Reacton Paper for the movie “Boses”

Synopsis: Oboes is a tale of compassion, strength of the human spirit and the redeeming power of music. It tells the story of Nook, a 7-year-old victim of child abuse in the hands of his father. Rendered mute by a physical trauma that damaged his Larynx, Anonymously Duke), who lives with his father in a countryside village, Is rescued by police and taken to a shelter for battered children owned and run by the kindly Ms. Amanda(Cherry Pie Placate).HIS speech dillydally aggravated by the psychological burden of being kept away from his cruel father makes Nook despondent. One day, eyeing the other children taunting a man who lives in a house near the shelter, Nook becomes curious, especially as he later on hears violin music coming from the house. He soon discovers that the man is the violinist Ariel(Coke Ballista), the brother of Amanda who has abandoned his career as a concert violinist In Manila to live as a recluse, apparently In grief and guilt over the death of his woman Blanch(Me rely Syrians).Nook's fascination with violin music leads him to Investigate around Riel's house when it is empty. Sensing the boys interest, Ariel in time subtly manages to encourage Nook to try the violin, and soon discerns a prodigy in the timid boy. A friendship very gently blossoms between the recluse and the battered child, until the boy is ripe for a recital to be witnessed by his father. Reaction: Oboes Is a film which speaks to us a good message of hope despite of a tragic history and how music can change a life of someone.The message which was communicated through excellent direction, fine portrayals, and beautiful music was clear enough to let ourselves be aware of what is really happening around us and be enlightened in mimes of great darkness. The film has several sensitive topics and I'm impressed of how the way they treated these topics. It made the film worthy of being acclaimed. Child abuse Is the main issue that was shown in the movie – on doing harsh actions and making a child a human ashtray – and the worst was, by a parent Itself. The parents have no right to hurt their child Just because they are the parents.Parents are ought to teach moral and good things to their children. Of course, It is not right to make violence at a child's eyes because that could result to another violence, or rose, because of the boys early age, they are already poisoning his innocent mind which is really unfair. And the sad part is that they give the child a life full of fears, traumas and distress which steals the confidence and trust of the boy to himself and the world. Instead of having protection and care which every child ought to have,they create only something that a child can fear.They are depriving the freedom of the child. Sexual harassment was also one issue though it was not really shown in the film. It was actually Shirley story wherein she said the line â€Å"†¦ Anon aka in tatty†. It was really alarming because the one who molested her was her own father. And very distressing to think that she was only five, six or seven years old. Like sexual harassment which was not totally highlighted in the film but still has a great impact child abuse. It's illegal because it is a crime; equivalent to killing and stealing a life of a person. More than that, It is a mortal sin.Sexual harassments, abortion, live-in, pre- marital sex, and suicide were the sensitive topics Eve found out. These are only little tails in the story but still important. Though some weren't given emphasis but still supports the story which makes it worthwhile. The biggest lesson that I got was to keep the faith and hope despite the ruthlessness of life. Nook had lots of scars, both physical and emotional. Beaten by his father, tortured and forced him to eat as in forcing the spoon into his mouth. But at the end, he was able to get back his trust in the world and live a new life.Same as Ariel who was in sorrow and loneliness because of the death of the one that he loves, at the end, he mound the comfort and restored his spirit. And who says that bad people don't have the chance to be good? Of course they have like in the situation of Mans Marcelo (Risky Dave) who at the end was very sorry for the unkindness he had to his son. Basically, the film offers us hope in every problem that we face and might face in the future. Music has a very important role in the story because it is the instrument that healed both Ariel (Coke) and Nooks Aeolian) wounds of the past.Though it leave them scars but scars are physically not painful anymore. Through music, we can express what we feel in a more peaceful and beautiful way. As a music lover, I truly believe on how music can transform lives. Basically, Oboes is a very sensible story and I agree to that. Doses, speaks to us the voice of the children asking freedom from the chains of violence and abuse; crying and shouting out loud but never heard; seeking for themselves that was stol en from them; and the voice which may not be in the form of words, but in the form of something where they can find, somehow, a relief.

Informative Speech About Football

Informative Speeches Informative. jpg An informative speech provides interesting and useful information to the audience. The information is unique and usually not something that the audience would be acquainted with. Objects, processes, events or concepts: Informative speeches can be about objects, processes, events or concepts. This is not a limited list, but a general topic format that most informative speeches tend towards.The important thing to realize is that no matter which topic format the speech takes on, it can only be an informative speech if it conveys information that is factual, useful, instructive and/or enlightening to the audience. Introduction, body and conclusion: Most informative speeches are formatted with a defined introduction, a body of information and a conclusive ending. Clear, attention grabbing intro: The introduction to informative speeches should always be clear and catch the attention of the listeners.The introduction should lead up to the body of the sp eech in such a way that it is immediately grabs the interest of the audience. It should create a clear relation between the speaker and the topic as well as relating the topic or subject to the audience to pull them in and get them excited or interested in what is to come. It should create a clear outline of what is to be covered in the body of the speech and should do so in a clear and concise way to be effective and ensure that the audience is not bored from the start.Seamless transitions: When delivering informative speeches, the body should provide a smooth transition between the main points, ideas or concepts to convey all of the information effectively. This means that the speaker should, firstly, adhere strictly to the time limits imposed by planning ahead to present all of the information in a coherent manner and in a way that is easy for the audience to absorb and comprehend. The delivery should be natural and conversational; if it isn’t it will allow the audience to lose interest quickly and easily become distracted by the slightest diversion.The speaker should at all times demonstrate a vibrant enthusiasm or passion for the topic – if he is not enthused by it then there is no way he can expect his audience to be. The speaker should maintain eye contact stringently and progress from one point to another in a way that does not seem forced in any way, but seems to progress naturally without any breaks in momentum. Summarize at the end: When concluding an informative speech, the aim is to try and summarize the key points of the speech to reinforce the information in the minds of the audience.The conclusion of informative speeches should always be the means by which the speaker informs the audience that the speech is coming to an end, without actually saying so. It should review and repeat the most prominent concepts, ideas or aspects of the speech and should end the speech in the same seamless and natural way that is used throughout the sp eech. The important thing to note is that the conclusion is a vital part of the speech, and as such it should maintain the attention and interest of the audience until the very end.

Business Environment Coursework Example | Topics and Well Written Essays - 2000 words

Business Environment - Coursework Example There are several types of economic systems but this paper will only concentrate on theses three namely, planned economy, participatory economy, and barter economy. In planned economy such as state socialism where the economy behaves like a hands on economy in which people follow the state laws of economy. In participatory economy, people guide the production and distribution of goods through participating in the system. While in barter trade, traders exchange goods for other goods directly. These three economic systems attempt to allocate resources effectively by helping in making decisions regarding how, what, and for whom to produce (Gitman and McDaniel, 2008:101). For instance, in planned economic system, the state owns the scarce resources whereby it allocates them to the public by setting up production targets and rate of growth according to how it views the public’s wants. In this system, the overall income and distribution of wealth falls in the hands of the state auth orities. As such, the amount of resources an individual can access depends on his income and the resource depends on the value of market. Barter economic system entails of exchanging goods for other goods. In this case, these economic systems allocate resources effectively and accordingly depending on need and availability. Factors of production Factors of production contribute to scarcity of production in that, the more people produce, the more they are utilizing the available resources. Scarcity takes place following the inadequate availability of resources in spite of the fact that people require resources to produce. Factors of production include the natural resources such as land, water, air, and minerals among others. There is labor, which entails about the human effort used during production of goods whereby it involves marketing expertise and technical skills. There is also capital stock whereby these are human made goods or means of production in which people use them to produce other goods (Kurtz and Boone, 2009:52). With this sense, factors of production such as land contribute towards scarcity of resources since it is a natural resource and humans cannot control that by structuring another land upon using the first one. It is available, but has no alteration or effort on the part of humans. Out of the three econo mic systems listed above, I think the most appropriate one is the planned system of economy. This is because, planned system of economy bases on the process of accumulating capital. Simultaneously, it also seeks to direct or control the process of accumulating capital via corporative ownership or state ownership. By so doing, this economic system ensures stability and encourages equality among different people as well as expanding the power of decision-making (Kurtz and Boone, 2009:69). In addition, with planned system of an economy, the public, the state, and corporative all carry out production with view of attaining maximum profits. In this system, the market players are responsible for making decisions concerning investment and as such, they are able to assess which means of production are competent in the market. As a result, this system of economy is appropriate since it coordinates production directly to satisfy the economic

Distinguishing Share Capital And Loan Capital Essay

Distinguishing Share Capital And Loan Capital - Essay Example This paper would go to investigate difference between share capital and loan capital, paying meticulous attention to the way in which loan capital may be secured1 Corporate borrowing where this is done by debentures or debenture Stock it also examines the types of charge that companies can issue to Creditors is floating and fixed charges. The priority of secured creditors is considered together with an examination of the registration requirements for charges. Membership of a company limited by shares is based on an undertaking to Contribute capital to the company in payment for shares issued by the company. The amount of capital to be contributed is a matter for agreement between each Member and the company but once the agreed amount has been contributed neither the company nor its creditors may demand a further contribution2. The contributed capital of a company is used by it to make profits, which may be shared among is members if the company is wound up when it is solvent, the contributed capital may be returned to members but if it has to be wound up when it is insolvent then all the assets acquired with the members contributed capital will have to be used to pay the company debts and nothing will be returned to the members. As well as sharing in profits the members of a company normally jointly control it by appointing directors to manage the company affairs. In many private companies, of course, the members are also the directors. A member of a company who contributes more capital than another will want a proportionally greater share in distribution of the company profits and also a greater influence on the company affairs (i.e., more votes at members meetings). The extent of a members undertaking to contribute capital, and of entitlement to share in distributions and vote at meetings, are all related to the number and class of shares of the company that the member holds a description of each member. Shareholding must be entered against the members name in the company register of members (CA 2006, s 113). A share is essentially a limit of account for measuring a member's interest in a company. Each share is required to have sum of capital assigned to it as its nominal value (s 542) and this is the size of the unit of account. The nominal value of a share is the minimum value that a company must demand to receive as contributed capital in exchange for the share so if Textbook Examples Co plc, has only one class of members and the nominal value of each of its shares is 50p, and I undertake to contribute 5000 worth of capital to the company I Cannot expect to be allotted more than 10,000 of its shares. Moreover, the company must not offer to allot me more than 10,000 of its 50p shares as an incentive to me to contribute only 5,000 worth of capital because to do so would distort the way in which the shares allotted to me measure my interest in the company (s 580) it is however permissible for a shareholder to undertake to contribute more for shares than their nominal value -the excess is called share premium Capital contributed in exchange for shares, apart from share premium, is called share capital. Having undertaken

