Disparity and Discrimination

Criminal Justice System has long been established in order to guide all law enforcers and legal officers in the implementation of laws and order in achieving justice. The law provides for strict prohibition of any signs of unfairness. However, the system is faced with issues of disparity and discrimination that continues to cast doubt as to the implementation of the law. Disparity refers to the â€Å"idea that individuals who commit the same or similar offenses receive different punishment† (Justice Works, 2008).Discrimination, on the other hand, refers to the â€Å"act of singling out a certain individual or group fro unfair treatment based on race, class, gender, or status† (Calderon). In criminal justice system, both disparity and discrimination are illegal. While disparity may not be intentional it is always unacceptable in the system. Discrimination, on the other hand, is always done intentionally.In addition, disparity is concern with the differences in outcome wh ile discrimination deals with equal treatment (Gelsthorpe and Padfield, 2003, p. 4). In criminal justice, disparity has been apparent in the juvenile proceedings. According to research, more juvenile minorities have been detained in public secure facilities while whites were housed in private secure facilities (Snyder and Sickmund, 1995). In addition, discrimination is also prevalent because of different treatment afforded to blacks and whites.Disparity usually occurs when more blacks were detained than whites who had committed same crime. Discrimination, on the other hand, occurs when detention of black was based on his race. In avoiding disparity, it is necessary that the legal factors such as seriousness of the crime and criminal history should be considered in the decision making (Calderon). Discrimination may also be avoided by implementing the law equally. References Calderon, M. (04 September 2006). AnairHoads. Org. Disparity and Discrimination. Retrieved January 28, 2009, from http://www.anairhoads.org/calderon/disdisc.shtml Gelsthorpe, L. and Padfield, N. (2003). Exercising Discretion: Decision Making in the Criminal Justice System and Beyond. Willan Publishing. Justice Works. (2008). Analysis of Racism in the Criminal Justice System. Retrieved January 28, 2009, from http://www.justiceworks.info/index.php?module=pagemaster&PAGE_user_op=view_page&PAGE_id=41&MMN_position=54:4 Snyder, H. N., and Sickmund, M. (1995). Juvenile Offenders and Victims: A National Report. Washington, D.C.: DIANE Publishing.

Red Fort Essay

The fifth Mughal Emperor Shah Jahan shifted his Capital from Agra to Delhi and established ShahJahanabad. He built the Red Fort or the Lal Qila and it served as the capital of the Mughals till 1857 after which the last Mughal Emperor Bahadur Shah Zafar was exiled. Originally known as ‘Qila-i-Mubarak’, the Red Fort was built using red sandstone and is surrounded by a moat on all sides. It has two main gateways – The Lahori Gate and the Hathi Gate. The Chatta Chowk is located immediately after the Lahori Gate. It has arcaded apartments on either side that serve as shops. Back in Shah Jahan’s time, these shops provided the rich households with silk, brocades, velvets, gold, silver, gems and Jewelry. The Red Fort often imparts a sense of National pride. On the 15th of August, 1947, Pandit Jawaharlal Nehru, delivered his renowned speech â€Å"Tryst With Destiny† and hoisted the tricolour flag. Every Independence day, the incumbent Prime Minister delivers a speech from the Red Fort. Ever since, the Red Fort has come to symbolise India’s struggle for freedom. The Swatantra Sangram Museum located inside the Red Fort provides the visitors with a glimpse of our Independence struggle. Diwan-l-Aam literally translates into the ‘Hall Of Public Audience’. This was the place where emperor Shah Jahan recieved the general public and heard their grievances. It had a courtyard which was originally surrounded by arcaded apartments used by Umaras or chiefs on duty. In the centre of the eastern wall, stands a marble canopy under which was placed the emperor’s throne. Behind the canopy, the wall is decorated with beautiful panels nlaid with multicoloured stones said to have been executed by a Florentine Jeweller. The Hammam or the Royal Bath was the favourite resort of the Mughal Emperors. It consisted of three main apartments separated by corridors. The two rooms on either side are believed to have been used by the children. The apartment on the river side was a dressing room, containing two fountain basins with one for ‘rose water spray’. The western chamber was used for hot or steam bath. The baths consisted of a complex water system with miniature tanks sunk Into the wall with a series of pipes. Rang Mahal was the Palace Of Colours. It consisted of a large hall, originally painted on the Interior from which It derives Its name. Through the centre along Its length flowed the channel known as ‘ Nahr-l-Blhlsht’. Nahr-l-Blhlsht or the Canal of Paradise was an Important feature of the fort In providing a continuous supply of water distributed throughout the gardens and Interiors and served Ilke alr conditioners. Mumtaz Mahal Is named after Shah Jahan’s beloved Queen Mumtaz. It Is situated at the southern end of the row of royal palaces along the eastern wall with the Nahar-l- Blhlsht flowing through It. It was used as a military prison by the British after the revolt of 1857 owing to which Its original appearance has been altered. The Red Fort Imbibes the splrlt of the Mughal Era and Is a llvlng legacy of India’s Golden Times and serves as an embodiment of our enchanting heritage. The colossal fort combined with Its exquisite architecture manage to recreate the feel of the Mughal period. Even more than 300 years after Its construction, It continues to symbolise the seat of power. By Raghavi96 and established Shah]ahanabad. He built the Red Fort or the Lal Qila and it served as complex water system with miniature tanks sunk into the wall with a series of pipes. on the interior from which it derives its name. Through the centre along its length flowed the channel known as ‘ Nahr-i-Bihisht’. Nahr-i-Bihisht or the Canal of Paradise was an important feature of the fort in providing a continuous supply of water distributed throughout the gardens and interiors and served like air conditioners. Mumtaz Mahal is named after Shah Jahan’s beloved Queen Mumtaz. It is situated at the southern end of the row of royal palaces along the eastern wall with the Nahar-i- Bihisht flowing through it. It was used as a military prison by the British after the revolt of 1857 owing to which its original appearance has been altered. The Red Fort imbibes the spirit of the Mughal Era and is a living legacy of India’s Golden Times with its exquisite architecture manage to recreate the feel of the Mughal period.

