Hume s Argument For The Idea Of Self Or Selfhood

Study Questions: Exam #3 Hume: Identity 1. 3. Hume’s argument for the idea of self or selfhood is that we are just a â€Å"bundle† of perceptions. Our perceptions and experiences are what make us, us. In simplistic terms, not one impression is constant; therefore, we are not one enduring self because our impressions are always changing. He uses the example of links in a chain; all different pieces making up one thing (Perry, 179-182). 2. Hume’s strict empiricism (theory that all knowledge is derivative from sense-experience) comes into play in his rejection of an enduring self when he claims that we cannot always trust our senses and that our senses can â€Å"fool† us. Therefore, how can an enduring self be possible without experience from the senses? (Perry, 178-181) also referred to (Perry, 231). 4. 5. According to Hume, we tend to confuse impressions for ideas. Not one impression is consistent and constant, but ideas can be. This is where people can get the two confused. Impressions relate to feelings while ideas relate to thinking. Ideas are mainly tiny copies of impressions, meaning they are less forceful and less vivacious. We tend to mistake that we have personal identity in the sense that our impressions make us who we are, when in fact, not one impression is constant and consistent; we have many impressions that add up to who we are in this exact moment. People tend to mistake our personal identity as our impressions and who we are now is who we were in the past, when

5 Simple Steps Of A Healthy Pregnancy Essay - 2457 Words

5 Simple Steps to Having a Healthy Pregnancy By Petar Simic | Submitted On April 03, 2010 Recommend Article Article Comments Print Article Share this article on Facebook Share this article on Twitter Share this article on Google+ Share this article on Linkedin Share this article on StumbleUpon Share this article on Delicious Share this article on Digg Share this article on Reddit Share this article on Pinterest If you ve decided to have a baby, the most important thing is that you care a lot, so that both you and the baby are healthy in the future. Girls who receive proper care and take the right decisions are highly likely to have healthy babies. Prenatal Care If you discover you are pregnant, see a doctor as soon as possible to begin receiving prenatal care (care during pregnancy). The sooner you begin receiving medical care, the better the chances that both you and your baby are healthy in the future. If you can not afford to visit a doctor or pay for the consultation in a clinic for prenatal care, social service organizations exist that can help. Ask your parents, school counselor or another trusted adult to help you find resources in your community. During the first consultation, the doctor will make a lot of questions, such as date of your last period. In this way, you can calculate how long have you been pregnant and what date you expect your baby. Doctors estimate the duration of pregnancy in weeks. The due date is estimated, but the majority of babiesShow MoreRelatedNutrition And Pregnancy : Nutrition1501 Words   |  7 Pages Chapter - 5 Maternal Nutrition in Pregnancy Nutrition and pregnancy refers to the nutrient intake, and dietary planning that is undertaken before, during and after pregnancy. The conception and the subsequent weeks afterwards is the time when it is at its most vulnerable, as it is the time when the organs and systems develop within. 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Who Are We to Judge Essay Example For Students