How do you Evaluate the Role of the Communist Party among California Essay

How do you Evaluate the Role of the Communist Party among California Farmworkers - Essay Example Before the intervention of the communists, the Mexican farm workers staged a short-lived cantaloupe strike in 19281 in the Imperial Valley that showed that the workers were incapable of bridging the ethnic divide that existed amongst them and of organizing their ranks. Later on, when the Lettuce farm workers rose up demanding better wages, the Communist Party of United States, propelled by the wave of communism spreading half the world away in Russia, sent its workers to help the protesting farm workers in 1929. The Communist Party formed the Traders Union Unity League (TUUL). According to Daniel E. Cletus, who chronicled the role of the communists in the strikes of 1930s, the involvement of the communists in the lettuce strike of 1930 ‘marked the beginning of a new period of conflict in agricultural labor relations in California’2. Though the communists were at this point spurred more by opportunism than any genuine concern for the welfare of the workers, and the strike itself deteriorated due to the arrest of the communists and the harsh repression tactics employed by authorities, the strike was the first of many, more effective strikes involving communists to come later on. About forty agricultural strikes took place between the years 1930 to 19323, before the TUUL gave way to the Cannery and Agricultural Workers Industrial Union (CAWIU), also organized by the Communist Party. The CAWIU sought to organize workers in canneries for mass picketing, but after several arrests of the strikers, the employers’ determination to quell the protests won through and the modest demands of the workers failed to get a hearing. The failure of the CAWIU in organizing an effective campaign disillusioned the workers and many of them returned to work. It is worthy to note, however, that the CAWIU began to provide experienced leaders to the workers who would organize the undisciplined masses in to a much more synchronized entity that would later achieve much m ore victories than defeats. Before the peach strike of 1933 began, the Dust Bowl Immigrants ensured that a surplus of labor, in addition to the Mexican and Filipino workers already present, existed at all times. The wages were shamefully minimal, and the lack of jobs ensured that regardless of how unsatisfied the workers were, they could not leave their jobs. The discontent produced what Kushner describes as one of the two ‘important CAWIU-led strikes in August 1933 also helped set the stage for the cotton strike’4. The peach strike was one of the first victories of the union, having won 25 and 27 ? cents per hour after four days of protesting. The extent of the involvement of the American communists in the strikes of the Californian Farm Workers became obvious when the Cotton Strike broke out. The Cotton Strike is unarguably the most significant of the 1930s’ agricultural strikes, and was also the most violent and lasted longer than the other strikes. The commun ists had by then learned many bitter lessons, and were realizing the futility of trying to direct unplanned, volatile protests that kept breaking out. The success of the Peach Strike had taught them the importance of organization. Another notable feature of the protests organized by the CAWIU was that they were devoid of any violence, and hence, impelled

Theme Essay on Piri Thomas, Down These Mean Streets

Theme on Piri Thomas, Down These Mean Streets - Essay Example hich the readers experience how they lead the author to a dark destiny and they also just become able to peek in the narrator’s psyche that constantly pulls him towards the darkness. In one sense, the streets in the novel are the abstraction of the narrator’s dark path of life, as in the article â€Å"The Use of Sidewalks: Safety† Jacobs comments on how street can be the abstraction: â€Å"A city sidewalk by itself is nothing. It is an abstraction†¦.the same might be said off streets...† ( Jacobs 30). But the way how Jacobs deals with the idea of street is different from Piri’s approach to it in the sense that whereas Jacobs views ‘street’ from an optimistic and positive vantage point, the streets in Piri’s novel are the path of destructions. In the novel, Piri notes that â€Å"A twelve-year-old kid walking the streets at 3 a.m. was a nothing sight in Harlem† (6). For Piri, a â€Å"twelve-year-old† kid means th e kid’s lost track. In contrast, a kid on a city sidewalk –that is under proper safety measures- conveys a sort security release. Coming out of Jacobs’s concept of a street, Piri uses it as an abstraction of various culture related oppression, suppression, and discrimination of the early 20th century of American society. In this sense it can be said that if any of the views is taken apart from the other, the socio-cultural notion of a street will remain incomplete; both Jacobs’s and Piri’s views are complementary to each other. In the novel, Piri’s general tendency is to look into the society, first, to find out its anomalies and discrepancies, and then he moves on to reflect them in the portrayal of the city streets. But in an opposite manner, Jacobs, in the first place, focuses the city streets in order depicts the society. To a great extent, Jacobs approach is analogous to a white approach toward the black. It deliberately leaves a scope for an observer to overlook the societal variables that are primarily responsible for the city

Tinker v. Des Moines school District PowerPoint Presentation

Tinker v. Des Moines school District - PowerPoint Presentation Example The two students were suspended for the act. This indicated that the school management and the students’ possessed different values that they were conflicting .This made the parents of John Tinker furious and sued the school for substantial disruption and collision with the rights of others. The tinkers presented their case in the U.S District court where the court ruled on behalf of the school starting that the school management did the best thing by coming up with such a rule. This was to avoid the disruption of the school’s activities. The tinkers did not lose hope for winning the case and appealed the same case in the US eighth circuit appeal but, unfortunately, they lost again. The tinkers never lost hope and appealed the case in the Supreme Court where the court ruled in their favor stating that the armband protest was protected by first amendment speech. The importance of understanding differing values and expressing them persuasively is witnessed in the case where the Tinker’s never lost hope in searching for justice. This portrayed that the school and the Tinker’s had different values about the norms happening in the society. Furthermore, the desire for justice by the Tinker’s shows that people can make a difference in the world by standing up for what they believe. The freedom of free speech is not a right that is given only to be bounded that it exists in principle but not in fact. The freedom of expression is only exercised in areas that the government has provided as suitable places. The ruling ensured that the school management had no ground to take disciplinary action to the students because the armband did not disrupt education. This case explains effectively aspect that any speech or action, which does not interfere a situation of the place, is protected by the first amendment speech (Stader,

The Role of the Deity in the Hebrew Bible or the development of Satan Essay

The Role of the Deity in the Hebrew Bible or the development of Satan in the Hebrew Bible - Essay Example This is far from the beastly and prophetic visions of Satan that come later in the additional Christian texts, for example in Revelations, in which Satan is effectively demonized or polarized, to represent the extreme side of evil, versus the extreme side of good. Satan in the Old Testament is more simple and straightforward, and also has a more direct relationship with God. There are cues about Satan in Genesis and other Old Testament books. â€Å"In Genesis, God not only promises consequences for disobedience but that a battle will be fought-at great cost to God-to set all free from the destructive power of evil and human sin† (Weissenmuler, 2002). However, in terms of explicit mention of Satan by name, to represent an alternate side of God, the book of Job is the book of focus. In the Old Testament or Hebrew Bible, there is not really much explicit mention of Satan before the book of Job. As mentioned above, of course, in Genesis, there is the portrayal of evil, and the representation of evil through the snake which tempts Eve with the apple, but even here the snake is not explicitly identified as Satan. It is a more symbolic meaning. And, although there are occasional uses of â€Å"satan† as a verb or noun to mean terrorize or enemy, respectively in the Old Testament before the book of Job, Job is the first book in which the reader is introduced to Satan as a personage with a direct relationship to God. The reader sees that Job is a man who â€Å"feared God, and eschewed evil† (KJV,Job,1,1), who has been given a bountiful and prosperous life by his God. Satan is introduced early in the book through a series of tests by which God is to measure Job’s faith by taking away the abundance that he has given him; Satan acts as an agent of God in carrying out the disruption of Job’s plenty and the corruption of his body. In this way, the reader can see that, rightfully so in a book

