Radio Frequency Identification Tags Essay Example | Topics and Well Written Essays - 750 words

Radio Frequency Identification Tags - Essay Example They proved that the once-thought virus-safe RFID tags are prone to virus attack even if the memory seems too small to contain all the information needed by the virus to ruin the technology. This research is a call for the RFID designers to take extra care in engineering the chips' code. Since the databases vary about their built in security, the designers should focus on the details of the lines of source code which numbers up to millions. Around 6 to 16 mistakes out of a thousand lines of code mean less security and vulnerability to virus attack. This is important because RFID tags have promising uses in industries such as groceries and airports, wherein important information are all stored in databases. The uses include tracking and inventories, storage of information about personal and financial matters, and property monitoring. Interference of the RFID tags using the viruses does not affect only the system, but the larger scale of the industries concerned. False tags can be used on an item to deliver a virus in a properly working system. This virus can then replicate its illegal code on the databases and corrupt the files. (Kirk, 2006). Privacy of information stored in RFID tags should start at the design and engineering stage. The RFID tags must be designed in such a way that it holds the minimum amount of information possible, without compromising its function and performance. Manufacturers must find a way to decrease the linkability of the tags with confidential data (Cavoukian, 2006). Since RFID tags carry important information, it is very usefule not only in identification but for access into different databases as well. The Senate of the California State had passed a legislation which bans RFID tags in government transactions and documentations. Integration of RFID in any form of identification card, license, and document issued by the state. This prohibition is applicable also in the use of RFID by the employees for security access. (Hook, 2005). The University of Amsterdam's Faculty of Science created a website called the RFID Guardian. The site aims to help RFID users secure their privacy. The website, www.rfidguardian.org, offers a free video about the function of RFID Guardian and how its system works (Faculty of Science). Data and identity theft The RFID tag user should be responsible for the information covered by his tag. He should definitely be in control of the information his RFID tag carries. The same goes for institutions and organizations. They, therefore, should allot resources for training their employees so that the organization as a whole would be able to comply with privacy and security guidelines. They should limit the use of RFID in the disclosure of information by assessing their files and classifying them according to their relevance and confidentiality. Data including those of personal and confidential nature, and those data containing dispersible information, should be updated and accurate. This could prevent subsequent transfer of information using RFID tags from one system to another, which makes the information vulnerable to illegal attacks. There should also be consent from an individual concerned whether or not certain information about him can be disclosed from his RFID tag (Cavoukian, 2006). Due to the important data stored in RFID tags, the technology attracts unauthorized individuals to invade somebody else's privacy. These illegally involved people can

House of Lords Essay Example | Topics and Well Written Essays - 1250 words

House of Lords - Essay Example Today, the House's jurisdiction is limited to the hearing of appeals from the lower courts that are technically addressed to the Queen-in-Parliament. By constitutional convention these judges known as Lords of Appeal or Lords of Law hear the appeals. For several years we have heard of the deafening calls for reform and change in the highest court of this land which separates them from the second house of Parliament. The recent calls moved for the removal of the Lords of Appeal from the legislature which received full support and endorsement from the government on March 21, 2005 leading us all to believe that the Constitutional Reform Act, 20052, as a new system will reflect the independence of the judiciary from both the legislature and the executive. According to Thoroton3, the Judicial Committee would continue to exist and to undertake its work for various Commonwealth and overseas and dependent territory jurisdictions4. This has however created a constant stir that allows us to se e how the Lords have fared in the last 25 years in the exercise of their duties and responsibilities which concerns every citizen in the society as a whole. Undeniably, the continuing dissatisfaction over the last 30 years on the performance of the House of Lords, has put into question their credibility and independence. Certain motivational factors that may have affected this change has created furor especially in their capacity to handle cases and effectively carry out their function. We try to entertain these motivational factors as the basis for this study that aims to look into the important aspect of their decision-making. More importantly we will look into the ratio and length of judgment in comparison with their collective judgments rendered that would reflect their capacity to handle a fair trial. Methodology Based on the total number of cases, we used the common method of random sampling to arrive at and identify at least 5 cases per year as a basis from this evaluation from 1975-2000. Theoretical Framework The emergence of the constitutional reform act has set to obtain the government's motivation for the reform act. Clearly it has set to remove the Law Lords' ability to act as both a government minister and a judge. According to the House Common Bill of Rights5, this is motivated in part by concerns that the historical admixture of legislative, judicial, and executive power, may not be in conformance with the requirements of the European Convention on Human Rights. Robertson 1998 has analyzed and branded concentrates on the arguments the Law Lords use in justifying their decisions, and is concerned as much with the legal methodology as with the substance of their decisions. Very close attention is paid to the different approaches and styles of their judicial argument. Munday6 has also explained the certain application of coming to one single realization among 5 judges to arrive at 1 conclusion and gives a lot of room for unfair judgment. Robertson7 has expressed that Law Lords enjoy and fully utilise far more discretion in their judgments than is normally admitted, and that much depends on exactly which judges happen to hear a case. Data Interpretation and Analysis In a convention, it was decided that the office of Senior Law Lord was automatically assumed

