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The mission of the Land and Sea Slow Food is to support and advocate for clean, fair, healthy and sustainable agriculture.
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The mission of the Land and Sea Slow Food is to support and advocate for clean, fair, healthy and sustainable agriculture. Besides, it supports the local farmers and the producers, through emphasizing on direct support to the emerging farmers as well as the farmworkers, with the understanding that local foods produced sustainably are; good for the health, suitable for a robust local economy and good for our mother earth. Land and Sea has for a long time created and sponsored many projects in Friday Harbor, San Juan Island. Land and Sea started small, but now it has developed and grown bigger, being much effective while at the same time have continued to build a network of support at the grassroots level (Feldman, Kingfisher & Sundborg, 2011). Land and Sea has also helped in linking the people who are willing to support the farmers with farmers. Also, it connects the resources for farmers with farmers through the use of the Land and Sea web page as well as the one-on-one introductions. Through this, the Land and Sea movement have earned a lot of trust from the local producers, and this has been made possible by their presence in the field.
Land and Sea is always open and welcoming to new members. However, it does not insist on the members to participate. The primary focus is finding like-minded and passionate individuals who are ready and willing to share the Slow Food mission, working with them as well as building it in that direction. Mostly, the members make the decision to engage in the Slow Food mission, and the Land and Sea are happy to work with individuals who have better ideas, and the movement is dedicated to helping the members. The direct action by the movement helps in filling a need in the community, and this has been the major strength of Land and Sea. The quote “Never doubt that a small group of thoughtful, committed people can change the world. Indeed, it is the only thing that ever has” by Margret Mead has always been a source of inspiration to the movement and has as well provided Land and Sea’s work affirmation.
Just like any other movement, policymaking is very significant for Land and Sea. However, there are hands-on-work at the ground level that has been able to effect actual positive change even before the policymakers has made any visible progress, and this helps in driving the changes in policymaking. However, Land and Sea movement do encourage and as well support sound policymaking through sharing of the movement’s mission and suggestions with the local and the national policymakers. The movement has been effective in San Juan Island with the actual work in the field and has developed virtual and physical links. Besides, it has vowed to keep track of the progress to evaluate the effectiveness of their efforts, with aims of improving the services in line with the movement’s mission and serving the community, in the response of working for good clean and fair food production (Schneider, 2008).
The Land and Sea movement strongly believe that the local economy is strengthened by the local, sustainable farmers and producers (Starr, 2010). The producers can provide rewarding jobs for young people, and this plays a crucial role in strengthening the families with more local opportunities for meaningful work, learning and income. Land and Sea chapter in the bid of supporting the international mission of the Slow Food movement for good, clean and fair food advocates for fairness in the treatment of the farmworkers as well as supporting reasonable labor prices, fair wages and clear support for the emerging farmers. In this assignment, these are the major research procedure that has been used to investigate Washington’s Land and Sea movement in San Juan Island in attempt to seeking information regarding good, clean and fair food.
The Land and Sea movement have various characteristics, activities and community relationships. An essential part of the activities conducted by the movement is working with young populations in the community. Also, the movement introduces young people to a variety of skills that are associated with growing and producing food, particularly on San Juan Island. All children in the community are welcomed to food production. The main characteristics of the movement are not limited, as its work is not limited to a particular task. The tasks include knowing the local children and their possible interests and potential. The movement also makes the introduction to farm skills and conducts producer visits; they also conduct intern placement and thus helps the student gain knowledge on slow food.
Other than the production of the local food, the Slow Food movement in San Juan Island also helps in cooking the skills of the local foods, enabling the local communities to rely on individually produced foods rather than on fast foods (Vitiello et al. 2015). Besides teaching the cooking skills, the Slow Food movement also works with the local bakers, chefs, cheese makers and fishermen, learning in regards to the hands-on food preparation. The movement also specializes in making demonstrations to the producers in relation to the best ways of improving food productivity through sustainable methods. Since the Land and Sea movement is based on an island, it specializes in fishing skills and the seafood preparation as they are the most common in the region. Most of the slow food movement in the various states of the United States is characterized by the type of food produced by the locals, and this leads to emphasizing on locally produced food commodities.
References
Feldman, M., Kingfisher, A., & Sundborg, C. (2011). Cultivating a Food Movement: Slow Food USA’s Role in Moving Society Towards Sustainability.