Who Are We to Judge Essay Sometimes it is easy to form an opinion about someone based on what you see from the outside, but by no means is this an effective way of assessing the way someone is inside. Just like you cannot judge a book a book by its cover, you cannot judge a person without getting to know them. Both Edwin Robinsons, Richard Cory, and Wystan Audens, The Unknown Citizen try to do this. Who is to say that their analysis of the two characters is correct? The two poems are based only on what is observed, not what is known. Richard Cory is structured in a very consistent, easy to read manner, but is as harsh and radical as the form is classical and neat. The poem is an extended description of a man, a very rich, successful man, named Richard Cory. The narrator of the poem spends a good part of the poem, the first three stanzas, doing nothing but genuinely praising this man. In the first stanza, Richard Cory is portrayed as the envy of all those around him, the object of everyones attention. He refer s to Cory as a gentleman from sole to crown, and even uses language that sounds suited to describe royalty when he calls Cory Clean favored, and imperially slim. The second and third stanzas go on in much the same way. In the second stanza, the narrator describes Corys social standing. In the narrators eyes, Cory continues to be the perfect, polite gentleman, as he was always human when he talked.. Cory was certainly not the picture of a snobbish or rude man. Cory was also a very popular fellow, as he fluttered pulses with a simple Good-morning, Cory was an impressive social figure indeed. However, the poem takes a sudden, dark twist in the last stanza. Robinson does this by first revealing a little more about the narrator. In the first two lines of the fourth stanza, the narrator says: So on we worked, and waited for the light, And went without meat and cursed the bread . . .. This is obviously a reference to the narrators own poor financial and social state. For the narrator, work is a place of darkness and hardship where you simple wait for the light. For the narrator, there is no meat to eat at dinnertime, and after so many meals without it, you begin to curse the cheap bread that you do have to eat. However, not one bad word about Cory passes from the narrators lips. This speaks volumes about Corys character, and makes the reader think that maybe this Richard Cory is as great a guy as he seems. In the last two lines of the last stanza, with a minimum of detail and no explanation, Robinson simply tells how Cory one calm summer night, Went home and put a bullet through his head. With that, the poem ends, but the questions remain. Robinson never even gives us a clue as to why this popular rich man would do a horrible thing such as this, but this just goes to show that not everything is as it seems. By taking what is viewed only from a distance, you cannot assume everything is right. In comparison, just as Richard Cory was told from an outside standpoint, The Unknown Citizen was written in the same way. This time, instead of the story being told by someone looking up to him, admiring him, it is told from the perspective of an unemotional, unexcitable individual. The speaker of this poem seems to be a government employee or an official from the State. He is someone who strictly follows rules and regulations. He makes sure that the unknown citizen obeys the rules and does everything in order. He shows no emotion in describing the events and records of the unknown citizen. His routine is highly emphasized. To the speaker, statistics are extremely important to grade and categorize the unknown citizen. .u0a7c0c5cc49b731ce11583782b28bac4 , .u0a7c0c5cc49b731ce11583782b28bac4 .postImageUrl , .u0a7c0c5cc49b731ce11583782b28bac4 .centered-text-area { min-height: 80px; position: relative; } .u0a7c0c5cc49b731ce11583782b28bac4 , .u0a7c0c5cc49b731ce11583782b28bac4:hover , .u0a7c0c5cc49b731ce11583782b28bac4:visited , .u0a7c0c5cc49b731ce11583782b28bac4:active { border:0!important; } .u0a7c0c5cc49b731ce11583782b28bac4 .clearfix:after { content: ""; display: table; clear: both; } .u0a7c0c5cc49b731ce11583782b28bac4 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u0a7c0c5cc49b731ce11583782b28bac4:active , .u0a7c0c5cc49b731ce11583782b28bac4:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u0a7c0c5cc49b731ce11583782b28bac4 .centered-text-area { width: 100%; position: relative ; } .u0a7c0c5cc49b731ce11583782b28bac4 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u0a7c0c5cc49b731ce11583782b28bac4 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u0a7c0c5cc49b731ce11583782b28bac4 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u0a7c0c5cc49b731ce11583782b28bac4:hover .ctaButton { background-color: #34495E!important; } .u0a7c0c5cc49b731ce11583782b28bac4 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u0a7c0c5cc49b731ce11583782b28bac4 .u0a7c0c5cc49b731ce11583782b28bac4-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u0a7c0c5cc49b731ce11583782b28bac4:after { content: ""; display: block; clear: both; } READ: Renaissance man and Renaissance women EssayThe unknown citizen is someone who pays his taxes, satisfies the employers, reads the newspaper daily, has the correct number of children, fights for peace and supports the war. In spite of all these facts, the subject remains unknown. We do not see any strong traits in this unknown citizen. He is merely like any other ordinary man we can find around us. We cannot see how special he appears or anything that could distinguish him from others. Although we know all of the facts, we might not be able to recognize him, but somehow the speaker is able to tell us who this person is. Just as the end of Richard Cory showed us that things are not always as they seem, how is anyone able to judge what type of person the Unknown Citizen was. Nobody can, the description is based on the statistics that were gathered, not the person himself. What someone can see on the outside is not the same as what is within, the part of the person that makes them unique. Bibliography:

Zak Brooks Essays - 2nd Millennium, Aesthetics, Arts, Art Movements

Zak Brooks Del Carey Essay Questions WorldCivII 12November2017 Classicism Vs. Romanticism Classicismand Romanticism are the two main artistic styles. They will remain the baseline for even many of the modern styles of art we see today. Classicism dominated the ancient regime around 1600-1820. Romanticism dominated the early 19 thcentury from 1780-1880. Romanticism is arejectionofclassicism. Some of the main attributes of classicism are that it reflects thescientificrevolution and enlightenment, puttingan emphasis on reason and logic. Classicism was influenced bydescarte'sexplaining deductive reasoning and bacon's scientific observations. Classicists that therearenatural laws that govern the universe and everything in it. Classicism isidealistic, that means everything has a perfection and an ideal. This means that things need to be perceived as what they should be not what they are because one can never achieve perfection. Classicism believes that the closest we have come to perfection was with the power and might of the empires of Greece and rome. Because of that they feel that everything greek and roman should be copied to achieve perfection. Classicism mainly uses pastel colors as they give off a light and airy feeling. Classicism is both mythological and humanistic believing that there was once a perfect time of gods but also on the everyday person and their strug gles to get through life. The main concepts of Romanticism are that it refers to emotion and passion. Romanticism discounts natural laws stating that nature isn't perfect, it cannot be controlled. This leads to a greater concept that there are things that are more powerful that the natural laws. These lead to the fact of supernatural, that man cannot explain everything there's higher power. Romanticism also believes that that idealism is a hoax, there is only realism and the reality we perceive, which allows the supernatural to occur. Realism will grow with the movement, and eventually spawn its own style. Things need to be perceived as they are nt what the should be because no one will ever have the power to determine what should be. They also believe that there is no such thing as perfection that it's the individual that matters. The thing that makes you different should be celebrated. They glorify the middle ages because it was the rejection of Greece and Rome that created the modern nations. Romanticis m is heavy and dark, they feel that the trespasser should be excluded and it should not seem open and inviting. Because of this they tend to use earth tones because they are dark and heavy. Romanticism is nationalistic and thus emphasizes what makes every nation different. The main difference between the two is that romanticism is just basically a big rejection of all classicism ideas. Romanticism focus more on the what it is be rather than classicism where they are all what it should be. Basically, every element of these two styles is different in the fact that romanticism will never agree with classicism. The architecture is also extremely different. In classicism they seem to use much simpler straight lines and that "perfect" style whereas romanticism seems to use much more elaborate styles. Romanticism says that there is no such thing as perfect because no one is good enough to say what perfect is. In classicism they say that there is always a perfect idea that everyone should strive for based off of the Greece and Roman styles. I feel that based on the beliefs I fit more into the romanticism because I feel that nothing can be done perfect you can get close but it could always be better. You just need to be ok with how you do things and accept that it may not be considered perfect to everyone. When looking at the artwork though I feel like I enjoy the classicism more just because I enjoy the more colorful side rather than the earth tones.