Subculture, Taste Culture and Counterculture Theory Essay

Subculture, Taste Culture and Counterculture Theory - Essay Example An analysis of subculture, counterculture and taste culture theories must also be thrown into the mix, for they also help explain music scenes and the impact that scenes have on society, and vice versa. Lastly, a broader view may be taken by examining rock and music from a sociological perspective, as scenes are not just emblematic of their localities but are also a part of a larger societal fabric that encompasses larger groups and people, and it is also helpful to place scenes into a certain time as well. Therefore, this paper aims to explicate each of these topics, as well as present examples of particular musical scenes, to show how and why society is impacted by these scenes. Music scenes, and music in general, must be understood as influential by examining the scene’s role in the larger discussion of culture. â€Å"Culture† is a general term for how an individual finds meaning and collectively make sense of his or her world (Cushman, 1996, p. 7). It is how partici pants interpret events and communication to understand the modern world, and is the outcome of concrete experiences of the individual social actors in their social world. It is through making culture that individual and collective identities are formed (Cushman, 1996, p. 7). Culture has its roots in mans relationship to other men and to nature. (Hall, 1964, p. 318).

Comparison of Economics and Marketing Essay Example | Topics and Well Written Essays - 500 words

Comparison of Economics and Marketing - Essay Example Marketing mainly is an art of making a product known to consumers by use of various marketing tools such as pricing and research, product promotions and price setting for a particular product. Economics and marketing are similar and different in several ways (Baker, Graham et al 73). Economics and marketing are similar mainly because of the business context in which they are applied. Goods and services are produced so that they are available for consumers who pay for them. In the economic system of a nation, consumers play a vital part as the target end after production. The key motivation for producers is to sell their products and services to consumers during a low consumer demand. This forms the marketing part of the production. Diverse schools of thought though argue that marketing is borrowed from economics. Trade off involving dissimilar alternatives impacts the behavior of consumers in marketing and economics. The alternatives are necessary for economics in that consumers try to decide on what to buy and not to buy based on unlimited human wants which needs satisfaction with inadequate means. In marketing, it is not just a matter of competing with competitors for buyers, but competition among unrelated different products in the market (Baker, Graham et al 84). This implies that in marketing consumers are convinced in the best brand and in the economic part, the brand has the best bargain for the cash. Consumers are willing to review the price of a commodity before they purchase it. Different consumers have a unique willingness to buying a product. This point explains well price discrimination working. Price discrimination is whereby consumers are buying similar products in the market for different prices based on their ability.

Business Economics Assignment Example | Topics and Well Written Essays - 250 words

Business Economics - Assignment Example An average American and Indian live relatively different lives. This is due to fact that the population level hits more than 300 million in India. The high population rate has strained the economic and natural resources of the country to an extent that almost 30% of the India’s population live below the poverty line. Poverty remains a chronic condition in India (Zhu, 2008). The great industrialization in the U.S. has put high rate of efficient production in relation to a manageable population levels makes the living standards of the American citizens to be at par. Education –the change in American education system that is practical oriented is an avenue of economic prosperity as the citizens specialize in areas of best in ability and interest to hasten the production levels and efficiency in such fields rather theoretical aspects that contribute less to the general output (Cheneryet al., 2001). Human resource expertise –this would entail experience and job specialization. The growing industrialization in the U.S. is a hub of experience gain and job specialization in creating efficacy and increased productivity among the people. Experience gained in the line of duty is resourceful to the development of the individuals. Consumer purchasing power (CPP) –the cost of a unit good that a dollar can purchase has a great impact on the lives of the individuals. This bundle of good that one can have in a basket would impact on his social well-being as this entails what limits to consume with the ability to afford (Arnold, 2011). Currency stability –the economic stability of the domestic currency with respect to the dollar is impacting so much on the lives of the individuals (D’Souza, 2008). When the local currency is stable enough there is certainty in doing business and its prospects can be estimated to project on the sustainability of the

Group Assignment - Project Goals and Purpose Essay

Group Assignment - Project Goals and Purpose - Essay Example The project will demonstrate that when employees are given the freedom to air and follow their values and add to the culture of the work place, they get the ownership of the job and hence develop the need to continually foster its growth through performance increase despite the challenges they might encounter (Rosenthal and Masarech, 2003, pg. 4). Values as explained by Sisk, (2003) are about doing the right thing by an individual. Culture involves the behaviour and practices in an organization which the employees, management and customers surround themselves with. Culture is fostered and maintained by the values of the employees and with a good corporate culture, both employees and customers will be satisfied and this means that their performance and business will increase tremendously and the ultimate results being high performance and gaining competitive advantage in the market place. Culture grows with the addition of new employees (Smith, 2014) and in order to maintain the high performance and fulfil the objectives of a company, growth in culture must be allowed and even encouraged. Smith, F. (September 11th, 2014). â€Å"Atlassian, Australia’s Best Place to Work, to ‘gamify’ recruitment.† Financial Review. Retrieved from:

Compare & Contrat (ancient) greece &rome Essay Example | Topics and Well Written Essays - 1250 words