Literature review Essay Example | Topics and Well Written Essays - 1750 words

Literature review - Essay Example The next part, talks about the business structure and the major products and services offered by the company. The company history has been also reviewed highlighting the major achievements of the company over the past years of its business operations. The existing management structure and the corporate governance mechanisms followed by the organisation have also been studied. The business strategies followed by the company and its financial performance in the recent years have also been reviewed in this report. Company Overview EasyJet plc is a UK based organisation which operates its business in the airlines industry. The company is headquartered at Luton, UK and was founded in the year 1995. The airlines operations of the company includes 600 routes and offers its services to around 130 airports located in 30 countries all around the world (easyJet plc, 2012). Apart from carrying passengers the company is also engaged in the business of leasing and trading aircrafts. It has been es timated that the total fleet of aircrafts of the company included around 200 aircrafts as on 24 August 2012. The shares of EasyJet are publicly traded in the London Stock Exchange (LSE) with the ticker symbol â€Å"EZJ† (Yahoo Finance, 2012). Business Description Airlines services are offered by EasyJet plc within Europe. The company runs its business along with its subsidiaries at point-to-point routes on short-haul basis. The company is found to operate across 130 airports spread over 130 countries and has more than 580 routes at present. The company operated fleet mainly consists of Airbus aircraft and some Boeing aircrafts as well. The engines of the aircrafts flown by EasyJet plc are supplied by (International Aero Engines) IAE and CFM international. The maintenance of engines and the aircrafts are mostly undertaken by Virgin, SRT, GE, Aeroton, MTU, Lufthansa Technik, and BF Goodrich. Aircrafts are also obtained on lease by EasyJet provided by various organisations like BOC Aviation, AWAS, GECAS, Royal Bank of Scotland, Nomura Babcock & Brown, Santander, and Sumisho. Purchase of aircrafts by EasyJet plc is mainly financed by the financial institutions like Bank of Tokyo-Mitsubishi, Alliance & Leicester, BNP Paribas, HSH Nordbank, Caylon, KfW, PK AirFinance, Natixis, Sumitomo Mitsui Banking Corporation, Royal Bank of Scotland, and WestLB. The major insurers of the company include La Reunion, Global, Canada Life, AIG, QBE, Houston Casualty, and Chubb. EasyJet Switzerland and EasyJet Airline Company Ltd. are the two subsidiary companies of EasyJet plc who are engaged in airlines operations. The aircraft leasing and trading activities are carried on by the other subsidiaries of the company like EasyJet Sterling Ltd., EasyJet Aircraft Co. Ltd., and EasyJet Leasing Ltd. Apart from scheduled airline and in-flight services, the other associated services offered by EasyJet includes online reservations, hotel rooms and car hire facilities. Company History St elios Haji-Ioannou is attributed to be the founder member of EasyJet and his objective of setting up this company was to offer low cost scheduled airlines within Europe. The first aircraft that was wholly owned by the company was provided in the year 1996. The company’s website was launched in the year 1997. Since its inception the company continued to expand its operations all over Europe and started implementing various acquisitions