Dutch Composers and Their Contributions to the Sacred Music of the Renaissance

Dutch Composers and Their Contributions to the Sacred Music of the Renaissance Free Online Research Papers Dutch Composers and Their Contributions to the Sacred Music of the Renaissance Modern day Holland, or more properly, the Kingdom of the Netherlands, is a mix of old and new, foreign and domestic. It is a place of brotherhood and unity, where the population strives as one to continually reclaim itself from the ever encroaching sea. However, this was not always the case, as the Netherlands has only recently come to resemble the form in which the world sees her today. The story of Dutch sacred music is very similar to that of the area’s political history, one in which strife and struggles have forced the population to reinvent itself countless times, simply to keep the same economic condition which their ancestors had many years before. These struggles have played an extremely important role in the developments of all the arts in the area which is now separated into the Netherlands, Belgium, and Luxembourg. The political and religious issues of the period can be seen in the development of sacred music across the years, showing both foreign influences on the church music of the Netherlands, and Low Country influence into the sacred music of foreign lands, especially the liturgical music of the Roman Catholic Church. Before the fifteenth century the state of Dutch music is not generally known, but after the year 1400, composers who considered themselves Netherlanders began to distinguish themselves from the prevailing French musicians which had come into the country under the rule of the Burgundians dukes. Indeed, The Encyclopedia of the Renaissance tells how the author of the oldest known musical dictionary, the Flemish author Tinctoris, stated in 1477 that music written more than forty years previously was not worth hearing, indicating that a new age of music had begun. This is not to say that the composers cultivated an â€Å"indigenous† style, as artists of this time period usually required a patron to provide them with sufficient living expenses to practice their craft, and the limited number of nobility in the Netherlands meant that musicians often had to travel a great distance and relocate several times in their lifetimes. This requirement of patronage limited the amount of change that artists could effect in these early years of Dutch composition. French state officials, who at this time were the most regular form of aristocrat in this part of Western Europe, and thus the most readily available patrons, generally brought their own musicians and artists from their home courts in Burgundy when they traveled northward to administer their appointed districts (Elders, 3). This required Dutch composers to attain an extraordinary level of skill to attain enough status to obtain a patron’s attention. However, the Dutch who had not yet been patronized by foreign dignitaries found themselves in a unique situation due to geographical considerations. They had to fulfill the requirements of their prospective patrons to obtain an income, while at the same time, they were too far removed from the rest of European society to be able to copy the popular styles from the rest of the continent. The great skill required to pick up foreign music from the traveling merchan ts and the adeptness the Netherlanders showed in composition meant that, by the year 1500, Dutch musicians were in almost all of the royal courts of Europe (Netherlands: Facts and Figures, 353). During this period, (1400 to about 1550), when French influence in Dutch music reached a pinnacle, the primary form of musical composition by Dutch composers was a French liturgical form called the motet. This is a form of polyphonic worship music derived from Biblical text and contemporary prayer books (Elders, 23). Upper voices of Latin polyphony, sung by the choir, were derived from existing sources, such as psalms or traditional liturgical sources, to satisfy the clergy and the traditions of the Church. The lower voices, which were usually sung by the lead soloist, (the cantor), are where the majority of creative composition can be found. These were in colloquial French, German, or Frisian, using figures of speech to either substitute for the Latin chant for the layperson or to paraphrase the meaning of the chant, thus allowing the common churchgoer to participate in a more meaningful way (Grove Dictionary, Definition: Trope, 780). This was often due to theological or political c hanges, where the Church or aristocratic hierarchy felt that their vassals should be empowered or disenfranchised, and thus instructed their composers to add or delete sections of the liturgical standards as necessary (Elders, 22). This interpretive technique became popular enough to endanger the sanctity of the liturgy itself, which was the impetus behind Pius V’s prohibition of tropes from the missal at the Council of Trent in 1563 (Webster’s, Definition: Trope, 2721). In spite of this ruling, however, the motet was still an important compositional technique in the Netherlands as late as the 1670’s, with the publication of ten concertante motets by Carel Haquart of Amsterdam in 1674 (Klis 147). While these compositional techniques were not extensively developed or used by composers residing inside the boundaries of the modern day Netherlands, many highly regarded musical societies across Europe had a considerable percentage of members hailing from the Low Countries. One such example is the Guild of Our Lady in Antwerp, Belgium, which was part of the Burgundian Low countries at that time. This fraternity included such distinguished composers as Jacob Obrecht and Noel Bauldeweyn (Elders 23). It should be pointed out that Obrecht had the distinction of being an instructor to Erasmus, the famous writer and Christian humanist, when Obrecht was zangmeester (song master) in Utrecht. Also, Orlando di Lasso, whom some regard as the greatest composer who lived during the second half of the sixteenth century, was born in Mons before being employed in many positions throughout Sicily and Italy. He finally became Kapellmeister (Chapel master) of the Bavarian court in Munich, Germany unt il his death in 1594 (Elders 160). These and other composers’ biographies, show that while the Dutch landscape produced a prolific number of great musicians and composers, the political landscape was not structured in a manner which would normally allow them to stay in their home districts. In the Netherlands, the last three-fourths of the sixteenth century was consumed by the all-pervading influence of the Protestant Reformation, which did not leave any European country (Baroness 97). More than before, Dutch musicians fled the country to find work in more stable countries not at war for their very lives, for on top of the war with Spain, it had become quite dangerous to be publicly Catholic. The Calvinists and Lutherans had taken over the seven Northern provinces, and they believed strongly enough in their new faith to proclaim independence from the Holy Roman Empire. Due to the strong prejudice against Protestants in most of the rest of Europe, many composers had relatives in the clergy, like Josquin Des Prà ¨s’ brother Cardinal Ascanio Sforza, or made certain that their work could not be interpreted in any way other than strictly Catholic (Bergin 128). Others went to Italy, the seat of the Catholic Church, to escape the effects of the wars and the Inquisition . Most Netherlander composers in this period were not â€Å"Dutch† per se in the form we know today, but came from the area known as the â€Å"Spanish Netherlands,† which is modern day Belgium. Many composers, such as George La Hà ¨le, began at the Church of Our Lady and moved on to the courts of Spanish officials in Madrid and other politically important cities in Spain (Elders 157). During the period of the Eighty Year War, and even more so during the Thirty Years’ War, composers concentrated on improving the Mass, as a sort of defense against the Calvinist theological attacks from the Northern Europeans. La Hà ¨le composed at least eight Masses, which were printed in 1578 in Antwerp. These compositions were possibly partially copied from, and certainly profoundly influenced by, earlier works of Josquin, who perfected techniques like ostinato and was the first known composer to use cavato (Elders 37, 157). These techniques can be described as using a short piece of melody and re-using it frequently in the composition without being monotonous. This method can be extremely difficult, and shows the level of skill attained by these talented musicians. Possibly due to the documented mastery of such difficult techniques in the fifteenth century, imitation seems to have been the preferred compositional form in the sixteenth century (Elders 44-8). Johannes Froschius even suggests in his 1535 treatise â€Å"Rerum musicarium opusculum† that musical authors should transcribe the best passages of others’ work to incorporate into one’s own work later. Two main techniques were called â€Å"through-imitation† and â€Å"parody† (Elders 44/46). Many times, as in most examples of through-imitation, the purpose of the imitation was to take a piece which had attained a firm subconscious meaning in the layman’s mind, and use it in a semi-repetitious form in such a way that â€Å"nothing could be added or taken away without destroying the harmony of the whole† (Wittkower 7). In many ways, the musical examples of this method display remarkable similarity to the modern day concept of the â€Å"round.à ¢â‚¬  Parody, far from being an amusing farce, was when a composer decided that clothing an existing text in entirely new music was unnecessary, as such using a model, broken up into sections, with interpolations of various lengths to break up the monotony and suggest to the layman that he may not know this piece after all (Elders 46-8). This form had an extended period of popularity, becoming widely used about 1530, waning only near the beginning of the seventeenth century. However, even when the great composers of the Netherlands felt that previous composers had perfected techniques which they could only copy, they went further to put their great intellects to work at musical symbolism as well. As Elders notes, many composers used gematric symbolism, wherein the addition of the numbers (representing the letters) in an individual’s name determines the number of notes in a composition (76-86). This technique, especially when combined with the previous forms, stands as a gran d testament to the ability of these extremely talented artists. Even though the seventeenth century religious conflicts greatly limited innovation by composers from the Germanic countries, the eighteenth century saw Dutch musical culture become well-known and widely respected throughout Europe. Andrew Becket of England noted that the organ in Haarlem, which was built by Christian Mullar, was able to reproduce a wide variety of sounds, including violins, kettle drums, bird song, and even the human voice (139). He declared that it was played with â€Å"exquisite truth and delicacy,† and a â€Å"divine, enchanting harmony,† but that the twenty or thirty Dutchmen in the church were completely unmoved by the performance (140). Furthermore, John Mackey postponed a trip to Ireland in the early 1700’s when he was given the chance to tour the Netherlands, proclaiming that it was the densest collection of great cities and culture in the world, even greater than Renaissance Italy (1). Obviously, even if the casual observer may not be aw are of the history of sacred music in Europe, the Dutch were remembered well into the eighteenth century, and still have a reputation for a high appreciation of the arts. Currently, the government allocates more than 1% of the Netherlands GDP toward supporting Dutch music, which certainly follows in the grand tradition of this creative population. Naturally, a grand tradition of music so close by was certain to influence others as well. There are many examples of traditions from sacred music which show up in secular compositions by more well known composers such as Bach and Beethoven. In a long period of intellectual darkness, nobles searched far and wide for promising individuals to promote their causes and entertain their households. In the Netherlands, they found composers whose ability greatly surpassed anything they were able to find in their own countries. This allowed Dutch composers to flourish across Europe and also gave them much needed exposure to alternate forms of music to incorporate into their compositions, which they did on a grand scale, influencing many composers and listeners for hundreds of years afterward. Baroness Suzette Van Zuylen Van Nyevelt. Court Life in the Dutch Republic 1638-1689. New York: E. P. Dutton Co, 1906. Becket, Andrew. A Trip to Holland. London: T. Becket, Pall-Mall, 1786. Elders, Willem. Composers of the Low Countries. Translated By Graham Dixon. Oxford, England: Clarendon, 1991. Bergin, Thomas G. The Encyclopedia of the Renaissance. New York: Facts on File Publications, 1987. Government Printing Office. The Kingdom of the Netherlands: Facts and Figures. The Hague, Nederland: Government Printing Office, 1971. Grove Concise Dictionary of Music, The. Edited By Stanley Sadie, Asst. by Alison Latham. London: Macmillan Press Ltd, 1988. Klis, Jolande van der. The Essential Guide to Dutch Music:100 Composers and Their Work. Amsterdam, Nederland: Muziekgroep, Amsterdam University Press, 2000. Macky, John. A Journey through the Austrian Netherlands. London: J. Pemberton, 1725. Webster’s New International Dictionary of the English Language. Second Edition. 1946. Wittkower, R. Architectural Principles in the Age of Humanism. Fourth Edition London, 1974. 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Scholorship Essay essays