Compare & Contrat (ancient) greece &rome - Essay Example There are lot of similarities and differences between these two ancient civilizations. This paper briefly explains the similarities and differences between these two great civilizations of all time. Both Greek and Rome civilizations originated in cities. Greece was situated near the coastal area whereas Rome was located in the geographical middle of a generally north-south plain bordered on the east with mountains and on the west by the sea (Comparisons Between the Ancient Greeks and Romans) Both the ancient Romans and the Greeks enjoyed recreational activities a lot. Many of the sports and games at present are the modifications of the ancient Greek and Rome recreational activities. For example the current form of wrestling and boxing has originated from these civilizations. In fact these civilizations can be considered as the originators of recreational activities in the world. Ancient Greeks were succeeded in inventing Olympic Games for the recreational purpose. Every city in Greece and Rome had at least one gym during this period. Both the civilizations were well aware of the need of physical workouts to keep the health intact. Moreover, the women community also had their own ways of recreation. Music, drama, dance, and poetry were some of the common items among the women community for recreational purposes during this period (Ancient Greece) The Flavian Amphitheater or Colosseum Was Erected by Flavian Emperors in Rome for recreational activities during this period. The purpose of the Colosseum was to provide entertainment to the public and the Roman emperors.  The games included were gladiatorial contests, wild-beast hunts, and reenactment of battles the Romans had fought. Collosseums were constructed in oval shape in order to give all the spectators a clear view of what was going on inside. The modern construction technology of modern football grounds can be attributed to the

Product Strategy Essay Example | Topics and Well Written Essays - 750 words

Product Strategy - Essay Example The services offered by ABC cloud service limited include, but are not limited to: JustCloud, Egnyte, HybridCloud, MyPC Backup, Open Drive, Carbonite, Sugarsync, ADrive, ElephantDrive, Xdrive, Openomy, Storegate, Strongspace, Mofile, Flipdrive, GlobalDrive, eSnips, Box, Allmydata, iBackup,iStorage, Mozy, Omnidrive, Online File Storage, Mediamax, Online Storage, Dropbox, SOS Online Backup, Acronis True Image Online, SkyDrive, MediaFire, Google Drive, Microsoft Office 365, Zoho, Rapidshare and SendSpace. The table below provides a product and valuation policy of the company. Each product faces competition in the market, and as such, the valuation and pricing strategy may be different for the different products. Products such as the iBackup face stiff competition in the market. I, therefore, employ the skimming pricing strategy. The main aim is to capture the prestige market by charging substantially higher prices as compared to other competitors’ prices. ABC Company charges $1.5 per Gigabyte (GB) for the iBackup. Mozy has a basic home plan which starts at 50GB. 50GB provides a reasonable amount of space for storing more than six million text documents, one thousand videos and seven thousand five hundred photos. The company avails to home users, two plans to choose from. The product gives a maximum storage capacity of 125GB which is limited to only three computers. The firm, therefore, employs a Price Lining strategy. The users are charged according to the user requirements. For example, a home user who needs 100GB pays a higher amount than the pe rson purchasing a 25GB plan. A 50GB Mozy plan sells for $70 per year while 125GB plans for one computer goes for $120 per year. Mozy suffers direct competition from Carbonite (The Best, Most Affordable Alternatives to Mozy for Unlimited Backups, n.d.). I offer free services for the Box item for personal users with a

HSBC Risk Management Essay Example | Topics and Well Written Essays - 2750 words

HSBC Risk Management - Essay Example The problem is that profit, the measure of reward, requires, as a minimum, a pencil, the back of an envelope, and some degree of skill in arithmetic calculations. HSBC is the world's largest banking group operating on the global scale. HSBC is considered the 4th largest financial institution of the world with $2,348.98 billion of assets. Also, HSBC is the largest bank with market value of $180.81 billion and the most profitable bank with $19.13 billion2. For this financial group, risk management is crucial to forecast and predict possible market changes and economic fluctuations. Similar to HSBC, MNCs face financial problems and need risk management techniques to avoid profit loss and sustain market growth. For both types of corporations, the first principle of sound financial systems is to lend money only to those who do not need the money. This may sound contradictory to the intent of banking, but it is not. Banking is a business where the banker takes the savings of a number of individuals and lends the money to others. Those whose savings are being redirected to others as loans do not know, or care, that this is happening3. All they care about is the timely payment of interest and the right to withdraw money at one hundred cents on every dollar. Bankers are lenders not of personal or bank funds, but the funds of depositors. Bankers are, in effect, borrowers. HSBC Bankers borrow money from depositors and pay them interest. They take the money and lend it out to others at a higher rate of interest. What bankers expect from borrowers is what depositors expect from bankers. Depositors, borrowers, and bankers function in a system where repayment is in terms of one hundred cents for every dollar deposited or borrowed. Depositors expect one hundred cents on every dollar that bankers have borrowed from them4. For bankers to honor their obligations to depositors, bankers must expect one hundred cents returned on every dollar that they have lent to borrowers. From the bankers' perspective, a deposit is a liability on the books because they "owe" this to depositors at the time when depositors desire to withdraw money. A loan t o a borrower is an asset from the perspective of a banker because its interest represents income and its repayment represents cash flow into the bank. To maintain a balance between assets and liabilities, a dollar's worth of assets and a dollar's worth of liabilities must be in terms of one hundred cents on the dollar5. "What If" analysis is part of risk management for HSBC and MNCs. "What If" analysis consists of looking not only at the most likely, from which one derives a measure of reward, but also certain unlikely cases where the events of business life do not follow the most likely script. The measure of reward diminishes with respect to the measure of reward for the most likely case. At some point, the measure of reward becomes the measure of risk. A measure of risk is a low degree of reward that is insufficient either to meet expenses or to provide a minimum return on investment. Risk, in a business environment, can be looked upon as an unsatisfactory level of reward where t he wisdom of proceeding with the project must be questioned6. In viewing loan applications or proposals, bankers focus on the prospects of repayment. This is because loans are made when it is perceived that the borrower does not need the money. In other words, loans are made wh