American culture Essay Example for Free

American culture Essay The arts, more than other features of culture, provide avenues for the expression of imagination and personal vision. They offer a range of emotional and intellectual pleasures to consumers of art and are an important way in which a culture represents itself. There has long been a Western tradition distinguishing those arts that appeal to the multitude, such as popular music, from those—such as classical orchestral music—normally available to the elite of learning and taste. Popular art forms are usually seen as more representative American products. In the United States in the recent past, there has been a blending of popular and elite art forms, as all the arts experienced a period of remarkable cross-fertilization. Because popular art forms are so widely distributed, arts of all kinds have prospered. The arts in the United States express the many faces and the enormous creative range of the American people. Especially since World War II, American innovations and the immense energy displayed in literature, dance, and music have made American cultural works world famous. Arts in the United States have become internationally prominent in ways that are unparalleled in history. American art forms during the second half of the 20th century often defined the styles and qualities that the rest of the world emulated. At the end of the 20th century, American art was considered equal in quality and vitality to art produced in the rest of the world. Throughout the 20th century, American arts have grown to incorporate new visions and voices. Much of this new artistic energy came in the wake of America’s emergence as a superpower after World War II. But it was also due to the growth of New York City as an important center for publishing and the arts, and the immigration of artists and intellectuals fleeing fascism in Europe before and during the war. An outpouring of talent also followed the civil rights and protest movements of the 1960s, as cultural discrimination against blacks, women, and other groups diminished. American arts flourish in many places and receive support from private foundations, large corporations, local governments, federal agencies, museums, galleries, and individuals. What is considered worthy of support often depends on definitions of quality and of what constitutes art. This is a tricky subject when the popular arts are increasingly incorporated into the domain of the fine arts and new forms such as performance art and conceptual art appear. As a result, defining what is art affects what students are taught about past traditions (for example, Native American tent paintings, oral traditions, and slave narratives) and what is produced in the future. While some practitioners, such as studio artists, are more vulnerable to these definitions because they depend on financial support to exercise their talents, others, such as poets and photographers, are less immediately constrained. Artists operate in a world where those who theorize and critique their work have taken on an increasingly important role. Audiences are influenced by a variety of intermediaries—critics, the schools, foundations that offer grants, the National Endowment for the Arts, gallery owners, publishers, and theater producers. In some areas, such as the performing arts, popular audiences may ultimately define success. In other arts, such as painting and sculpture, success is far more dependent on critics and a few, often wealthy, art collectors. Writers depend on publishers and on the public for their success. Unlike their predecessors, who relied on formal criteria and appealed to aesthetic judgments, critics at the end of the 20th century leaned more toward popular tastes, taking into account groups previously ignored and valuing the merger of popular and elite forms. These critics often relied less on aesthetic judgments than on social measures and were eager to place artistic productions in the context of the time and social conditions in which they were created. Whereas earlier critics attempted to create an American tradition of high art, later critics used art as a means to give power and approval to nonelite groups who were previously not considered worthy of including in the nation’s artistic heritage. Not so long ago, culture and the arts were assumed to be an unalterable inheritance—the accumulated wisdom and highest forms of achievement that were established in the past. In the 20th century generally, and certainly since World War II, artists have been boldly destroying older traditions in sculpture, painting, dance, music, and literature. The arts have changed rapidly, with one movement replacing another in quick succession. a) Visual arts. The visual arts have traditionally included forms of expression that appeal to the eyes through painted surfaces, and to the sense of space through carved or molded materials. In the 19th century, photographs were added to the paintings, drawings, and sculpture that make up the visual arts. The visual arts were further augmented in the 20th century by the addition of other materials, such as found objects. These changes were accompanied by a profound alteration in tastes, as earlier emphasis on realistic representation of people, objects, and landscapes made way for a greater range of imaginative forms. During the late 19th and early 20th centuries, American art was considered inferior to European art. Despite noted American painters such as Thomas Eakins, Winslow Homer, Mary Cassatt, and John Marin, American visual arts barely had an international presence. American art began to flourish during the Great Depression of the 1930s as New Deal government programs provided support to artists along with other sectors of the population. Artists connected with each other and developed a sense of common purpose through programs of the Public Works Administration, such as the Federal Art Project, as well as programs sponsored by the Treasury Department. Most of the art of the period, including painting, photography, and mural work, focused on the plight of the American people during the depression, and most artists painted real people in difficult circumstances. Artists such as Thomas Hart Benton and Ben Shahn expressed the suffering of ordinary people through their representations of struggling farmers and workers. While artists such as Benton and Grant Wood focused on rural life, many painters of the 1930s and 1940s depicted the multicultural life of the American city. Jacob Lawrence, for example, re-created the history and lives of African Americans. Other artists, such as Andrew Wyeth and Edward Hopper, tried to use human figures to describe emotional states such as loneliness and despair. Abstract Expressionism. Shortly after World War II, American art began to garner worldwide attention and admiration. This change was due to the innovative fervor of abstract expressionism in the 1950s and to subsequent modern art movements and artists. The abstract expressionists of the mid-20th century broke from the realist and figurative tradition set in the 1930s. They emphasized their connection to international artistic visions rather than the particularities of people and place, and most abstract expressionists did not paint human figures (although artist Willem de Kooning did portrayals of women). Color, shape, and movement dominated the canvases of abstract expressionists. Some artists broke with the Western art tradition by adopting innovative painting styles—during the 1950s Jackson Pollock painted by dripping paint on canvases without the use of brushes, while the paintings of Mark Rothko often consisted of large patches of color that seem to vibrate. Abstract expressionists felt alienated from their surrounding culture and used art to challenge society’s conventions. The work of each artist was quite individual and distinctive, but all the artists identified with the radicalism of artistic creativity. The artists were eager to challenge conventions and limits on expression in order to redefine the nature of art. Their radicalism came from liberating themselves from the confining artistic traditions of the past. The most notable activity took place in New York City, which became one of the world’s most important art centers during the second half of the 20th century. The radical fervor and inventiveness of the abstract expressionists, their frequent association with each other in New York City’s Greenwich Village, and the support of a group of gallery owners and dealers turned them into an artistic movement. Also known as the New York School, the participants included Barnett Newman, Robert Motherwell, Franz Kline, and Arshile Gorky, in addition to Rothko and Pollock. The members of the New York School came from diverse backgrounds such as the American Midwest and Northwest, Armenia, and Russia, bringing an international flavor to the group and its artistic visions. They hoped to appeal to art audiences everywhere, regardless of culture, and they felt connected to the radical innovations introduced earlier in the 20th century by European artists such as Pablo Picasso and Marcel Duchamp. Some of the artists—Hans Hofmann, Gorky, Rothko, and de Kooning—were not born in the United States, but all the artists saw themselves as part of an international creative movement and an aesthetic rebellion. As artists felt released from the boundaries and conventions of the past and free to emphasize expressiveness and innovation, the abstract expressionists gave way to other innovative styles in American art. Beginning in the 1930s Joseph Cornell created hundreds of boxed assemblages, usually from found objects, with each based on a single theme to create a mood of contemplation and sometimes of reverence. Cornells boxes exemplify the modern fascination with individual vision, art that breaks down boundaries between forms such as painting and sculpture, and the use of everyday objects toward a new end. Other artists, such as Robert Rauschenberg, combined disparate objects to create large, collage-like sculptures known as combines in the 1950s. Jasper Johns, a painter, sculptor, and printmaker, recreated countless familiar objects, most memorably the American flag. The most prominent American artistic style to follow abstract expressionism was the pop art movement that began in the 1950s. Pop art attempted to connect traditional art and popular culture by using images from mass culture. To shake viewers out of their preconceived notions about art, sculptor Claes Oldenburg used everyday objects such as pillows and beds to create witty, soft sculptures. Roy Lichtenstein took this a step further by elevating the techniques of commercial art, notably cartooning, into fine art worthy of galleries and museums. Lichtensteins large, blown-up cartoons fill the surface of his canvases with grainy black dots and question the existence of a distinct realm of high art. These artists tried to make their audiences see ordinary objects in a refreshing new way, thereby breaking down the conventions that formerly defined what was worthy of artistic representation. Probably the best-known pop artist, and a leader in the movement, was Andy Warhol, whose images of a Campbell’s soup can and of the actress Marilyn Monroe explicitly eroded the boundaries between the art world and mass culture. Warhol also cultivated his status as a celebrity. He worked in film as a director and producer to break down the boundaries between traditional and popular art. Unlike the abstract expressionists, whose conceptual works were often difficult to understand, Andy Warhols pictures, and his own face, were instantly recognizable. Conceptual art, as it came to be known in the 1960s, like its predecessors, sought to break free of traditional artistic associations. In conceptual art, as practiced by Sol LeWitt and Joseph Kosuth, concept takes precedent over actual object, by stimulating thought rather than following an art tradition based on conventional standards of beauty and artisanship. Modern artists changed the meaning of traditional visual arts and brought a new imaginative dimension to ordinary experience. Art was no longer viewed as separate and distinct, housed in museums as part of a historical inheritance, but as a continuous creative process. This emphasis on constant change, as well as on the ordinary and mundane, reflected a distinctly American democratizing perspective. Viewing art in this way removed the emphasis from technique and polished performance, and many modern artworks and experiences became more about expressing ideas than about perfecting finished products. Photography. Photography is probably the most democratic modern art form because it can be, and is, practiced by most Americans. Since 1888, when George Eastman developed the Kodak camera that allowed anyone to take pictures, photography has struggled to be recognized as a fine art form. In the early part of the 20th century, photographer, editor, and artistic impresario Alfred Stieglitz