Working with and Leading People Assignment Example | Topics and Well Written Essays - 3500 words

Working with and Leading People - Assignment Example The responsibility of the managing director is to identify the leaders and motivate them to lead the groups to achieve the overall objectives of the organization. Recruitment and selection is the process of hiring the right person for a job opportunity. The employees are at the core of the success of any organization. Thus, recruiting the individual with an appropriate set of skills is extremely important for fulfilling the overall objective of the organization. Recruitment is considered to be a positive aspect, while selection is regarded to be a negative aspect as it involves the rejection of applications and selects only the best individual suitable for the job opportunity (Randhawa, 2007). Recruitment is the process of attracting individuals for a job opening on a timely basis in large numbers and with the appropriate qualifications (Gusdorf, 2008).Both internal and external factors influence the recruitment process of an organization. The internal factors includes the expansion plan and size of the organization, the cost involved in the recruitment process, salary package, work culture, geographical expansion of the organization etc. Socio- economic factors, supply and demand conditions in the skilled labour market, political and legal considerations are some of the external factors influencing the recruitment process (Randhawa, 2007). Human resource planning is the identification of the present and future human resource need of an organization. Job analysis is the process of determining the tasks need to performed, how they are carried on and what are the qualities required to perform the job successfully (Prien et.al, 2009). After human resource planning and job analysis, the managing director must decide the number and type of recruits required and selects a particular recruitment method. Advertising in newspapers, magazine, career websites trade journals etc. is an effective method of recruitment. The health care company can also establish

Social networking Essay Example | Topics and Well Written Essays - 500 words

Social networking - Essay Example According to Gabler, the fact that Facebook exists, and that people make friends on this social networking site, does not mean that they make real friends. Indeed, because of the development of virtual friendships between individuals who are not in any way related has created a situation where there is no interpersonal relationships that have traditionally defined friendship. In arguing his case, Gabler goes as far as stating that Facebook offers what he terms as ‘friendship lite’ where individuals who claim to be friends do not have any personal relationships or any shared history that they can look back upon. There has developed a tendency among many individuals to want to become famous through social networking. This has been through their having more friends on these social networking sites than others, making having these friends a sort of popularity contest. The need to be popular within social networks has come to be termed as being pathetic because of the belief that individuals have ceased living a real life and have instead gone virtual. The fact that these individuals have chosen to live a virtual life has been detrimental not only for their own social development, but for individuals who have their own families, it has had an adverse effect on their children as well (Daly 480).

Project #4 Essay Example | Topics and Well Written Essays - 500 words

Project #4 - Essay Example It commands the movement of the cursor on the cursor on the screen and also issues commands to the computer. The mouse can either be attached to the computer using a cable or can be connected through a wireless connection technology (Tyler, 2008). It is not hard to use since it contains only two buttons and a scrolling wheel. It is very accurate since the pointer is moved to the exact point to be selected. The movement of the mouse is minimal as compared to the movement that the cursor makes on the screen. It is, therefore, effective and increases the speed of work. It is economical on space since it requires a slight space to control the cursor on the screen. It is an input device that is similar to a mouse and is used to move the cursor on the screen. Its visual aspect is similar to that of a mouse, but it operates in a stagnant position. The cursor is moved by rotating ball using two fingers or the palm (Tyler, 2008). It also has buttons that send instructions to the computer. The trackball is easy to use since moving the cursor is done by simply rotating the ball. However, the balls rotation makes it hard to select fine details, and it may waste a lot of time in such a situation. Its accuracy is as good as that of a mouse. The space required for its operation is equal to the space it occupies even when not in use. The trackball does not require any movement in order to move the cursor and is hence economical in space. The touch pad is a pressure sensitive pointing device that is mainly found in laptops and modern external keyboards. It is a stationary pointing device just like the trackball. In real senses, it does not occupy any space since it is mounted on either a laptop or a keyboard. It is very fast in selecting items on the screen and can be efficiently used even when dealing with fine details. Its ease of use depends on the sensitivity of the touch pad. It is an input device with the shape of a pen