BP SWOT Essay Example for Free

BP SWOT Essay Strength Strong improvement in safety BP focuses on new research and product innovation, leading in new researcher and also improving in safety and procession in the work places. According to â€Å"Safer drilling† (n.d.), BP use Blowout preventer (BOP) technology to support safety in offshore rigs in Brazil. Using high technology likes digital radiography can evaluate and determine underground structure in the North Sea. BP also improves the new tools called Permasense corrosion probes to supervise wall’s thickness in refining process (â€Å"Robust research†, 2013). This equipment is an effective method to control and protect the probability in wall crake. Weakness Ecological impacts of oil spillage damage reputation BP experienced a reputation risk in terms of both public reaction and biological response. About 5 million BP raw oil spilled in 2010, causing a disaster on ecosystem. Dragovic (2013) stated that oil spill would constraint species of wildlife because residues of harmful substances could not be cleanup completely. It also disrupts the chain of wildlife. BP was deluged with blame and disappointment from the pubic. It would take BP quite some time to rebuild its brand-image. (Walt, 2010) Opportunity Growing demand on renewable energy The world has increasingly growing demand for renewable energy. The global renewable consumption will increase to 6.3% (2030) of energy demand from 1.8% (2010). BP is prepared to place emphasis on development of renewable energy (Morales, 2012). Consumers have a tendency to choose to use renewable energy. According to â€Å"consumer demand is growing† (2011), there are 48% of subjects who are willing to use renewable energy and 49% are prepared to pay additional cost for that. Threat Lack of oil and gas reservoirs Oil and gas businesses are high competition because companies gain high benefits. From long period in operation, the crude oil and natural gas around the world is declining that mean the fossil fuel in the future will run out. According to â€Å"OPEC share of world crude oil reserves 2012† claim that now OPEC has only 1,200 billion barrels in reserves global fossil energy In 2010 individual and organization used approximately 87 million barrels per day. The biggest fuel consumer is Asia and Oceanic region. They used around 27 million barrels per day and gradually every year from 2006-2010. Recently, people utilize oil and gas rather than producing. (â€Å"International Energy Statistics, n.d.) References Consumer demand for renewable energy is growing. (n.d.). Retrieved from http://www.windmade.org/for-companies/global-wind-study/consumer-demand-for-renewable-energy-is-growing.aspx Dragovic, D. (2013, March 19). Environmental impact of the BP oil spill. Retrieved from http://livinggreenmag.com/2013/03/19/energy-ecology/environmental-impact-of-the-bp-oil-spill/ International Energy Statistics. (n.d.). Retrieved from http://www.eia.gov/cfapps/ipdbproject/iedindex3.cfm?tid=5pid=54aid=2 OPEC share of world crude oil reserves 2012. (n.d.). Retrieved from http://www.opec.org/opec_web/en/data_graphs/330.htm Marketline. (2013, August 23). Company profile: BP Plc. Retrieved from Business Source Complete database. Morales, A. (2012, January 18). Renewable-energy growth to outpace oil, gas through 2030, BP Says. Retrieved from http://www.bloomberg.com/news/2012-01-18/renewables-to-grow-more-than-8-a-year-through-2030-bp-says.html Safer drilling (n.d.). Retrieved from http://www.bp.com/en/global /corporate/sustainability/safety/preventing-and-responding-to-accidents-and-oil-spills/safer-drilling.html The Gulf of Mexico oil spill: consequences for the oil and gas industry. (2011, February 15). Retrieved from http://uk.practicallaw.com/3-504-7901?service=crossborder#a684683 Wearden, G. (2010, April 27). BP profits jump after oil price rise. Retrieved from http://www.theguardian.com/business/2010/apr/27/bp-profits-jump-oil-prices-ris Walt, V. (2010, July 19). Can BP ever rebuild its reputation? Retrieved

