantly jumping from screen to screen). With Email Marketing, it’s easy to see how your email campaigns relate to the rest of your marketing strategy and quickly make adjustments if necessary. And when it’s this easy to manage + optimize your already-powerful email marketing strategy†¦ †¦imagine how much  more  ROI you can drive with everything in one place.  Ã°Å¸Ëœâ€° currently integrates with MailChimp, Constant Contact, Active Campaign, and Campaign Monitor.

Beowolf and Jesse Ventura essays

Beowolf and Jesse Ventura essays Beowulf and Governor Jesse Ventura of Minnesota have many similarities and differences. They are both thought of as heros. Jesse Ventura is a self-created political figure and Beowulf was a made up legend. Jesse Ventura won as a third party candidate for the governor of Minnesota and Beowulf defeated Grendel in a battle, which were two incredible accomplishments. Jesse Ventura and Beowulf are also two very un-modest heros, and they speak their minds. They are both thought of as heros, though they came from different time periods and led totally different lives. Jesse Ventura was a navy SEAL, a movie actor, and a professional wrestler. He created his image to be a larger-than-life warrior type. He worked hard, running as a third party candidate for the governor of Minnesota and won. Beowulf was a made up legend who had super-human qualities. During the Dark Ages Beowulf was an epic that was told by the Anglo-Saxons. Beowulf was brave enough to fight Grendel with his bare hands and the author tells us that Grendel: Saw that his strength was deserting him, his claw Bound fast, Higlac's brave follower tearing at His hands. The monster's hatred rose higher, But his power had gone. He twisted in pain, And the bleeding sinews deep in his shoulder Snapped, muscle and bone split And broke. The battle was over, Beowulf Had been granted new glory. (P. 21, ln 102-110) Jesse Ventura was a wrestler, but he never harmed his opponent as badly as Beowulf did. Both Beowulf and Jesse Ventura were strong, champion-like figures. Jesse Ventura ran as a third party candidate for the governor of Minnesota even though most third party candidates don't have a chance. Democrats and Republicans have been known to exclude third party candidates from debates. Third party nominees have to make due with less press attention and money. When they do receive...

Family Law Essay Example | Topics and Well Written Essays - 4000 words

Family Law - Essay Example The only ground for divorce is the irretrievable breakdown of the marriage which must be proven by at least one of five facts.2 Adultery is one of the five facts capable of proving that the marriage has irretrievably broken down.3 However, using adultery to substantiate that the marriage has irretrievably broken down may be problematic for two specific reasons. First, the allegation that Mr. Murdock has been engaged in several adulterous relationships in the past with the last one ending at least 8 months previously is statute barred. Pursuant to Section 2(1) of the Matrimonial Causes Act 1973, a party is not entitled to plead adultery, if having found out about the adultery, the party seeking to rely on adultery continued to live with the other party for at least 6 months.4 Thus, if Mr. Murdock wanted to rely on your adultery with his son Stuart from several years earlier, he would be time barred since he continued to live with you for more than six months after learning of the affa ir. However, the court may disregard this fact if the adultery is such that the petitioner finds living with the respondent intolerable. Or the adultery may be pleaded as evidence of the breakdown of the marriage or as evidence that the marriage has irretrievably broken down.5 The fact that the adultery has been ongoing for a number of years and the respondent is believed to be currently conducting a sexual affair with his office manager may be sufficient for proving that the pervious adulterous relations are statute barred, are nonetheless intolerable. Even so, the alleged current adulterous relationship can constitute a second fact capable of supporting the ground of the irretrievable breakdown of the marriage. The problem with pleading adultery is that the courts require proof of the adultery. The standard is based on the civil standard which requires evidence showing that on a balance of probabilities, the respondent has committed adultery. Thus, an admission of adultery by the respondent would be sufficient proof.6 At this point, Mr. Murdock has neither admitted or denied the adultery with his office manager, but simply stated that it was none of your business. He may however decide to admit to adultery since he states that he no longer wants to remain married to you. Aside from adultery, there appears to be sufficient evidence of behaviour pursuant to Section 1(2)(b) of the Matrimonial Causes Act 1973. Section 1(2)(b) provides that the breakdown of a marriage can be proved if the court is satisfied that: The respondent behaved in such a way that the petitioner cannot reasonably be expected to live with the respondent.7 This section has been interpreted to mean that it is not so much the respondent’s behaviour that concerns the court, but the petitioner’s feelings relative to living with the behaviour.8 Thus the fact that you have suffered depression since giving birth to Jack, the first child of the marriage, suggest that you might find liv ing with the physical and verbal abuse intolerable and thus provide

Structured System Analysis and Design Method Research Paper

Structured System Analysis and Design Method - Research Paper Example Additionally, this methodology is believed to be a public domain, as well as is officially represented in British Standard BS7738. Basically, software development methodologies are a most important element of the software development sector which aspires to offer a structure for action and to gather, store, process and distribute information in an attempt to support the economic growth of information systems and software development that are well for purpose. In this scenario, structured systems analysis and design methodology is a kind of linear sequential process model through which software systems are designed and developed. Additionally, this methodology is considered as a representation of a pinnacle of the thorough document-led mechanism to design a software system, and differ with modern RAD (Rapid Application Development) approaches for instance DSDM (Samyal, 2013; Rouse, 2008; Patel, 2005, p. 75). In addition, one of the most attractive features of this software development methodology is that it divides a software development project into several manageable components, steps, stages and activities, and offers a mechanism for defining projects in a way that is easy to manage and control. Some of the major objectives of SSADM methodology are outlined below (Rouse, 2008; Samyal, 2013; Schumacher, 2001): Provides management team with effective control over the software development process Allows software development firm to make more effective use of skilled and new development personnel Facilitates software development team to build high quality systems The loss of staff does not affect the progress of projects Encourage use of computer-based tools for instance computer-aided software engineering systems Establish and maintain a structure for effective communications and collaboration between stakeholders in a project Moreover, this software development technique effectively manages all the aspects of software development life-cycle varying from the pha se of a feasibility study for the actual software development. Additionally, many software development firms use this methodology in association with various other approaches, for instance PRINCE and PRINCE2, which is effective in dealing with various activities of project management. In addition, this software development methodology forms a flow or a waterfall vision of software development, which is based on carrying out a series of steps, and all these steps are interrelated. Some researchers contrast it with the RAD model as it pre-supposes a need to conduct steps autonomously. As discussed above, structured systems analysis and design method divides the software development process in various stages which are outlined below (Rouse, 2008; Samyal, 2013; Schumacher, 2001): In the first step a detailed feasibility study is done to determine the feasibility of a project. Analysis and study of the current environment In this step different business system options are identified At t his stage system requirements are defined This step involves identifying various system options At this stage logical design of the system is developed Last stage involves the development of a physical design Furthermore, for every phase, structured systems analysis and design method forms a set of procedures, techniques and rules for communicating and recording information