Recent orders
Both Hobbes and Locke believe in their ideologies than all men are born perfectly equal before
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Both Hobbes and Locke believe in their ideologies than all men are born perfectly equal before any form of government and social contract CITATION Dou18 l 1033 (Roscoe, 2018). However, their difference comes in the types of political governances. According to Hobbes, absolute monarchy works best for governance of humans because of scarcity in goods leas to war, greed, and competition amongst men which need a forceful government to maintain order. In Hobbes theory, it is every man for himself which he argues that it results in constant conflicts with each other as everyone strives to defend his/her interests. He also believes that competition is the order of the day due to the scarcity of goods, but he believes all men have equal chances and the body count to fight for their interests.
Locke, on the other hand, believes that a unified government whereby all men participate in logic is better at creating self-interests and those of others. Locke believes that all men are equal before God and no absolute rule should be subject by other humans on others because it is against the natural order of things. According to Locke, absolutism would be the root of corruption, fear of power, and abuse of power. Locke bases his argument in the bible where after creation God did not give any form of authority over his children or the world. In the beginning, God created the earth and put a man in charge of all the earth’s resources but not fellow humans. No man is born with the title of a ruler.
Hobbes thinks of human nature as hostile CITATION Hun15 l 1033 (Chung, 2015). He believes that men are violent beings who are always in constant war with each other in the pursuit to satisfy oneself. He believes that humans are greedy and are always in competition to be better than the other human. For this reason, he believes that absolutism would serve human nature right in bringing order and peace upon human nature. Hobbes believes that life would be very short and brutal if absolutism were absent as a form of governance.
Naturally, it is not clear whether a human is good or evil. Some philosophers argue that humans are born good people, but their morals are eroded as a person grows up and engages with the society while others argue that humans are both evil but the norms and set rules in society put humans in check. They believe that good morals are learned. The perception of what is wrong and right is the determinant of good and evil. Even babies have a sense of what is wrong and right which complicates the whole debate of whether humans are born good or evil.
I agree with Hobbes’ thoughts on the nature of humans.
References
BIBLIOGRAPHY Chung, H. (2015). Hobbes’s State of Nature: A Modern Bayesian Game-Theoretic Analysis. Journal of the American Philosophical Association, 485-508.
Roscoe, D. D. (2018). The Promise of Democratic Equality in the United States. New York: Routledge.
Major Contributors to Methane Production in Australia
Major Contributors to Methane Production in Australia
Major Contributors to Methane Production in Australia
There are several major contributors of methane in Australia. Enteric fermentation during food digestion by ruminant animals such as cattle, sheep, goats, is the largest source (Animal Liberation South Africa, not dated). A large proportion of methane is also released by solid wastes disposed by municipal council (Fraser, et al, 2011). As well, energy production activity, especially coal mining in Australia discharges a significant proportion of Australian methane emissions. In addition, termites produce a considerable amount of methane during the process of decomposing organic material (Fraser, et al, 2011). Finally, methane is released by landfills and during the process of wastewater treatment. Therefore, the major sources of methane in Australia include agricultural activities, disposed solid wastes, landfills and processes of energy production, decomposing of organic matter and wastewater treatment.
References
Animal Liberation South Africa, (not dated), Methane and Livestock, Retrieved 10 March 2012 from, HYPERLINK “http://animalliberation.org.au/green-living/20-related-issues/41-methane.html” http://animalliberation.org.au/green-living/20-related-issues/41-methane.html – This source contains blog information which is not reviewed. Thus, it may not be not reliable.
Fraser, A., Miller, C. C., Palmer, P. I, Deutscher, N. M., Jones, N. B. & Griffith, D. W. T., (2011). ‘The Australian methane budget: Interpreting surface and train-borne measurements using a chemistry transport model.’ Journal of Geophysical Research, 166(20), pp. 1-22 – This source is a peer reviewed journal and thus, it is more reliable and credible.
HYPERLINK “http://www.publish.csiro.au.ezproxy.une.edu.au/?paper=AN09132” http://www.publish.csiro.au.ezproxy.une.edu.au/?paper=AN09132 – This link leads to university database that requires login details, which I do not have.