Thermodynamics Lab Essay Example for Free

Thermodynamics Lab Essay Purpose: The purpose of this lab is to determine the identity of an unknown metal, and to prove whether the laws of thermodynamics hold when determining this identity. Using the accepted specific heat of water (4186 J/kg  · oC), heat flow between two different sets of water though the conduction of an unknown metal can provide useful data in determining the identity. The heat transfers can be calculated to approximate the specific heat of the unknown metal. When heat is transferred to an object, the temperature of the object increases. When heat is removed from an object, the temperature of the object decreases. The relationship between the heat (q) that is transferred and the change in temperature (DT) is: q = mCDT = mC  · (Tf Ti). After the specific heat of the metal is found, it can then be compared to known specific heat values of various metals, which in turn will allow for a probable identity of the unknown metal to arise. Hypothesis: The identity of the unknown metal is aluminum. This can be inferred from the unknown metals appearance, which resembles aluminum it its color, light weight, and luster. The laws of thermodynamics will hold when determining the unknown metal. The laws of thermodynamics must apply in order for heat flow to occur during the experimentation. Materials: The materials used in the lab were two calorimeters (insulated, Styrofoam containers), an unknown metal in the shape of a wide horseshoe, two thermometers, a balance, water, a beaker, and a Bunsen burner. Procedure: 1.Measure the weight of the Pyrex beaker, and then pour 200 mL into the beaker. Weigh the beaker filled with water. Record both weights to find the weight of the water by itself. Let this mass of water be labeled 1. Next, pour the water into one of the calorimeters and take the temperature of it. This temperature should be the room temperature and the same as the unknown metals temperature. 2.Pour 200 mL of water into the beaker and weigh the beaker filled with water. Record the weight. Let this mass of water be labeled 2. 3.Use the Bunsen burner to heat up the 200 mL of water in the beaker to 75o C. Then pour the hot water into the other calorimeter. 4.Set-up the calorimeters by placing the thermometers and the unknown metal in their specific places. 5.Record temperatures of both calorimeters every minute until thermal equilibrium is reached. 6.Clean and return all materials and dispose of any waste. Conclusion: The graph indicates that heat flow did undergo during the experimentation. The cold water increased in temperature, while the hot water decreased. The two liquids underwent changes in temperature until they both reached thermal equilibrium. This thermodynamics law is called the Zeroth Law of Thermodynamics. This law basically states that two bodies will naturally reach thermal equilibrium when in contact. The First Law of Thermodynamics was obeyed as well. Only heat from the warmer body went to the colder body. Heat only travels in one direction, from the hot to the cold, as can be seen from the graph. My hypothesis of the unknown metal being aluminum was correct. The results of my lab showed that the unknown metal was aluminum, and later it was said that the metal had in fact been aluminum. The lab calculations went well. The values were somewhat disparate however. For example, the specific heat was found to be 1200  ± 110 J/kg  · oC, but the actual specific heat of aluminum is 900 J/kg  · oC. This difference can be attributed to the imperfect insulation of the calorimeters. Some heat must have been lost during the experiment, which may have caused a distortion in values as a result. Also, the metal was exposed to the outside air, and likely lost some heat to the air. Overall, the lab was a success. The only improvements I would suggest are to have better insulators and more precise instruments. Better insulation would yield improved results. The metal, which was transferring the heat, should have been insulated so that heat could not escape during the heat transfer. More pr ecise instruments would cut down on the uncertainties, which then would allow for better and more accurate results.