Effect of Computer on Design Creativity

Effect of Computer on Design Creativity Are computers taking away the creativity in design? Abstract Computers are an integral part of todays design process. They, computers represent a time and cost saving device that aids designs in rendering shapes and looking at a broader parameter of possibilities than would be possible otherwise. In looking at design, one must be aware that it represents a part of a business process that has competitive considerations. The foregoing includes costs, materials, innovation, uniqueness, distinction, functionality, and utility in gathering clients and well as customers. The contribution of computers in this highly charged environment has helped to drive down costs, while developing innovation as well as approaches to creativity. As such, designers have been able to expand their creativity through the ability of the computer to permit them to look at more possibilities in their search to arrive at solutions that fit within the preceding parameters. As software programs advance on a technological basis, newer and more powerful programs are increasingly taking on more roles in the design process. This represents the foundation of this examination in that generative design has captured a new part of the preceding in that software can generate designs based upon input parameters. Is the preceding innovative? The answer would have to be a yes. Does the foregoing aid in the business aspects in terms of broadening the range of potential possibilities, and helping to keep costs low? Again, yes is the answer. So, computers do have their place in increasing the efficiency and range of design outputs. The question is, has their role starting to become so large that they, computers are taking over the design function, relegating the designer to a computer operator? Chapter 1 Introduction In equating the question as to whether computers are taking away creativity in design, an exploration into the key words of the examination is seemingly in order. The Houghton Mifflin (2007) dictionary defines generative as â€Å"Having the ability to originate, produce, or procreate†. Design, represents the process whereby one creates, fashions, executes and or constructs according to a plan (Merriam Webster (2007). The design process, depending upon the application that is being utilised, represents trial and error in working through the steps to the final design that fits the parameters of the project (Brown, 2001, p. 2). In order to focus in on the context, design as it relates to architecture, construction and new products such as vehicles, and machines shall represent the core of the examination as represented by the question as opposed to the design of clothing, packaging, and related forms whereby the product is designed based upon primarily internal considerations as opposed to client, and or competitive, and market considerations. As brought forth by McDonagh et al (2004, p. 13): â€Å"As established products have become more similar in technology, functionality, price and quality, companies have turned to design to differentiate their offerings through human-centred innovation and to create stronger emotional connections with their customers. More companies have followed the example of Apple, Braun and Philips, recognising design as a strategic function in their business-not one subservient to marketing, manufacturing or engineering† The design process has increasingly become more competitive in terms of differentiating products, and appealing to clients and customers, as â€Å"†¦companies seek competitive advantage through more integrated offerings, with differentiation through all points of customer contact that express their brand† (McDonagh et al, 2004, p. 13). Thus, design is a critical function most businesses, taking differing forms, thus the election to restrict this examination to the aforementioned categories. Rittel and Weber (1973, p. 158) tell us that design problems are more than just complex, they, design problems, represent what they term as â€Å"wicked problems†. Moran and Carroll (1996, p. 4) in elaborating on the aforementioned advise that design problems â€Å"†¦be stated per se or solved in the sense of definitive answers, because the criteria for evaluating goals and outcomes are innumerable, subjective, and conflicting†. They add that (Moran and Carroll, 1996, p. 4): â€Å"Any solution will generate waves of consequences that interact among themselves and with other problems, changing the problem situation in irreversible and unknown ways. Thus, each wicked problem is merely a symptom of further wicked problems; their solutions cannot even be finally evaluated.† In understanding the nuances as well as ramifications of design, it is necessary to note that design is a process that it usually proceeds under conditions that are represented by a high degree of uncertainty, whereby answers to critical facets cannot be had (Moran and Carroll, 1996, p. 4). The design process also is constrained by real world considerations as represented by time, and budgets, thus the boundaries of the process, design, are not unlimited. Thus, in view of constraints, the design process needs both ingenuity as well as creativity. As brought forth by Rittel and Weber (1973, p. 158), the complexity of design problems make design projects too large for on individual to handle as multiple â€Å"†¦technical disciplines are required, as well as management discipline, in addition to creative and integrative skills† (Moran and Carroll, 1996, p. 5). Evidence supporting the technical difficulties involved in the design process is presented by Brown (1998, pp. 45-46), who states the failure rate for new buildings of all types before construction starts is around 10%. For new products, such as electronics and related categories, the failure rate as a result of design is generally within Browns (1998, pp. 45-46) range, however there are exceptions, such as the 33% failure rate that Microsofts new Xbox 360 is experiencing (DailyTech, 2007). Pressures to get it right represent a critical business decision, whether there is a client involved, or if the design process represents an internal process for the companys own products. Thus, time, cost, simplicity, and failure rate minimisation are critical business concerns that the designer must operate within. Thus, the design function, while being creativity, is also subject to the foregoing pragmatic considerations. Generative design software represents the processes whereby new designs can be automatically produced at the push of a button (Mass Customization Open Innovation News, 2006). The preceding represents computer software taking various design specifications and formulating them into a final design matrix based upon the input variables within the software program (Mass Customization Open Innovation News, 2006). The basic forms, patterns and or objects is modified automatically by an algorithm, thus permitting faster trail and error processes (Mass Customization Open Innovation News, 2006). The process of automatic design generation permits thousands of differing designs to be produced, as well as permitting new ones, as the design process is not restricted to the designers imagination (Mass Customization Open Innovation News, 2006). It, generative design is â€Å"†¦ the power or function of generating, originating, producing, or reproducing† (Merriam Webster, 2007). The designing of architecture, and products represent processes that are three-dimensional (Beilharz, 2004). Parameters as represented by colour, texture, utility design input constraints, space, regulations, gravity, materials, heat (in the case of certain products) and costs are the boundaries to the structure as well (Beilharz, 2004). The application of generative