established 291, a gallery in New York City, with fellow photographer Edward Steichen, to showcase the works of photographers and painters. They also published a magazine called Camera Work to increase awareness about photographic art. In the United States, photographic art had to compete with the widely available commercial photography in news and fashion magazines. By the 1950s the tradition of photojournalism, which presented news stories primarily with photographs, had produced many outstanding works. In 1955 Steichen, who was director of photography at the Museum of Modern Art in New York, called attention to this work in an exhibition called The Family of Man. Throughout the 20th century, most professional photographers earned their living as portraitists or photojournalists, not as artists. One of the most important exceptions was Ansel Adams, who took majestic photographs of the Western American landscape. Adams used his art to stimulate social awareness and to support the conservation cause of the Sierra Club. He helped found the photography department at the Museum of Modern Art in 1940, and six years later helped establish the photography department at the California School of Fine Arts in San Francisco (now the San Francisco Art Institute). He also held annual photography workshops at Yosemite National Park from 1955 to 1981 and wrote a series of influential books on photographic technique. Adamss elegant landscape photography was only one small stream in a growing current of interest in photography as an art form. Early in the 20th century, teacher-turned-photographer Lewis Hine established a documentary tradition in photography by capturing actual people, places, and events. Hine photographed urban conditions and workers, including child laborers. Along with their artistic value, the photographs often implicitly called for social reform. In the 1930s and 1940s, photographers joined with other depression-era artists supported by the federal government to create a hotographic record of rural America. Walker Evans, Dorothea Lange, and Arthur Rothstein, among others, produced memorable and widely reproduced portraits of rural poverty and American distress during the Great Depression and during the dust storms of the period. In 1959, after touring the United States for two years, Swiss-born photographer Robert Frank published The Americans, one of the landmarks of document ary photography. His photographs of everyday life in America introduced viewers to a depressing, and often depressed, America that existed in the midst of prosperity and world power. Photographers continued to search for new photographic viewpoints. This search was perhaps most disturbingly embodied in the work of Diane Arbus. Her photos of mental patients and her surreal depictions of Americans altered the viewer’s relationship to the photograph. Arbus emphasized artistic alienation and forced viewers to stare at images that often made them uncomfortable, thus changing the meaning of the ordinary reality that photographs are meant to capture. American photography continues to flourish. The many variants of art photography and socially conscious documentary photography are widely available in galleries, books, and magazines. A host of other visual arts thrive, although they are far less connected to traditional fine arts than photography. Decorative arts include, but are not limited to, art glass, furniture, jewelry, pottery, metalwork, and quilts. Often exhibited in craft galleries and studios, these decorative arts rely on ideals of beauty in shape and color as well as an appreciation of well-executed crafts. Some of these forms are also developed commercially. The decorative arts provide a wide range of opportunity for creative expression and have become a means for Americans to actively participate in art and to purchase art for their homes that is more affordable than works produced by many contemporary fine artists. 4. Performing arts As in other cultural spheres, the performing arts in the United States in the 20th century increasingly blended traditional and popular art forms. The classical performing arts—music, opera, dance, and theater—were not a widespread feature of American culture in the first half of the 20th century. These arts were generally imported from or strongly influenced by Europe and were mainly appreciated by the wealthy and well educated. Traditional art usually referred to classical forms in ballet and opera, orchestral or chamber music, and serious drama. The distinctions between traditional music and popular music were firmly drawn in most areas. During the 20th century, the American performing arts began to incorporate wider groups of people. The African American community produced great musicians who became widely known around the country. Jazz and blues singers such as Bessie Smith, Louis Armstrong, Duke Ellington, and Billie Holiday spread their sounds to black and white audiences. In the 1930s and 1940s, the swing music of Benny Goodman, Tommy Dorsey, and Glenn Miller adapted jazz to make a unique American music that was popular around the country. The American performing arts also blended Latin American influences beginning in the 20th century. Between 1900 and 1940, Latin American dances, such as the tango from Argentina and the rumba from Cuba, were introduced into the United States. In the 1940s a fusion of Latin and jazz elements was stimulated first by the Afro-Cuban mambo and later on by the Brazilian bossa nova. Throughout the 20th century, dynamic classical institutions in the United States attracted international talent. Noted Russian-born choreographer George Balanchine established the short-lived American Ballet Company in the 1930s; later he founded the company that in the 1940s would become the New York City Ballet. The American Ballet Theatre, also established during the 1940s, brought in non-American dancers as well. By the 1970s this company had attracted Soviet defector Mikhail Baryshnikov, an internationally acclaimed dancer who served as the company’s artistic director during the 1980s. In classical music, influential Russian composer Igor Stravinsky, who composed symphonies using innovative musical styles, moved to the United States in 1939. German-born pianist, composer, and conductor Andre Previn, who started out as a jazz pianist in the 1940s, went on to conduct a number of distinguished American symphony orchestras. Another Soviet, cellist Mstislav Rostropovich, became conductor of the National Symphony Orchestra in Washington, D. C. , in 1977. Some of the most innovative artists in the first half of the 20th century successfully incorporated new forms into classical traditions. Composers George Gershwin and Aaron Copland, and dancer Isadora Duncan were notable examples. Gershwin combined jazz and spiritual music with classical in popular works such as Rhapsody in Blue (1924) and the opera Porgy and Bess (1935). Copland developed a unique style that was influenced by jazz and American folk music. Early in the century, Duncan redefined dance along more expressive and free-form lines. Some artists in music and dance, such as composer John Cage and dancer and choreographer Merce Cunningham, were even more experimental. During the 1930s Cage worked with electronically produced sounds and sounds made with everyday objects such as pots and pans. He even invented a new kind of piano. During the late 1930s, avant-garde choreographer Cunningham began to collaborate with Cage on a number of projects. Perhaps the greatest, and certainly the most popular, American innovation was the Broadway musical, which also became a movie staple. Beginning in the 1920s, the Broadway musical combined music, dance, and dramatic performance in ways that surpassed the older vaudeville shows and musical revues but without being as complex as European grand opera. By the 1960s, this American musical tradition was well established and had produced extraordinary works by important musicians and lyricists such as George and Ira Gershwin, Irving Berlin, Cole Porter, Richard Rodgers, Lorenz Hart, Jerome Kern, and Oscar Hammerstein II. These productions required an immense effort to coordinate music, drama, and dance. Because of this, the musical became the incubator of an American modern dance tradition that produced some of Americas greatest choreographers, among them Jerome Robbins, Gene Kelly, and Bob Fosse. In the 1940s and 1950s the American musical tradition was so dynamic that it attracted outstanding classically trained musicians such as Leonard Bernstein. Bernstein composed the music for West Side Story, an updated version of Romeo and Juliet set in New York that became an instant classic in 1957. The following year, Bernstein became the first American-born conductor to lead a major American orchestra, the New York Philharmonic. He was an international sensation who traveled the world as an ambassador of the American style of conducting. He brought the art of classical music to the public, especially through his Young Peoples Concerts, television shows that were seen around the world. Bernstein used the many facets of the musical tradition as a force for change in the music world and as a way of bringing attention to American innovation. In many ways, Bernstein embodied a transformation of American music that began in the 1960s. The changes that took place during the 1960s and 1970s resulted from a significant increase in funding for the arts and their increased availability to larger audiences. New York City, the American center for art performances, experienced an artistic explosion in the 1960s and 1970s. Experimental off-Broadway theaters opened, new ballet companies were established that often emphasized modern forms or blended modern with classical (Martha Graham was an especially important influence), and an experimental music scene developed that included composers such as Philip Glass and performance groups such as the Guarneri String Quartet. Dramatic innovation also continued to expand with the works of playwrights such as Edward Albee, Tony Kushner, and David Mamet. As the variety of performances expanded, so did the serious crossover between traditional and popular music forms. Throughout the 1960s and 1970s, an expanded repertoire of traditional arts was being conveyed to new audiences. Popular music and jazz could be heard in formal settings such as Carnegie Hall, which had once been restricted to classical music, while the Brooklyn Academy of Music became a venue for experimental music, exotic and ethnic dance presentations, and traditional productions of grand opera. Innovative producer Joseph Papp had been staging Shakespeare in Central Park since the 1950s. Boston conductor Arthur Fiedler was playing a mixed repertoire of classical and popular favorites to large audiences, often outdoors, with the Boston Pops Orchestra. By the mid-1970s the United States had several world-class symphony orchestras, including those in Chicago; New York; Cleveland, Ohio; and Philadelphia, Pennsylvania. Even grand opera was affected. Once a specialized taste that often required extensive knowledge, opera in the United States increased in popularity as the roster of respected institutions grew to include companies in Seattle, Washington; Houston, Texas; and Santa Fe, New Mexico. American composers such as John Adams and Philip Glass began composing modern operas in a new minimalist style during the 1970s and 1980s. The crossover in tastes also influenced the Broadway musical, probably Americas most durable music form. Starting in the 1960s, rock music became an ingredient in musical productions such as Hair (1967). By the 1990s, it had become an even stronger presence in musicals such as Bring in Da Noise, Bring in Da Funk (1996), which used African American music and dance traditions, and Rent (1996) a modern, rock version of the classic opera La Boheme. This updating of the musical opened the theater to new ethnic audiences who had not previously attended Broadway shows, as well as to young audiences who had been raised on rock music. Performances of all kinds have become more available across the country. This is due to both the sheer increase in the number of performance groups as well as to advances in transportation. In the last quarter of the 20th century, the number of major American symphonies doubled, the number of resident theaters increased fourfold, and the number of dance companies increased tenfold. At the same time, planes made it easier for artists to travel. Artists and companies regularly tour, and they expand the audiences for individual artists such as performance artist Laurie Anderson and opera singer Jessye Norman, for musical groups such as the Juilliard Quartet, and for dance troupes such as the Alvin Ailey American Dance Theater. Full-scale theater productions and musicals first presented on Broadway now reach cities across the country. The United States, once a provincial outpost with a limited European tradition in performance, has become a flourishing center for