Reception of Video Art in Galleries

Reception of Video Art in Galleries Critically examine the notion that the reception of video art is strongly affected by being seen in an art gallery situation Introduction Video art began as an avant-garde movement that challenged the very nature of art in the 1960’s and 1970’s with the likes of Nam June Paik, Bruce Nauman and Stuart Marshall. These artists created powerful pieces in response to the mainstream explosion of cinema and television, and as a challenge to the traditional artistic forms of painting and sculpture. The artists helped to bring art closer to the general public and relieved artists of the need to create specific objects. However, as technology has grown and video art has become more popular, it has moved from the fringes of art to the mainstream setting of the art gallery.[1] Before this the art gallery was a place for traditional forms of art such as painting and sculpture. One of the most interesting topics of discussion regarding video art is how this move into art galleries has changed the reception to video art. It is argued that the reception of video art is strongly affected by being seen in an art gallery si tuation. The aim of this essay is to critically examine this claim, and see how the setting of video art affects the perception of such art. This will be done by look at how setting influences artistic reception, looking at the reception of video art in gallery settings and other settings, and also how the medium of video art itself can influence the gallery experience. Influence of setting on art There are a number of studies and theories regarding the influence of setting on art and artistic reception in various mediums. It is clear that within video art the addition of a gallery setting would change the nature of the art itself. The earliest forms of video art were all on single screens outside of the art gallery setting, and the works were very much of a particular moment in time and had a fairly short lifespan as artistic pieces.[2] However, as video art moved into a gallery setting it merged with other forms of art to create the video installation. This meant the video art was now based in an environment – embedded in a particular time and space. This gave a physical aspect to vide art that had not previously been seen, and has had a major influence on the genre. Installation art is now one of the most common forms of video art, particularly in a gallery setting as it allows video artists to experiment in more ways than ever before. [3] This has meant that video art has merged into other genres, and become part of a larger multi-media, multi-form type of art rather than being a type of visual art on its own. The nature of galleries means that purely video art is being replaced with installation art as it has a more physical presence than traditional video art that was the antithesis of traditional physical art. [4]Another factor worth considering is the psychological aspect of reception towards art in a certain setting. Art that is viewed within a gallery setting may well be seen as more ‘respectable’ and ‘valuable’ than art seen in other settings, but it may also be seen as more ‘traditional’ and constrained than art outside of a gallery setting. There seems to be little research on this particular point, but the researcher supposes that this sort of difference in reception could be possible. Another factor with video art is that the setting of the art might determine how the art is created in itself. Video artists see their projects almost as their children, and therefore want it shown in a particular way as it was intended. If a video art piece was intended to be spontaneous and viewed in a casual setting, then a gallery viewing of such a piece may limit its effectiveness, or even possibly change its meaning altogether.[5] The reception of video art in a gallery setting Video art in a gallery setting is often received differently to how it might be received in a non-gallery setting. Video art in a gallery and video art in another setting may be the separation between what is known as ‘art’ and what is simply known as ‘media’ or ‘television’. The move of video art into the gallery setting has supported its claim to be a mainstream art form. This validation of video art, merely by being seen in an art gallery setting has moved it away from the medium of television and towards the concept of philosophical aesthetics. This is a major shift in the reception of video art from simply a popular culture medium to a valid and critical artistic medium.[6] Another way to look at it is that perhaps the reception of video art is not changed within a gallery setting, but that the actual form of the video art is in fact changed within the gallery setting. Rather than being video art in the form of tape, video art in a gallery setting is either in the form of a live video performance or as an art installation combined with other physical forms of art such as architecture, sculpture, or other interactive multi-media forms. The only way to really determine this is by viewing art exhibitions in both a gallery and non-gallery setting to see if the reception has indeed changed. However, at this point there is very little research on this area as most art pieces are created for one specific setting rather than multiple settings. Therefore, it seems more likely that in many cases the reception of the art is not influenced by setting, but the creation of the art itself is influenced by the setting it is to be placed in.