systems to design affects the design process phases and â€Å"†¦ integrates the macrocosmic and microcosmic relations of the design system†. For the purpose of clarification, macrocosmic represents â€Å"and large or complex system or structure made up of similar smaller systems or structures †¦Ã¢â‚¬  (allwords.com, 2007), whereas microcosmic is defined as â€Å" a little world †¦ a community or other unity that is an epitome of a larger unity† (Merriam Webster, 2007). This examination shall look at whether or not computers are taking away creativity in design by focusing on generative design, and how it affects the designer. In delving into the preceding, a number of important areas shall be examined in order to understand the design process, what it entails, along with what creativity is and how it is utilised. Chapter 2 -The Design Process In designing a product, building, vehicle or machine the principle output as represented by the design process is its specification as represented by either an annotated CAD rendering and or a schematic (Moran and Carroll, 1996, p. 324). The design rationale represents the why the design is done in the manner that it is, with the foregoing including various types of information (Moran and Carroll, 1996, p. 324). Fry (1999, p. 22) takes a wider view of design, stating that â€Å"†¦ it is one of the most powerful ways to understand how a world is prefigured, made and acts†. Mitchell (1990, pp. 67-71) explains the design process as one that depending upon the context, takes on differing forms. He explains that the most usual computational variations represent transformations, which he terms as unary, as well as binary operations of shapes as represented in either two dimensional drawings, and or three dimensional geographic models (Mitchell, 1990, pp. 68-69). Mitchell (1993, p. 25) states that there are areas in computer-aided design that fail to support creativity, citing shape emergence as an example. Mitchell (1993, p. 25) argues that: â€Å"that design intentions evolve through the course of a creative design process, that these intentions determine how emergent shapes in drawings will be recognized, interpreted, and reinterpreted, and that interpretation (and reinterpretation) of emergent shapes plays a crucial role in directing design explorations. Traditional computer-aided design systems do not effectively support creative design because they provide only very limited and inflexible ways of interpreting shapes.† In elaborating on the foregoing Mitchell (1993, p. 25) adds â€Å"†¦Computer-aided design systems can, however, be developed on an alternative foundation that provides the necessary flexibility†. Jun and Kim (2003) have a differing opinion of the preceding. They argue that shape semantics in CAD systems offer the potential for the emergence of shape semantics. In presenting their view, Jun and Kim (2003) offer the following rationale: â€Å"Drawings in the early phase of design support both continuity and change in a process of design through the use of two different types of drawings (1): context drawings which hold the evolving design decisions, and exploration drawings which are abstracted from the context drawing and act as graphic probes to investigate selected issues. The notion of emergence in design is found here. The ambiguity of the exploration drawings enables a designer to read more out of a drawing than he or she puts into it; that is, to generate new meanings within the design task. Through exploring drawings that are ambiguous until concept formation (2) is reached, various interpretations, in particular in visual aspect, are possible. As a consequence new drawings emerge. This process plays a crucial role to develop conceptual form in architectural design.† The limitations found in CAD systems are based in the fact that they are fixed, in terms of the representation that are embedded (Jun and Kim, 2003). They argue that there are three types of emergence in the architectural field, â€Å"†¦ shape emergence, shape semantics, and style emergence† (Jun and Kim, 2003). The rationale for this brief look at emergent shape semantics is that it represents a visual design concept, thus representing a segment of creativity (Jun and Kim, 2003). An alternative view of computers and creativity is offered by Kathleen Gibson, an associate professor of design and environmental analysis, who believes that computers actually aid in increasing creativity (Winter, 2003). Professor Gibsons unconventional approach is based upon the rationale that the designer can look at a multitude of differing examples, shapes, configuration and styles as part of their own internal creative processes and potential come up with ideas, shapes, and approaches that they may not have worked on without the aide of a computer to run through variations (Winter, 2003). Mathias (1993) advises that the more time and input designers spend on conceptualising through drawing, visualising as well as re-evaluating designs, the more they, in general, generate new information through multiple reviews and analysis, also resulting in reasoned explanations concerning problems, and proposed solutions. Lawson (1980, p. 6) advises that design represents a mental process that is highly organised, that is capable of manipulating differing as well as many kinds of information. He adds that the preceding blends that data into a set of ideas that is coherent, and finally results on the generation of ideas related to the process (Lawson, 1980, p. 6). Design, as shown throughout this examination, is a process, involving creativity, mental reviews, the manipulation of data and ideas, along with design possibilities, and then synthesising the process toward the end solution. In looking closely at the foregoing, it can easily be deduced that the limitations of the foregoin g are represented by the breathe of experience, exposure and mental foundation bank of the designer. This thus further explains why Mathias (1993) makes his statement that the more time designers spend on ‘drawing, visualising as well as re-evaluating designs, the more they, in general, generate new information through multiple reviews and analysis, the more they see other approaches, solutions and ways in which to accomplish the task, thus heightening their creativity. The explanation of the design process foregoing represents the use of non-creative facets, such as a systematic approach to the design issues and problems (Browne and Smith, 1993, pp. 1209-1218). Hertz (1992, pp. 396) brings forth what he terms as the mental synthesis-creation cycle, which represents the process of exploring alternatives in the development of the design that solves the end product and or building / structure. This represents the same approach, in general conception, as offered by Lawson (1980, p. 6). Chapter 3 Creativity Creativity, as stated by Turner (1994, p. 21) represents â€Å"†¦ the bringing forth of an original product of the human mind †¦Ã¢â‚¬ , which also has what he terms as its â€Å"†¦ mundane side as well†. The creative process is present in all of us. It represents our approach to problem solving for issues that we have not experienced before, through utilising past knowledge combined in new ways to result in a solution (Turner, 1994, p. 21). In equating creativity Weisberg (1986, p. 10) tell us that a solution is creative if it has significant novelty, and is useful. In order to qualify as creative, the new approach, and or solution must be new as well as different from those that preceded it, and, those differences need to be significant (Weisberg, 1986, pp. 12-13). The utility, usefulness, is the second facet present in a creative solution, it must solve the problem in a new, and better manner than those that preceded it, that can include at less cost, fewer parts, faster