the performing arts. . Arts and letters The arts, more than other features of culture, provide avenues for the expression of imagination and personal vision. They offer a range of emotional and intellectual pleasures to consumers of art and are an important way in which a culture represents itself. There has long been a Western tradition distinguishing those arts that appeal to the multitude, such as popul ar music, from those—such as classical orchestral music—normally available to the elite of learning and taste. Popular art forms are usually seen as more representative American products. In the United States in the recent past, there has been a blending of popular and elite art forms, as all the arts experienced a period of remarkable cross-fertilization. Because popular art forms are so widely distributed, arts of all kinds have prospered. The arts in the United States express the many faces and the enormous creative range of the American people. Especially since World War II, American innovations and the immense energy displayed in literature, dance, and music have made American cultural works world famous. Arts in the United States have become internationally prominent in ways that are unparalleled in history. American art forms during the second half of the 20th century often defined the styles and qualities that the rest of the world emulated. At the end of the 20th century, American art was considered equal in quality and vitality to art produced in the rest of the world. Throughout the 20th century, American arts have grown to incorporate new visions and voices. Much of this new artistic energy came in the wake of America’s emergence as a superpower after World War II. But it was also due to the growth of New York City as an important center for publishing and the arts, and the immigration of artists and intellectuals fleeing fascism in Europe before and during the war. An outpouring of talent also followed the civil rights and protest movements of the 1960s, as cultural discrimination against blacks, women, and other groups diminished. American arts flourish in many places and receive support from private foundations, large corporations, local governments, federal agencies, museums, galleries, and individuals. What is considered worthy of support often depends on definitions of quality and of what constitutes art. This is a tricky subject when the popular arts are increasingly incorporated into the domain of the fine arts and new forms such as performance art and conceptual art appear. As a result, defining what is art affects what students are taught about past traditions (for example, Native American tent paintings, oral traditions, and slave narratives) and what is produced in the future. While some practitioners, such as studio artists, are more vulnerable to these definitions because they depend on financial support to exercise their talents, others, such as poets and photographers, are less immediately constrained. Artists operate in a world where those who theorize and critique their work have taken on an increasingly important role. Audiences are influenced by a variety of intermediaries—critics, the schools, foundations that offer grants, the National Endowment for the Arts, gallery owners, publishers, and theater producers. In some areas, such as the performing arts, popular audiences may ultimately define success. In other arts, such as painting and sculpture, success is far more dependent on critics and a few, often wealthy, art collectors. Writers depend on publishers and on the public for their success. Unlike their predecessors, who relied on formal criteria and appealed to aesthetic judgments, critics at the end of the 20th century leaned more toward popular tastes, taking into account groups previously ignored and valuing the merger of popular and elite forms. These critics ften relied less on aesthetic judgments than on social measures and were eager to place artistic productions in the context of the time and social conditions in which they were created. Whereas earlier critics attempted to create an American tradition of high art, later critics used art as a means to give power and approval to nonelite groups who were previously not considered worthy of including in the nation’s artisti c heritage. Not so long ago, culture and the arts were assumed to be an unalterable inheritance—the accumulated wisdom and highest forms of achievement that were established in the past. In the 20th century generally, and certainly since World War II, artists have been boldly destroying older traditions in sculpture, painting, dance, music, and literature. The arts have changed rapidly, with one movement replacing another in quick succession. a) Visual arts. The visual arts have traditionally included forms of expression that appeal to the eyes through painted surfaces, and to the sense of space through carved or molded materials. In the 19th century, photographs were added to the paintings, drawings, and sculpture that make up the visual arts. The visual arts were further augmented in the 20th century by the addition of other materials, such as found objects. These changes were accompanied by a profound alteration in tastes, as earlier emphasis on realistic representation of people, objects, and landscapes made way for a greater range of imaginative forms. During the late 19th and early 20th centuries, American art was considered inferior to European art. Despite noted American painters such as Thomas Eakins, Winslow Homer, Mary Cassatt, and John Marin, American visual arts barely had an international presence. American art began to flourish during the Great Depression of the 1930s as New Deal government programs provided support to artists along with other sectors of the population. Artists connected with each other and developed a sense of common purpose through programs of the Public Works Administration, such as the Federal Art Project, as well as programs sponsored by the Treasury Department. Most of the art of the period, including painting, photography, and mural work, focused on the plight of the American people during the depression, and most artists painted real people in difficult circumstances. Artists such as Thomas Hart Benton and Ben Shahn expressed the suffering of ordinary people through their representations of struggling farmers and workers. While artists such as Benton and Grant Wood focused on rural life, many painters of the 1930s and 1940s depicted the multicultural life of the American city. Jacob Lawrence, for example, re-created the history and lives of African Americans. Other artists, such as Andrew Wyeth and Edward Hopper, tried to use human figures to describe emotional states such as loneliness and despair. Abstract Expressionism. Shortly after World War II, American art began to garner worldwide attention and admiration. This change was due to the innovative fervor of abstract expressionism in the 1950s and to subsequent modern art movements and artists. The abstract expressionists of the mid-20th century broke from the realist and figurative tradition set in the 1930s. They emphasized their connection to international artistic visions rather than the particularities of people and place, and most abstract expressionists did not paint human figures (although artist Willem de Kooning did portrayals of women). Color, shape, and movement dominated the canvases of abstract expressionists. Some artists broke with the Western art tradition by adopting innovative painting styles—during the 1950s Jackson Pollock painted by dripping paint on canvases without the use of brushes, while the paintings of Mark Rothko often consisted of large patches of color that seem to vibrate. Abstract expressionists felt alienated from their surrounding culture and used art to challenge society’s conventions. The work of each artist was quite individual and distinctive, but all the artists identified with the radicalism of artistic creativity. The artists were eager to challenge conventions and limits on expression in order to redefine the nature of art. Their radicalism came from liberating themselves from the confining artistic traditions of the past. The most notable activity took place in New York City, which became one of the world’s most important art centers during the second half of the 20th century. The radical fervor and inventiveness of the abstract expressionists, their frequent association with each other in New York City’s Greenwich Village, and the support of a group of gallery owners and dealers turned them into an artistic movement. Also known as the New York School, the participants included Barnett Newman, Robert Motherwell, Franz Kline, and Arshile Gorky, in addition to Rothko and Pollock. The members of the New York School came from diverse backgrounds such as the American Midwest and Northwest, Armenia, and Russia, bringing an international flavor to the group and its artistic visions. They hoped to appeal to art audiences everywhere, regardless of culture, and they felt connected to the radical innovations introduced earlier in the 20th century by European artists such as Pablo Picasso and Marcel Duchamp. Some of the artists—Hans Hofmann, Gorky, Rothko, and de Kooning—were not born in the United States, but all the artists saw themselves as part of an international creative movement and an aesthetic rebellion. As artists felt released from the boundaries and conventions of the past and free to emphasize expressiveness and innovation, the abstract expressionists gave way to other innovative styles in American art. Beginning in the 1930s Joseph Cornell created hundreds of boxed assemblages, usually from found objects, with each based on a single theme to create a mood of contemplation and sometimes of reverence. Cornells boxes exemplify the modern fascination with individual vision, art that breaks down boundaries between forms such as painting and sculpture, and the use of everyday objects toward a new end. Other artists, such as Robert Rauschenberg, combined disparate objects to create large, collage-like sculptures known as combines in the 1950s. Jasper Johns, a painter, sculptor, and printmaker, recreated countless familiar objects, most memorably the American flag. The most prominent American artistic style to follow abstract expressionism was the pop art movement that began in the 1950s. Pop art attempted to connect traditional art and popular culture by using images from mass culture. To shake viewers out of their preconceived notions about art, sculptor Claes Oldenburg used everyday objects such as pillows and beds to create witty, soft sculptures. Roy Lichtenstein took this a step further by elevating the techniques of commercial art, notably cartooning, into fine art worthy of galleries and museums. Lichtensteins large, blown-up cartoons fill the surface of his canvases with grainy black dots and question the existence of a distinct realm of high art. These artists tried to make their audiences see ordinary objects in a refreshing new way, thereby breaking down the conventions that formerly defined what was worthy of artistic representation. Probably the best-known pop artist, and a leader in the movement, was Andy Warhol, whose images of a Campbell’s soup can and of the actress Marilyn Monroe explicitly eroded the boundaries between the art world and mass culture. Warhol also cultivated his status as a celebrity. He worked in film as a director and producer to break down the boundaries between traditional and opular art. Unlike the abstract expressionists, whose conceptual works were often difficult to understand, Andy Warhols pictures, and his own face, were instantly recognizable. Conceptual art, as it came to be known in the 1960s, like its predecessors, sought to break free of traditional artistic associations. In conceptual art, as practiced by Sol LeWitt and Joseph Kosuth, concept takes precedent over actual object, by stimulating thought rather than following an art tradition based on conventional standards of beauty and artisanship. Modern artists changed the meaning of traditional visual arts and brought a new imaginative dimension to ordinary experience. Art was no longer viewed as separate and distinct, housed in museums as part of a historical inheritance, but as a continuous creative process. This emphasis on constant change, as well as on the ordinary and mundane, reflected a distinctly American democratizing perspective. Viewing art in this way removed the emphasis from technique and polished performance, and many modern artworks and experiences became more about expressing ideas than about perfecting finished products. Photography. Photography is probably the most democratic modern art form because it can be, and is, practiced by most Americans. Since 1888, when George Eastman developed the Kodak camera that allowed anyone to take pictures, photography has struggled to be recognized as a fine art form. In the early part of the 20th century, photographer, editor, and artistic impresario Alfred Stieglitz established 291, a gallery