[7] The biggest change perhaps is that video art has moved from the single-screen, non site-specific form to the site-specific installation form. In the original single screen form, which is close to the medium of television, then the gallery setting is unlikely to alter the reception of the art piece. This is because the piece is setting-neutral and will be interpreted individually by each person regardless of setting. However, the form of video art in galleries today is generally installation art, which is site-specific. The art has been created with a specific setting in mind, surrounded by other art forms. In this case the reception of the art would be changed in different settings, but it is unlikely that a site-specific piece would be viewed outside of a gallery or its specific setting.[8] Influence of video art on the gallery experience Video art has been influenced by the gallery setting in its creation more than its specific reception, but video art and other multi-media art has also influenced the gallery experience and changed the way in which art can be perceived. The placement of video art and other multi-media art forms within galleries has challenged the nature of what ‘art’ is and has changed the nature of a gallery. Before this, art in galleries was limited to paintings and sculptures, and therefore the definition of ‘art’ was concerned with things that hung on walls or sat on pedestals. Video art added a completely new element to the gallery space and changed the gallery experience itself. The previous ‘empty space’ in the gallery was now utilized as a part of the artistic framework rather than merely somewhere to display objects. The empty gallery becomes a place for performance and ideas in itself, and space became just as important as the objects within the galler y.[9] Art shifted from the premise of ‘art as object’ to one of ‘art as idea and action’. This not only changed the way in which galleries were seen, but also changed the nature of video art by putting it firmly in the realm of ‘acceptable’ art rather than merely a part of popular culture. It helped to separate video art from the medium of television, drawing a distinct line between the two. It also helped video art to merge into other art forms, and for other forms of art to embrace the influence of video.[10] Furthermore, the acceptance of video art influence the gallery experience by letting other newer formats over the last few years to infiltrate the once sacred gallery space. Computer visuals, Internet exhibits and even live musical and dramatic performance are now part of the gallery experience in many places – something that would have been almost unheard of 30 or 40 years ago.[11] Finally, the acceptance of video art in a gallery setting has influenced the way in which new galleries are designed and laid out. Rather than simply having traditional spaces for paintings and sculptures, new gallery designs incorporate larger areas for performance, installation art and other multi-media art forms. The influence of video art on the gallery experience is perhaps just as strong as the influence of the gallery setting on video art.[12] Conclusion The notion that the reception of video art is strongly influenced by the gallery setting is somewhat misleading. Whilst there is clear evidence that the genre of video art has been massively influenced by the gallery reception, this is more to do with the creation of art rather than its reception. Of course, its reception in terms of its acceptance and standing within the artistic community and amongst the general public has been heightened by its introduction into the gallery setting. However, the major change has been in the move from site-neutral, single screen video art to larger, multi-media installations that incorporate video art and are often site-specific within the gallery setting. Conversely, video art has a significant effect on the gallery experience. It has changed the nature of what constitutes art and what a gallery should look like, as well as pave the way for other newer forms of art to be accepted within the gallery setting. Over the last thirty or forty years, the acceptance of video art into the gallery setting has changed both the way in which video art is commonly created, as well as change the way the gallery setting as a whole is viewed and used. Bibliography Balagopal, R., 2005. Installation Art. (Online). Available at: http://infopedia.nlb.gov.sg/Research/articles/PFInstallationArt.pdf (Accessed 11th August 2008). Bruce, B.C., 2000. The Work of Art in the Age of Digital Reproduction. Journal of Adolescent Adult Literacy, 44(1), p. 66. Carter, C.L., 1979. Aesthetics, Video Art and Television. Leonardo, 12(4), pp. 289-293. Elwes, C., Neshat, S., and University of the Arts London., 2005. Video Art : A Guided Tour. London: I.B. Tauris. Hanhardt, J.G., Villasenor, M.C., 1995. Video/Media Culture of the Late Twentieth Century. Art Journal, 54(4), pp. 20-25. Lisus, N.A., and Ericson, R.V., 1999. Authorizing Art: The Effect of Multimedia Formats on the Museum Experience. The Canadian Review of Sociology and Anthropology, 36(2), p. 199+. London, B., 1996. Video Spaces. Performing Arts Journal, 18(3), pp. 14-19. Lovejoy, M., 2004. Digital Currents: Art in the Electronic Age. New York: Routledge. McCarthy, K.F., and Ondaatje, E.H., 2002. From Celluloid to Cyberspace: The Media Arts and the Changing Arts World. Santa Monica, CA: Rand. Millard, R., 2005. Notebook: Buying Video Art Is Not at All Simple. Artists Sell to Who They like, and Dictate How the Work Is Shown. New Statesman, 134(4730), p. 41. Phelan, A., 1984. The Impact of Technology and Post Modern Art on Studio Art Education. Art Education, 37(2), pp. 30-36. Suderburg, E., 2000. Space, Site, Intervention: Situating Installation Art. Minneapolis: University of Minnesota Press. Footnotes [1] Elwes, C., Neshat, S., and University of the Arts London., 2005, pp. ix-x [2] London, B., 1996, p. 14. [3] Hanhardt, J.G., Villasenor, M.C., 1995, pp. 20-21 [4] Balagopal, R., 2005. [5] Millard, R., 2005. [6] Carter, C.L., 1979, p 289. [7] Carter, C.L., 1979, p. 290 [8] Suderburg, E., 2000, pp. 2-14 [9] Phelan, A., 1984, pp. 30-33 [10] Lovejoy, M., 2004, pp. 101-103 [11] McCarthy, K.F., and Ondaatje, E.H., 2002, pp. 53-54 [12] Lisus, N.A., and Ericson, R.V., 1999, pp. 199-201