response time, etc. (Weisberg, 1986, pp. 12-13). In the design process, Cross (1986, p. 15) advises that the special ways in which designers think is embedded in their visual thinking process. Their process of creativity is based in lines, relationships, drawings and formulas representing their approach to problems (Cross 1986, p. 17-18). It must be noted that Dorst et al (1991, pp. 39-40) brought forth that the field of study in terms of design thinking was found lacking in three important areas. Dorst el al (1991, p. 42) identified the preceding as 1. a lack of research clarity, 2. lack of consistency in the tools, methods and theories utilised, and 3. the lack of a common unifying purpose. In defining design thinking, Dorst et al (1991, p. 43) advise that it represents the totality of cognitive activities during the design. The preceding is called ‘design reasoning that is distinguished from inituition as a result of the conscious as well as predictable use of rules representing inference for the outcomes of using and mani pulating design information. The preceding brings forth the facet of intuition as an important part of the process (Dorst et al, 1991, p. 46). It, intuition, resides in the subconscious, which represents the synthesis of experiences, ideas, new approaches and concepts to result in approaches (Dorst et al , 1991, p. 46). In subjecting the preceding to experimentation, Dorst et al (1991, p. 46-48) utilised four designers in a reasoning task that was comprised of a series of architectural drawings for buildings of modest size containing 9 errors. The designers had to locate the errors in a think aloud mode to let their processes be known, which was being recorded, and also making sketches, along with marking the drawings (Dorst et al, 1991, p. 46-48). Later analysis of the recordings resulted in the formulation of two groupings. One represented the mental process of new design generation through changes in the drawings and designs (Dorst et al, 1991, p. 46-48). The second category revealed that the verbal statements made led to new information generation that built upon prior statements they uttered aloud (Dorst et al, 1991, p. 46-48). Their prior histories and experiences represented the database to ascertain the errors, and pose solutions. In commenting upon this Dorst et al (1991, p. 46-48) noted th at the resulting changes were not novel, nor creative, but did solve the errors. The purpose of the foregoing is that the designers were only given a limited time frame in which to conduct their reviews, which demonstrated visual thinking as well as visual reasoning processes (Dorst et al, 1991, p. 46-48). The importance of the preceding is that it brought forth the manner in which designers use visual thinking to stimulate their processes. Wiggins and Schon (1992, pp. 45-51) provide illumination to this direction in advising that drawings and representation represent the manner in which designers communicate, not only with themselves, they also use it to communicate with others in furtherance of their ideas. Important in the preceding, is that designers employ visual thinking that consists of three types of visual imagery. The preceding is represented by what they see, what they imagine, and what they draw (McKim, 1980, p. 26). The foregoing is a highly important point in this examination, thus the rationale for the exploration these areas. Drawings and other visual representations aid in the stimulation process. It is the combination of these factors that are utilised by designers in the process of creating new designs and creative solutions. Further elaboration on this process is important in understanding the manner in which visual representations aid the design, and creative processes. Wiggins and Schon (1992, pp. 102-122) tell us that drawings help the designer in seeing, interpreting what can be potentially moved, re-evaluated, and or transformed. Tovey (1989, pp. 26-31) argues that seeing is an important part of the design process as it aids the designer in imaging, which prompts creativity and drawing. The preceding three processes work together to encourage visual thinking. The connection between the use of computers as an aid in this process will be further explored to draw upon examples that either support or refute if generative design impacts the designer, and if it aids or diminishes creativity. Herbert (1988, pp. 26-40), in his exploration of the design process states that once a designer begins to perceive the task, images, and or pictures representing solutions start to be generated in the designers mind. He adds that in the beginning of the process, these images, pictures, ideas and thoughts are not really well defined, thus needing further development (Herbert, 1988, pp. 26-40). The next stage on the process moves towards more refinement as potential solutions, a means to these ends and the routes and ideas as to how to arrive there start to develop (Herbert, 1988, pp. 26-40). The foregoing was brought forth by Mathias (1993) who advised that designer tends to utilise drawing as a means to move to developing their first ideas, and in later stages of the process, drawings are utilised for synthesis. This is what Mathias (1993) describes as stepping back and then forward in the mental processes to be engaged, and then reflect on what has been thought, to re-engage the pro cess again. Mathias (1993, pp. 113) diagrams the preceding as follows: Diagram 1 Designers Framework for Idea Development (Mathias, 1993, p. 113) Analysis of problem statement Holistic solution concept Problem Solution concept Convergence Exploration Validation Solution Mathias (1993) and McKim (1980) follow the same conceptual foundation in terms of imagery (drawings), representing a foundational facet in the design process. The preceding is part of the creative mental synthesis process whereby ideas begin as a result of engagement with the project. Verstijnen (1997), conducted experiments based upon the research methods of Finke (1990) as well as Helstrup and Anderson (1993). The six experiments conducted by Verstijnen (1997) used undergraduate industrial design engineering and psychology students to investigate emergent figures and drawing / sketching relationships. The experiment called for some students to utilise sketching and drawing, and the others to use mental processes only in resolving the problem of wire frame drawings that had figures embedded (Verstijnen, 1997). The second experiment represented the investigation of creative mental synthesis tasking asked to generate shapes that were creative based upon a cube, sphere and cone. The results indicated that the restrictions of memory was not a motivating factor in sketching as an aid in creative mental synthesis experiments (Verstijnen, 1997). In the reinterpretation of shapes, the task proved difficult based upon the utilisation of imagery alone, thus suggesting an aid was needed, drawing (Verstijnen, 1997). She added that sketching for use in synthesis may not play a significant, and or important role, however in creative mental synthesis, sketching helped to yield a higher number of creative forms (Verstijnen, 1997). A comparison of the engineering students, and non-students was not included in her study (Verstijnen, 1997). From the foregoing, the data thus far reviewed seemingly indicates that visual thinking represents an important facet of creative mental synthesis, which is important in the design of new objects. The foregoing also seems to point to the fact that the manipulation of visual images in a mental mode is an important aspect of mental creative synthesis. In addition, the preceding seems to also point to the fact that drawing is important in supporting the process of creative synthesis in new design. The use of the word