Schneider, S. (2008). Good, clean, fair: The rhetoric of the slow food movement. College English, 70(4), 384-402.
Starr, A. (2010). Local food: a social movement?. Cultural Studies? Critical Methodologies, 10(6), 479-490.
Vitiello, D., Grisso, J. A., Whiteside, K. L., & Fischman, R. (2015). From commodity surplus to food justice: food banks and local agriculture in the United States. Agriculture and Human Values, 32(3), 419-430.
Design is an outstanding weapon in the competitive market
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Design is an outstanding weapon in the competitive market. It bridges the company and the consumer and ensures a trustworthy and reliable friendship between the two. There are many real world examples brands showing how design is playing a central role in branding and communication in the market place. Three examples are Coca-Cola, Sony and McDonald’s. They are examples of widely recognized trademarks representing the global brand. They take unique designs which include the unique name, sign, symbol, color combination and slogan. Coca-Cola is the world’s most popular soft drink. It is sold in more than 200 countries. The first coca-cola logo was designed by John Pemberton’s partner and frank mason Robinson. It reveals the four design trends in one way or another. These are cooltural, rationaissance, responsibiz and sensuctive. Coca cola is of course cooltural because of its unique name sign and symbol and may be the way the colors have been blended. Coca-Cola though a design of the 19th century dares to be contemporary even to date. The typeface used is known as Spencerian script which was developed in the mid 19th century and was dominant form of hand writing in the united sates in that period but still remains modern. The coca cola design is sensuctive. The distinctive cursive script is very appealing. Its two C’s look well in advertising the red and white colored schemes in the coca cola logo were kept simple and distinctive t o lure young minds. The coca cola bottle was also designed to be responsibiz. It was designed in such a way that it was to be recycled and not thrown away as causing harm to the environment.
Sony too has been able to design its products in the electronics world in a unique manner that incorporates the four trend of design. Sony products are designed in a quality manner and thus responsibiz in trend as they are long lasting. For example the plight of the consumer is in this case borne in mind unlike some case where products are just designed only to make money. The design of the products is cooltural in trend as they have distinctive in quality and appeal. Sony has, from the start, created many innovative products and product brands. The Sony designs also displayed qualities. It was in the 1950s when a small Japanese electronic company created an American sounding brand name, Sony. The product design was also American influenced with a wide spaced serif lettering like that used on Amtrak trains or the Raymond Loewy’s original air force one, but however with a flair and attention to detail that was in very distinctively Japanese. It is now a half century later and Sony is still a leading consumer brand which is associated with superior design due to its rationaissance design character. The design of Sony products is also sensuctive. The Sony Corporation has been highly successful at tapping the seductive nature of consumer electronics. All around the globe Sonys’ ubiquitous products are recognized as symbols of cutting edge technology and innovative design. Sony products are flashy and appealing as well as origin.
McDonald’s design is also another good example. McDonalds’ corporation is the world’s largest chain of fast food restaurants. The McDonalds golden arches logo was introduced in 1962. It is a cooltural design because of the unique name symbols and signs that are not used by any another chain of fast food restaurant. It was created by Jim Schindler to resemble new arch shaped signs on the side of the restaurants. The golden arches were merged together to form the famous ‘M’ which is now recognized throughout the world. The McDonalds design is Sensuctive. During a reimaging the traditional yellow and red colors remained but the red was muted to tetra cotta and olive and sage green was added to mix. The restaurant are also designed to have less plastic and more brick and wood which have made them bright , lively and stunningly beautiful. This created a warm up look. The design of the restaurants was also made rationaissance where contemporary art and framed photographs hangs on the walls.
References
Davis, M. Baldwin, J. (2006) More Than a Name: An Introduction to Branding. United states. AVA Publishing
Mozota.B (2003) Design management: using design to build brand value and corporate innovation. New York. Allworth Communications.Brown.J (2004). Design and branding in marketing. United states. University press.Marvis. L. Design and Brand Trends. New York. Irwin.
North, M. (2007). Managing business identity using the design and brand trends. Oxford. Oxford University Press.