Scholorship Essay essays Entering Community College of Philadelphia as a freshman, I have several educational goals for the years of study that lie ahead. These include: building a solid basis for a career in Computer Science, getting accepted at University of Pennsylvania with full scholarship, and improving my communication skills. Working toward each of these will help me during the years following graduation in my chosen career. My primary goal is to obtain a Bachelors degree in Computer Science from the University of Pennsylvania, and also to gain specialized education, which will allow me to enter the workforce after graduation with many alternatives for employment. Over the past several years, I have enjoyed working with computers involving graphic designs and web development. My current ambition is to obtain a MCAD (Microsoft Certified Application Developers) certificate. Moreover, I want to build a solid career in Information Technology, which is a rapidly growing industry with constant emerging of new technologies. A good computer programmer should be diversified in many aspects of the programming environment. In effort to achieve this diversity, I have taken classes both in programming and web development. Advancing my ability in critical thinking and communications is also important to me. No matter where my career path leads me, the ability to analyze and communicate with others will be the difference between acceptable versus truly excellent accomplishments. While in school, I have involved myself with many different activities around the college. If I am not at class, studying, or at home I am spending my time at the school organizing activities that the school will be holding. I am an active member of Philadelphia L.E.A.D, PTK (Phi Theta Kappa - International Honor Society), SGA (Student Government Association) and AAUW (American Association of University Women). After becoming a member of these organizations, I have found myself more...