seemingly and seem are utilised as there is little to no empirical evidence to support the preceding, thus the views are based upon the views as expressed by a number of authors and researchers. Chapter 4 Generative Design In generative design, the description and design of relationships and components is accomplished by the use of powerful algorithms (MacDonald et al, 2005). These algorithms permit users to manipulate geometry and dynamically model through the application of rules that capture relationships in geometric features, along the defining of complex forms (MacDonald et al, 2005). Under a generative design program, the designer, utilising a CAD tool that specifies parameters and the restraints, the program then generates a number of outcomes that the designer then utilises as input, and or for another generation of shapes, forms or approaches, solutions (MacDonald et al, 2005). The generative design approach is applicable in the whole design process, once the parameters have been input and modified (Gatarski and Pontecorvo, 1999). Generative design has been employed in the development of cars, cell phones, structures and other areas. CAD and Design Automation software has long been utilised to optimise the assembly of differing design elements. Through the use of visualisation software, designers are able to see the results without having to build prototypes. In the generative design methodology, outcomes are rendered after a detailed and high level of input specification, thus saving time over the CAD and Design Automation approach that requires time in that each instance of an idea has to be imagined, manually expressed, and evaluated (Gatarski and Pontecorvo, 1999). On the most basic level, generative design systems consist of four elements (Gatarski and Pontecorvo, 1999): design representation, generation engine, expression engine, mechanism for evaluation and selection of the new generated specifications The following, further explains the workings within these steps (Gatarski and Pontecorvo, 1999): design representation, The design representation are input as a set of parameters, along with the corresponding constraints. In the preceding, the parameter sets represent the genetic design elements, defining the form as well as structural aspects. The constraint set controls the aesthetic as well as the fabrication facets, meaning the limitations as afforded by the material dynamics to be utilised. The foregoing constraints, and rules thus place a limit on the range of the generated design. generation engine This aspect of the generative design process represents the internal process that generates the new design descriptions. It represents a set of prototype design descriptions that are also termed as ‘parents, and then utilises the algorithm to take the parameter sets and combine them into new descriptions, or children. In general, the algorithms use operations that are based upon the concepts found in the mutation and crossover aspects found in genetics. The preceding thus ensures that the descriptions, children, are drawn from the parameter values as contained in the prototype set. expression engine In the process of generative design, the expression engine interprets the descriptions, rendering them into a structure or model. The process can be set so that it is modular, thus permitting it to be able to support a host of alternative interpretations. mechanism for evaluation and selection of the new generated specifications The generative design approach is based upon having an objective function that evaluates the fitness output of the specifications of the design. In creative design area this facet is usually embedded in the human using the system. The foregoing is termed the human user in the loop as it provides a more intelligent and analytic capability as opposed to computed functions. The preceding is described as being a better match for the ranges of possibilities offered by the generative approach. Generative design offers the ability for designers to try as many ideas as possible, a critical facet when time is a constraining factor. It permits designers to thus present a variety of solutions that can thus be evaluated internally and or through focus group testing to refine the process and move to the final design variables. The foregoing recognises the fact that the design process has always been a process that is subject to the acceptance of the end user, which is either the client, or the general public. It, generative design, thus represents a means to work through a wide variety of approaches to achieve faster approximations of what will work. Chapter 5 The Role of Computers If computers are potentially limiting, and or taking away design creativity, it would seem appropriate to example the role of computers in the design process and attending questions. In the pragmatic sense, unlimited time to render and use a design is not a function of the design process. Whatever the function, be it architecture or products, there is a limited time frame for the design process to take shape, evolve, become proven through mathematical, structural, component material and cost / build considerations. The preceding represent constraints on the process that are real as well as binding. Computers have advanced the process of design through software such as CAD that enable users to perform a number of functions in time saving fashion. The preceding takes in such functions as (SAP, 2006): wire frame geometry creation, solid modelling, 3D parametric, freeform surfaces, automated assembly design, engineering drawings from solid models, re-utilisation of design components ease on design modification and the generation of multiple versions, automated generation of design components, design simulation without prototype building, data exchange, as an aid in visualisation process for areas such as rotation, shading, etc., design studies as a few of the more important, or used functions. In equating this segment of the examination, the question of creativity resurfaces. As previously mentioned by Turner (1994, p. 21), creativity brings  ·Ã¢â‚¬ ¦ forth of an original product of the human mind †¦Ã¢â‚¬ . In the design process, it aids in the production of multiple view, as well as ideas. Gero (1991) indicates that there are, in his view, five creative design processes that result in the introduction of new variables in the design prototype. These are (Gero, 1991): Combination Mutation Analogy First Principles, and Emergence The following sets forth the preceding in more detail Combination Gero (1991) tells us that ‘combination represents the combining of two or more prototype designs, with the new resulting variable introduced into the original from the former. Within this process, mutation represents the alteration of variables as accomplished by external agents (Gero, 1991). Mutation Within the preceding process, mutation represents the alteration of variables as accomplished by external agents (Gero, 1991). Through mutation, new variables can result due to extrapolation, and or combination of the variables (Gero, 1991). Analogy This is also known as ‘case-based reasoning, representing structural elements applied by one prototype design into another design problem, as well as the use of past processes for a new design problem (Gero, 1991). First Principles The above is a process whereby new relational knowledge is logically derived from the behaviour of existing structures without the knowledge of the prototype (Gero, 1991). Emergence The process of inferring structural elements that are new through the extension of elements that exist, represents emergence (Gero, 1991). Indurkhya (2002), in defining creativity from a different perspective, provides insight into Geros (1991) concept of new variable introduction. H