The Missing Picture and A Peripheral View of World Cinema
Assignment 2: The Missing Picture and A Peripheral View of World Cinema
With the prize for outstanding foreign language film, Rithy Panh’s Missing Picture was recognized for its depiction of the filmmaker’s own struggle to re-imagine the memories of childhood. As a primary target of the Khmer Rouge administration, Pahn’s parents and siblings were slaughtered in labor camps, forcing him to battle memory problems. This is a very well-known remembrance of one of his nation’s worst moments. The filmmaker worked on a documentary for several years, which analyzed the crimes done in the course of Khmer Rouge’s era. An orientation to Panh’s viewpoint is provided through the use of old cinema canister photographs as opening titles, which is a self-aware and self-reflective opening to Panh’s perspective. After then, the scenes are just like crashing waves against the lens, reminiscent of past memories that were previously forgotten. These opening sequences indicate the beginning of the Ruminative Masterful Cinema section, and they also demonstrate the seriousness of the subject matter. Because of a strong sensation of grief, the remainder of the image is carried away from the subconscious feeling. The live-action segments serve as a prelude to the fundamental concept of the film. A tough and emotionally demanding subject, the crimes committed against the people of Cambodia by Pol Pot and the Khmer Rouge, is tackled by Panh in an intimate, imaginative, and at times strangely beautiful manner.
As a result of his observations and observations of catastrophes, Panh conveys them in a manner that they appear disturbingly accessible: He constructs massive dioramas out of clay figurines that have been meticulously hand-carved and lovingly painted. There are hundreds of photographs, each with a unique set of emotions and perspectives: females carrying produce, boys running with a dog, armed personnel, and starved, dying laborers as the army advances on the Cambodian capital city, among other things. He regularly juxtaposes and seamlessly combines these data with official propaganda videos, demonstrating the disparity between propaganda and truth, as well as with newly discovered video footage of day-to-day existence in the concentration camp. The result is striking in its originality, with impressionistic imagery, lyrical narration, and a fascinating sound design that draws the viewer in.
A Peripheral View of World Cinema is an anthology that seeks to address such fresh and ever-shifting alignments of cinema, nation, historical experience, globalization, and identity. The concept of ‘periphery’ in connection to the practice and conception of cinematography and cinema history is the book’s starting point. Dina Iordanova, David Martin-Jones, and Belén Vidal, co-editors of the book, advocate for critical encounters with “irregularities in history” that provide historiographic challenges to entrenched hierarchical views in cinema appreciation (3). Thus, their book proposes and implements media/film research that uncovers and celebrates a dynamic collection of different voices and ways of communicating that originate and reside above and beyond the popularly acknowledged cultural centres (3). The central theme addressed by Panh’s Missing Picture is that of war crimes and ways to reenact history through film and art. Iordanova, Martin-Jones, and Vidal advocate for the uncovering of previously unrevealed facets of cinematography and cinematic creation. Panh does exactly this by using an unusual method to tell a story and a side of history previously ignored.
It’s more difficult to categorize The Missing Picture. It’s can be said to be both a documentary as well as a personal essay. yet, it has all the elements of a historical reconstruction, featuring video poetry, and a therapeutic practice in one. Panh’s endeavors to vaguely remember a contemporary Cambodian civilization that was viciously disrupted by the Khmer Rouge regime and now would seem as forgotten as Atlantis. The film is largely an individual recollection of the Khmer Rouge period and its atrocities. On a decomposing, imploding spool of ancient film, a traditionally costumed female performer sinuously shifting into what is likely a modern film variant on old steps. The dancer, who appears briefly in Panh’s film, degree of consistency, enjoyment, sexual orientation, religion, art, and cultural history. The film is exactly what Iordanova, Martin-Jones, and Vidal describe as a new wave of cinema production that opens up the world of cinema to imagination and innovativeness.
Because actual photos of these times do not exist, The Missing Picture’s idea is that the film’s horrible history, as well as the brighter era that came before it, must be recreated using whatever basic items are suitable. The Khmer Rouge obliterated not only contemporary Cambodian society, but also its culture and visuals of itself, whereas the regime’s own filmed images are deceptive: scripted misinformation vignettes of Pol Pot, his innermost circle, and his ostensibly loyal multitudes, but never accurate depictions of the conditions wherein Cambodians have been made to live. Instead, Rithy Panh creates clay figurines, seemingly childlike squatting relics colored to imitate actual or representative persons and organized in realistic surroundings, to re-create authentic representations of the world he recalls.
Works Cited
L’image manquante/The Missing Picture (Rithy Panh, 2013, 92m) Film.
“Introduction: A Peripheral View of World Cinema,” Dina Iordanova, David Martin-Jones, Belén Vidal. Reading