in New York City, with fellow photographer Edward Steichen, to showcase the works of photographers and painters. They also published a magazine called Camera Work to increase awareness about photographic art. In the United States, photographic art had to compete with the widely available commercial photography in news and fashion magazines. By the 1950s the tradition of photojournalism, which presented news stories primarily with photographs, had produced many outstanding works. In 1955 Steichen, who was director of photography at the Museum of Modern Art in New York, called attention to this work in an exhibition called The Family of Man. Throughout the 20th century, most professional photographers earned their living as portraitists or photojournalists, not as artists. One of the most important exceptions was Ansel Adams, who took majestic photographs of the Western American landscape. Adams used his art to stimulate social awareness and to support the conservation cause of the Sierra Club. He helped found the photography department at the Museum of Modern Art in 1940, and six years later helped establish the photography department at the California School of Fine Arts in San Francisco (now the San Francisco Art Institute). He also held annual photography workshops at Yosemite National Park from 1955 to 1981 and wrote a series of influential books on photographic technique. Adamss elegant landscape photography was only one small stream in a growing current of interest in photography as an art form. Early in the 20th century, teacher-turned-photographer Lewis Hine established a documentary tradition in photography by capturing actual people, places, and events. Hine photographed urban conditions and workers, including child laborers. Along with their artistic value, the photographs often implicitly called for social reform. In the 1930s and 1940s, photographers joined with other depression-era artists supported by the federal government to create a photographic record of rural America. Walker Evans, Dorothea Lange, and Arthur Rothstein, among others, produced memorable and widely reproduced portraits of rural poverty and American distress during the Great Depression and during the dust storms of the period. In 1959, after touring the United States for two years, Swiss-born photographer Robert Frank published The Americans, one of the landmarks of documentary photography. His photographs of everyday life in America introduced viewers to a depressing, and often depressed, America that existed in the midst of prosperity and world power. Photographers continued to search for new photographic viewpoints. This search was perhaps most disturbingly embodied in the work of Diane Arbus. Her photos of mental patients and her surreal depictions of Americans altered the viewer’s relationship to the photograph. Arbus emphasized artistic alienation and forced viewers to stare at images that often made them uncomfortable, thus changing the meaning of the ordinary reality that photographs are meant to capture. American photography continues to flourish. The many variants of art photography and socially conscious documentary photography are widely available in galleries, books, and magazines. A host of other visual arts thrive, although they are far less connected to traditional fine arts than photography. Decorative arts include, but are not limited to, art glass, furniture, jewelry, pottery, metalwork, and quilts. Often exhibited in craft galleries and studios, these decorative arts rely on ideals of beauty in shape and color as well as an appreciation of well-executed crafts. Some of these forms are also developed commercially. The decorative arts provide a wide range of opportunity for creative expression and have become a means for Americans to actively participate in art and to purchase art for their homes that is more affordable than works produced by many contemporary fine artists. . Performing arts As in other cultural spheres, the performing arts in the United States in the 20th century increasingly blended traditional and popular art forms. The classical performing arts—music, opera, dance, and theater—were not a widespread feature of American culture in the first half of the 20th century. These arts were generally imported from or strongly influenced by Europe and were mainly appreciated by the wealthy and well educated. Traditional art usually referred to classical forms in ballet and opera, orchestral or chamber music, and serious drama. The distinctions between traditional music and popular music were firmly drawn in most areas. During the 20th century, the American performing arts began to incorporate wider groups of people. The African American community produced great musicians who became widely known around the country. Jazz and blues singers such as Bessie Smith, Louis Armstrong, Duke Ellington, and Billie Holiday spread their sounds to black and white audiences. In the 1930s and 1940s, the swing music of Benny Goodman, Tommy Dorsey, and Glenn Miller adapted jazz to make a unique American music that was popular around the country. The American performing arts also blended Latin American influences beginning in the 20th century. Between 1900 and 1940, Latin American dances, such as the tango from Argentina and the rumba from Cuba, were introduced into the United States. In the 1940s a fusion of Latin and jazz elements was stimulated first by the Afro-Cuban mambo and later on by the Brazilian bossa nova. Throughout the 20th century, dynamic classical institutions in the United States attracted international talent. Noted Russian-born choreographer George Balanchine established the short-lived American Ballet Company in the 1930s; later he founded the company that in the 1940s would become the New York City Ballet. The American Ballet Theatre, also established during the 1940s, brought in non-American dancers as well. By the 1970s this company had attracted Soviet defector Mikhail Baryshnikov, an internationally acclaimed dancer who served as the company’s artistic director during the 1980s. In classical music, influential Russian composer Igor Stravinsky, who composed symphonies using innovative musical styles, moved to the United States in 1939. German-born pianist, composer, and conductor Andre Previn, who started out as a jazz pianist in the 1940s, went on to conduct a number of distinguished American symphony orchestras. Another Soviet, cellist Mstislav Rostropovich, became conductor of the National Symphony Orchestra in Washington, D. C. , in 1977. Some of the most innovative artists in the first half of the 20th century successfully incorporated new forms into classical traditions. Composers George Gershwin and Aaron Copland, and dancer Isadora Duncan were notable examples. Gershwin combined jazz and spiritual music with classical in popular works such as Rhapsody in Blue (1924) and the opera Porgy and Bess (1935). Copland developed a unique style that was influenced by jazz and American folk music. Early in the century, Duncan redefined dance along more expressive and free-form lines. Some artists in music and dance, such as composer John Cage and dancer and choreographer Merce Cunningham, were even more experimental. During the 1930s Cage worked with electronically produced sounds and sounds made with everyday objects such as pots and pans. He even invented a new kind of piano. During the late 1930s, avant-garde choreographer Cunningham began to collaborate with Cage on a number of projects. Perhaps the greatest, and certainly the most popular, American innovation was the Broadway musical, which also became a movie staple. Beginning in the 1920s, the Broadway musical combined music, dance, and dramatic performance in ways that surpassed the older vaudeville shows and musical revues but without being as complex as European grand opera. By the 1960s, this American musical tradition was well established and had produced extraordinary works by important musicians and lyricists such as George and Ira Gershwin, Irving Berlin, Cole Porter, Richard Rodgers, Lorenz Hart, Jerome Kern, and Oscar Hammerstein II. These productions required an immense effort to coordinate music, drama, and dance. Because of this, the musical became the incubator of an American modern dance tradition that produced some of Americas greatest choreographers, among them Jerome Robbins, Gene Kelly, and Bob Fosse. In the 1940s and 1950s the American musical tradition was so dynamic that it attracted outstanding classically trained musicians such as Leonard Bernstein. Bernstein composed the music for West Side Story, an updated version of Romeo and Juliet set in New York that became an instant classic in 1957. The following year, Bernstein became the first American-born conductor to lead a major American orchestra, the New York Philharmonic. He was an international sensation who traveled the world as an ambassador of the American style of conducting. He brought the art of classical music to the public, especially through his Young Peoples Concerts, television shows that were seen around the world. Bernstein used the many facets of the musical tradition as a force for change in the music world and as a way of bringing attention to American innovation. In many ways, Bernstein embodied a transformation of American music that began in the 1960s. The changes that took place during the 1960s and 1970s resulted from a significant increase in funding for the arts and their increased availability to larger audiences. New York City, the American center for art performances, experienced an artistic explosion in the 1960s and 1970s. Experimental off-Broadway theaters opened, new ballet companies were established that often emphasized modern forms or blended modern with classical (Martha Graham was an especially important influence), and an experimental music scene developed that included composers such as Philip Glass and performance groups such as the Guarneri String Quartet. Dramatic innovation also continued to expand with the works of playwrights such as Edward Albee, Tony Kushner, and David Mamet. As the variety of performances expanded, so did the serious crossover between traditional and popular music forms. Throughout the 1960s and 1970s, an expanded repertoire of traditional arts was being conveyed to new audiences. Popular music and jazz could be heard in formal settings such as Carnegie Hall, which had once been restricted to classical music, while the Brooklyn Academy of Music became a venue for experimental music, exotic and ethnic dance presentations, and traditional productions of grand opera. Innovative producer Joseph Papp had been staging Shakespeare in Central Park since the 1950s. Boston conductor Arthur Fiedler was playing a mixed repertoire of classical and popular favorites to large audiences, often outdoors, with the Boston Pops Orchestra. By the mid-1970s the United States had several world-class symphony orchestras, including those in Chicago; New York; Cleveland, Ohio; and Philadelphia, Pennsylvania. Even grand opera was affected. Once a specialized taste that often required extensive knowledge, opera in the United States increased in popularity as the roster of respected institutions grew to include companies in Seattle, Washington; Houston, Texas; and Santa Fe, New Mexico. American composers such as John Adams and Philip Glass began composing modern operas in a new minimalist style during the 1970s and 1980s. The crossover in tastes also influenced the Broadway musical, probably Americas most durable music form. Starting in the 1960s, rock music became an ingredient in musical productions such as Hair (1967). By the 1990s, it had become an even stronger presence in musicals such as Bring in Da Noise, Bring in Da Funk (1996), which used African American music and dance traditions, and Rent (1996) a modern, rock version of the classic opera La Boheme. This updating of the musical opened the theater to new ethnic audiences who had not previously attended Broadway shows, as well as to young audiences who had been raised on rock music. Performances of all kinds have become more available across the country. This is due to both the sheer increase in the number of performance groups as well as to advances in transportation. In the last quarter of the 20th century, the number of major American symphonies doubled, the number of resident theaters increased fourfold, and the number of dance companies increased tenfold. At the same time, planes made it easier for artists to travel. Artists and companies regularly tour, and they expand the audiences for individual artists such as performance artist Laurie Anderson and opera singer Jessye Norman, for musical groups such as the Juilliard Quartet, and for dance troupes such as the Alvin Ailey American Dance Theater. Full-scale theater productions and musicals first presented on Broadway now reach cities across the country. The United States, once a provincial outpost with a limited European tradition in performance, has become a flourishing center for the performing arts.