Power of Media Essay Example | Topics and Well Written Essays - 1250 words

Power of Media - Essay Example Contrary to public perception, â€Å"convergence culture† is not limited to only participating in online voting or phoning in your votes for the latest talent competition on television. Although it is true that the activity is all-inclusive, it does not signify a convergence of any cultural sort. Rather, a mass protest rally in front of an embassy, declaring sentiments against a popular problem or plan of action could be more considered as an example of â€Å"convergence culture†. â€Å"Convergence culture† is the modern way by which our society is being shaped by a new generation of movers and thinkers. While we used to be a culture defined by what the powers that be in mass media such as radio and television say we should be, now we find that people have the actual ability to buck at such dictates already. Instead, people are dictating who they are and what they will be with the help of modern digital communication gadgets. Cellular phones now allow for mass sh aring of information between people faster than a television or news broadcast. Everything these days happens in real time, with various people sharing their experiences across the world by simply a point, click, and send on their phones, laptops, and other portable media devices. In such instances, this collective sharing of events, although depicting various points of view, all dictate the definition of what â€Å"convergence culture† is all about. Basically, â€Å"convergence culture† is not bound by the same restrictions that normal media practitioners must adhere to. Fan fiction writing and blogging are some examples of a method by which people continue to promote ideas and items that they have come to know and love but without the manipulative hand of the owners of the product. An act which, although frowned upon by most media big wigs, has proven to be the new way through which promotional activities can actually gain a longer life span that could oftentimes, su rpass the lifetime of the product or movie being promoted as well. It is because of this emerging power of the new digital media technology that the old guards, the newspaper and book publishers, the movie producers, and they're like, are all in a quandary as to how to position themselves in this new era of promotional activity and news sharing. You see, as Jenkins claimed in his paper, When people take media into their own hands, the results can be wonderfully creative; they can also be bad news for all involved. (par. 39). We have seen the ways through which the regular news sources have become all but obsolete in our modern world. The troubles in the Middle East that escalated in momentum and action this year alone showed that Twitter and Facebook are far more effective information dissemination tools when it comes to news reporting.