Innovation And Open Innovation Concept Management Essay

Innovation And Open Innovation Concept Management Essay The concept of innovation is now widely used by the firms from many industries. Open Innovation is the approach where the firms use external ideas of innovation from the community and society as well as internal innovation. This approach can be achieved by the integration with customers, suppliers and also University-Industry collaboration. In Malaysia, open innovation paradigm is relatively new in adaptation event in manufacturing industry. The purpose of this research is to identify the implementation of open innovation on this research study is ICT, Automotive and Electronics sectors. The innovation process is the effective way of improving the company performances and at the same time increase the economic growth of the overall industries. The research method use is based on quantitative method research approach in term to identify types and methods used on implementing the open innovation in the manufacturing industries and also the impact of the implementation to the industries . Keyword: Open Innovation, Malaysia, Manufacturing, Industries. CHAPTER 1: INTRODUCTION Background of study Today, Open innovation are widely used and becoming the vital sources of progress in term of improving the industry performance especially by using the external sources of creativity and innovation. But In Malaysia, this paradigm is relatively new and the approach of Open Innovation is still difficult to accept. Innovation is one of the important mechanisms to the organizations in term to improve economic growth of the organization and increase the competitive advantages. Open Innovation is the paradigm that firstly described by Henry Chesbrough in his former book named as Open Innovation: The New Imperative for Creating and Profiting from Technology, published in 2003. In the simply words, open innovation explained as a process where the firms use external ideas of innovation from the community and society as well as internal innovation. By the approach of Open Innovation in manufacturing industry, the process of innovation is become wider than using closed model of innovation where the organization only focus on the internal innovation and R D rather than external sources. From this paradigm, the travels of knowledge from the society and community as an external source to industry will bring the formation of openness of giving ideas and innovation. This research study is focus on the implementation of open innovation in Malaysian manufacturing industry. This study is center on the degree of Open Innovation in manufacturing industries that only involve sectors of ICT, Automotive and Electronics. Based on the open innovation paradigm, the research question is concentrated to what types and methods of open innovation that implemented in manufacturing industry? This research question is answered based on the Malaysian Manufacturing Companies perspective. Research question These are the research question that qualified for this research study: What is the type of Open Innovation implemented in these firms? What is the method of open innovation implemented in these firms? To what extent is Open Innovation implemented in these firms? Does the Open Innovation implementation differ for each cluster of manufacturing companies? Objectives Innovation is a significant method of improving and increase the performance and competitive advantages of the company and opening a change for the community and society to get involved in the innovation process. The objectives of this research study are stated as: To determine the type of Open Innovation adopted by Manufacturing Industry. To investigate the methods for open innovation adopted by these firms. To determine the extent of Open Innovation implementation in these manufacturing firms. To investigate whether the implementation of Open Innovation differ for each clusters on manufacturing firm. Scope of study This study is limited to only Malaysian Manufacturing Industries from Automotive, electronics and ICT. The scope of topic discusses on this study is about the extent of open innovation implementation on the Malaysian manufacturing industry. Limitation of study Although this research study has reached the aims, there were unavoidable limitations. First limitation of the study on this topic is the open innovation approach itself. As know that open innovation paradigm is relatively new approach on the Malaysia industry but there are still companies already applied the open innovation paradigm. Second, the limitation considered is because of the time limit, this research was conducted in short period of times to complete all the primary and secondary data. The last one is the lack of cooperation from the respondent. The method used on this research study is via survey that distribute to the random respondent from the identified focus group. Importance of study Manufacturing industry is the major entity of the economic growth rather than other sectors. It is important to improve the capabilities of manufacturing industry by innovation. Open Innovation mechanism is the best way to help manufacturing industry in term to improve their performance and competitive advantages. The importance of this study is to identify the best methods used on performing the open innovation on the manufacturing industries in Malaysia. This study also can discover the impact of Open Innovation to the firms as well as ICT, Automotive and Electronics industries. Summary The implementation of open innovation is already become worldwide paradigm which changes the ways of industrial and organization to improve their competitive advantages and core competencies. Open innovation also become medium and gives changes to community and society to get involved in sharing ideas and knowledge of innovation CHAPTER 2: LITERATURE REVIEW Introduction On the chapter of literature review, the researcher is able to discuss about the theory and the paradigm of the research study. According to (Saunders, et al, 2012), critical (literature) review is the detailed and justified analysis and commentary of the merits and faults of the literature within a chosen area, which demonstrates familiarity with what is already known about your research topic. For this chapter, the sources of literature and theories that relevant with the research study are gathered from the books, journals, magazines, thesis, newspaper and online articles. Based on the topic addressed, the major theories that used to complete the study are the open innovation paradigm. On the open innovation theory, there are lots of disciplinary under this term. For this chapter, the researcher will first defined the theories of innovation, open innovation and overviews of Malaysian Manufacturing Industry; ICT, Automotive and Electronics sector. Innovation and open innovation concept Innovation is one of the important catalysts to the sustainable organizational growth and performance. The term of innovation is already used over the century ago and innovation meaning is focus more on the changes or improvement made by the organization either to their product/services, processes and paradigm. In simple words, innovation is described as a change that is made to the product and services and also to the process. Innovation has a significant relationship between technology and knowledge. In order to create add values and changes based on the innovation, the component of new knowledge is a vital sources. According to Allan Afuah (2003), the new knowledge can be technological or market related. Technological knowledge is knowledge of components, linkages between components, methods, processes, and technique that to go into a product or services. Market knowledge is the knowledge about the distribution channels, product applications and customer expectation, preferences, needs and wants (Afuah, A. 2003: 13). Innovation Innovation is the use of new technological and market knowledge to offer a new product or service that customer want and the new product must new, lower cost and the attributes of the product are improved with the attributes that never existed in the market before (Afuah, A. 2003). The concept of innovation also defined as the process of making changes of something established by introducing something new that adds value to customers and contributes to the knowledge store of the organization (OSullivan, D. and Dooley, L. 2009). There are four (4) broad categories of innovation called as 4Ps of Innovation (Tidd, J. et al, 2005): 1. Product Innovation where classify as change in the things (products or services) which an organization offers, 2. Process Innovation is the changes in the ways in which they are created and delivered, 3. Position Innovation is the changes made in the context in which the products or services are introduced, 4. Paradigm Innovation is changes in the underlying mental models which frame what the organization does. In innovation mechanism, there are two (2) types of static model of innovation which is the Radical Innovation and Incremental Innovation. Radical innovation is defined as major changes that are made in something established (OSullivan, D. and Dooley, L. 2009) and incremental innovation is the innovation that uses existing forms or technologies as a starting point. Both types of incremental and radical innovation affect the technological and market-related competencies of a firm in different ways (Herzog, P. 2011: 10). Open Innovation For the open innovation theory, this theory is firstly described by Henry Chesbrough. Open innovation is a paradigm that assumes that firms can and should use external ideas as well as internal ideas, and internal and external paths to market, as the firms look to advance their technology (Chesbrough, H, 2006). The paradigm of open innovation leads the research development to an open system. Open Innovation denotes, on the one hand, the use of external and internal knowledge sources to accelerate internal innovation and, on the other hand, the use of external paths to markets for internal knowledge (Chesbrough, H. 2006). On the modern worlds nowadays, most of everything in industry are made using machines and advance technology. So that, the production of new products and services are fast and also can be produced in huge amounts. In retailing, the advances in computing and communications are bringing retailers into closer contact with their customers as well as their suppliers, enabling them to provide more variety with fewer inventories than ever before (Chesbrough, H. 2006). On the modern era, Innovation paradigm has shift from the closed model of innovation to open innovation model (Chesbrough, H. et al. 2005). The closed innovation model is the paradigm where the process leading to innovation is completely controlled; all the Intellectual property is developed internally and kept within the company frontiers until the new products is released on the market (Meige, A. 2009). Figure : The model of Closed Innovation In case of closed model of innovation, the firm has to rely heavily on their internal core competencies and potential as a result of right of intellectual property. According to Philipp Herzog (2011), the implicit rules of closed innovation described as follows: A firm should hire the best and smartest people. Profiting from innovative efforts requires a firm to discover, develop, and market everything itself. Being first to market requires that research discoveries originate within the own firm. Being first to market also ensures that the firm will win the competition. Leading the industry in RD investments results in coming up with the best and most ideas and eventually in winning the competition. Restrictive Intellectual Property management must prevent other firms from profiting from the firms ideas and technologies. Figure : The Model of Open Innovation In open innovation models, the firms used the external sources technologies and knowledge to improve the internal innovation process and the firm also capable to commercialize the internal innovation via their own distribution channel by external pathways. The open innovation principle is the contrast and reflected to the closed innovation model. The principle of open innovation is shown as follows (Herzog, P. 2011: 22): A firm does not need to employ all the smart people, but rather work with them inside and outside the firm. Internal innovation activities are needed to claim some of the significant value which can be created by external innovation efforts. In order to win the competition, it is more important to have the better business model than getting to market first. Winning the competition does not require coming up with the best and most ideas, but to make the best use of internal and external ideas. Proactive Intellectual Property management allows other firms to use the firms Intellectual Property. It also considers to buy other firms Intellectual Property whenever it advances the own business model. The model of closed innovation on the present time are steadily eroded because of the several of reason such as when the employees of some company changes their jobs, they will bring together the knowledge and the knowledge then will flows from one firm to another. It is contrast to the open innovation model where the knowledge can be shared and gathered by the community and society that not directly involved with the organization. Malaysian manufacturing Industry The rate of Malaysian economic growth on the manufacturing industries increase rapidly since 1980s impact from the economic transition from agriculture based economy to an industrial-based economy. Economic transition occurs because of the awareness of the existing ability on the country. This mechanism can reduce the dependencies on the import sector of Malaysia to other countries and starting develop own national based technology sectors in term to bring a growth to the Malaysian economy. Manufacturing industries is the one of effort by the Malaysian government on their Ninth (9th) Malaysian Plan in term to emphasize the importance of up scaling manufacturing industry and related services. The government authorities that in-charge on leading and driving the expansion of manufacturing activities is the Ministry of International Trade and Industry (MITI). The others agencies and ministries are also playing important roles in improving the national manufacturing industries including Malaysia External Trade Development Corporation (MATRADE), Malaysian Investment Development Authority (MIDA), Small and Medium Industries Development Corporation (SMDEC), Ministry of Entrepreneur and Cooperative Development and Ministry of Science. In this modern era, the development of manufacturing industries in Malaysia is improving a lot especially on the sectors of ICT, Automotive and electronics sectors. There are lots of efforts contributed by the private and government sectors in term to improve enhance the development of ICT, automotive and electronics industries in Malaysia. Adaptation of open innovation on Malaysian manufacturing industry This research study is focused on the investigation for open innovation implementation on the Malaysian manufacturing industry. The researcher is required to determine the manufacturing firms that involved in application of open innovation concept on their organizations. The random firms are selected from three (3) different sectors: ICT, Automotive and Electronics. In adapting the model of open innovation, there are various forms of collaboration identified for implementing the knowledge of innovation from the external sources. Eric von Hippel (1988) identified four external sources of useful knowledge: 1. Suppliers and customers, 2. University, Government and private laboratories, 3. Competitors and 4.Other nations. For this research study, the forms of collaboration are centered to the three (3) forms of collaboration specifically the Customer integration, supplier integration and university-industry collaboration (Parida, V. et al., 2009). Inbound versus outbound innovation In the open innovation concept, inbound open innovation refers to internal use of external knowledge and outbound open innovation is the external exploitation of internal knowledge (Huizingh, E. 2011: 4) and this mechanism relates to the three (3) knowledge process of exploration, retention and exploitation that can be performed either inside or outside the forms boundaries (Lichtenthaler and Lichtenthaler, 2009). The inbound open innovation or known as outside-in innovation process are using the concept of integration on external knowledge with the suppliers, customers, research institutes and universities. The outbound open innovation or called as inside-out is different than inbound concept where the firms will selling intellectual property and bringing their internal ideas to market by sharing them to outside environment (Huizingh, E, 2011: 27). The best example of inbound open innovation activities are technology scouting, horizontal technology collaboration, vertical technology collaboration, and technology sourcing. For the outbound open innovation the example is external technology commercialization. Conceptual Framework Figure : conceptual framework of the research topic Summary On chapter of literature review, the researcher is responsible to describe and explain about the theories that related to the topic of research study. The researcher has explained the definition and concept of traditional innovation and open innovation paradigm. This chapter also describe about the relationship between the manufacturing industries and open innovation. CHAPTER 3: METHODOLOGY Introduction On this chapter, the research design methodology used on this research study will be described and explained. Research methodology refers to the theory of how the research should be undertaken (Saunders et al, 2012). The researcher will discuss and describe all the information related with the method used on the research study in term of obtaining and gathering the data collection. On chapter 3 (methodology), the method used due to gathering information of primary and secondary data are described and explained. Along with chapter 2, the researcher will determined the type of design method used to get the data of primary data and secondary data to answer the research question of the research study. Chapter 3 consists six (6) sections; Research design, research design method, data collection, location of study, research strategy and reliability, generalizability and validity. Research Design Research design is the general plan of the way on answering the research questions. According to Saunders et al., (2012) research design is the frame work for the collection and analysis of data to answer research question and meet research objectives providing reasoned justification for choice of data sources, collection methods and analysis techniques. Figure : Structure and Outline of the research study Research Design Method For this research topic study, the method of study implemented is the mono method of quantitative study. The quantitative analysis method as well as survey on this research study is significant in order to obtaining the primary data from the respondents. Quantitative method is The respondents are randomly selected from the main focus group (ICT, automotive and electronics) to answering the question related to the implementation of Open Innovation on Malaysian manufacturing industries. Primary and Secondary Data Sources Primary data is the data collected specifically for the research project that being undertaken by the researcher (Saunders et al, 2012). The primary data mostly collected from the several ways such as observations, experiments, surveys and interviews (Pervez Ghauri and Gronhaug, K. 2005: 102). The method used by the researcher in acquiring the primary data is by the survey that will be distributed to the random respondents of the focus group. The data and information are then collected and analyze by researcher to obtain result. According to the Uma Sekaran and Roger Bougie (2010), the secondary data is the data that have already been gathered by previous researchers, data published in statistical and other journals and information available from any published or unpublished source available either within or outside the organization, all of which might be useful to the researcher. For the secondary data collection, researcher gathers the data from the reading of the related previous study, books, and journals and as well as articles. The secondary data also being gathered from the internet sources. Location of Study The focus of this study is on Malaysian manufacturing Industry that implements the Open Innovation approach. The location of research is narrowed further to the ICT, Automotive and electronics industries in Malaysia. The locations that are choose for this research is not specified because the firms of ICT, Automotive and Electronics in Malaysia are spread around. The random of respondents are selected based on the focus areas of study (ICT, Automotive and Electronics) to answer the research question related to the research study. The respondents are choosing from the different divisions of the firms. Research Strategy Based on (Saunders et al, 2012), research strategy is the general plan of how the researcher will go about to answering the research question of the topic. For this research study, the method used to gather the data collection is via the survey method. The details of research strategy are shows as follows: Survey Method On this research study, survey approach is used for data collection. The surveys will be distributed following the specified of sample to the respondents from the focus groups of the research topic. By using the survey method, the researcher can collect many different kinds of information related to the topic study and this method also quick, low cost compared to observation and experimental method. Preparing the Survey The research study is using the quantitative method where the survey is used to obtain the information and data. The question on the survey is constructed based on the research question and objectives of the study. This survey is conducted to identify the implementation of open innovation in ICT, automotive and electronics industry. The respondents are staff or employees from the industries. Survey research design The approach of using survey method is suitable for this research study for gathering descriptive information and data. For survey method there is several way of conducting the survey such as: 1. Structured surveys the formal list of questions use and asked all the respondents in the same way, 2. Unstructured surveys the researcher investigate the respondents and guide the interview according to respondents answers (Kothari, C.R., 1985). The survey research method also can be conducted either direct or indirect. The direct approach of survey is where the researcher asks direct questions about behavior and thought of the respondents. Meanwhile the indirect approach, the requester will asks indirect question and the researcher then may be able to discover the main point. Sampling Sample is a segment of population selected to represent the population as a whole. The researcher must determine the sample design for survey method based on type of information is needed, who will be the focus group and which sample size reliable for the result (large sample or small samples). For sampling, the researcher may select sample members randomly from the entire population (probability sample) or the researcher may select people who are easier to obtain information from the population (nonprobability). Reliability, validity and generalizability Reliability is the extent to which data collection technique or techniques will yield consistent findings, similar observations would be made or conclusions reached by other researchers or there is transparency in how sense was made from the raw data (Saunders, M. 2012). According to Mark Saunders, Philip Lewis and Andrian Thornhill (2012), generalizability is the extent to which the findings of a research study are applicable to other settings. Summary In summary, this chapter explains about the method used by the researcher in research study to obtain data and information. Researchers using quantitative method in this research study where the data and information are collected by the survey that distributed to the respondents and then the data will be analyze to obtain result. This chapter also includes the research design and research strategy also. The validity, generalizability and reliability of this research study is being discussed.