Metropolitan Museum of Art
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DateMetropolitan Museum of Art
The Metropolitan Museum of Art (affectionately known as the MET) is a museum in New York City’s Central Park that exhibits works of art from around the world. It was founded in 1851 by Henry Hudson and is the world’s largest museum. It is the most visible tourist attraction in the city. The Metropolitan Museum of Art (MET), also known informally as the Museum of Modern Art, is a museum in New York City that shows works by worldwide artists. Apart from its online presence, the Metropolitan Museum of Art’s physical location is divided into three sections: the Met Fifth Avenue, the Met Breuer, and the Met Cloisters. The Met Fifth Avenue is the largest of the three districts. The three structures, which provide a once-in-a-lifetime opportunity to see and be seen, as well as an unforgettable experience, will appeal to art connoisseurs as well as visitors. Visitors who are unable to visit the museum in person can take advantage of the museum’s online tours, which offer a terrific alternative method of viewing a variety of art collections and exhibitions in a virtual environment. The museum offers online tours in both English and Spanish (Watt 116).
The sheer volume of things on display struck me as I strolled throughout the museum on my virtual tour. It was incredible to see such a big collection of artifacts on display, and I was especially impressed by the large number of objects that could be searched by category or by using a search engine. As soon as I walked into the museum, I was captivated by it. The site’s design is overall cohesive and responsive, and it showcases high-quality pieces of art that are currently for sale on the site (Steinberg).
When I first came at the website, I went straight to the section on Greek art. There, I discovered a large collection of porcelain kraters, which were widely used in ancient Greece for a variety of purposes, including wine mixing and storage. The collection includes a large number of works of art created throughout Greece’s history, with a focus on works created during the country’s Classical period. Although this is not verified, the korous, a marble statue originating from 590–580 B.C., is thought to represent youth (Cranston 224). CRANTON 224 is an abbreviation for “Cranston 224” and “Cranston 224a.” It is the exhibition’s most visible component, at 194.6 cm tall without a plinth. A marble statue of the Man and the Cantaur that was originally attributed to the Geometric era but has since been replaced is likewise included in this category of reconstructed Greek art (Clark).
My second tour leads me to the Islamic art collection, where I get up up and personal with a Mihrab Stone Paste Tile that has been painted behind a clear glass and is currently on display. In addition, the Tugra of Sultan Suleyman is on display in Jaisingh. Nakkas Osman designed it, and it depicts an Ottoman artwork from 1579. The Tugra of Sultan Suleyman is also on display in the Jaisingh Museum (Jaisingh). This site also features the Tugra of Sultan Suleyman, which was sculpted by Nakkas Osman and depicts an Ottoman artwork from 1579. It is currently on display at the museum. The Tugra of Sultan Suleyman, which portrays an Ottoman artwork from 1579 and is also on display at the museum, was carved by Nakkas Osman (Osman, 1579). Osman claims that (1579). Examining comparable works of art, such as the Tugra of Sulayman the Magnificent (an opaque watercolour and gold on paper), through the perspective of significant historical events may aid in better understanding Turkey’s rich history (Tolibjonovich 3).
It is housed in the museum’s medieval section, which also exhibits the clothing used by Catholic priests when performing church services. The statue of the Virgin and Child, which represents Rome’s culture and tradition, is housed in the museum’s medieval section, which also includes the clothing used by Catholic priests during church services. If you’re seeking for the statue of the Virgin and Child, which reflects Rome’s culture and customs, you should begin your search at the museum’s Medieval Section. Aside from being red, it has wonderful embroidery and design details that add to the overall elegance of the clothing (Marinozzi 1).
My internet odyssey would be over if it weren’t for Arlene Shechet’s artwork. Despite the fact that her most well-known works are Moist Shift and Stolid Buddha, she considers herself a native New Yorker who lives and works in the city in the same way that any other ordinary New Yorker does. She was born and raised in New York City. Shechet’s rigorous attention to detail and meticulous care in making the 8-inch sculpture’s creasy feature are visible on both the front and back of the sculpture, contributing to the overall beauty of the artist’s work. Many of her works are influenced by Chinese culture, and they all share a Buddhist base, which is evident in the majority of her work. Numerous awards and honors have been conferred to her for her accomplishments (Scavizzi 111).
Simply put, the Metropolitan Museum of Art has a sizable collection, and it will require time and effort to show representative examples of the numerous art forms on display in order to fill the museum’s exhibit galleries. When it comes to the internet museum, it is no longer a step down in terms of quality from the original article. Visitors can quickly locate and evaluate what they’re looking for owing to high-definition images and a well-organized layout. Alternatively, the augmented reality technology built on the site is very astounding, as it translates the site’s history and culture into a surface that can be artificially lit for easier viewing. It was an enthralling destination to visit, as seen by the manner the artwork was displayed and the proper colors used in presentation, all of which contributed to the artworks’ integrity being preserved (Nygren 104).
Work cited
Clark, Leah. “Merchant-banker, Diplomat, Courtier or Agent? Intermediaries and Collecting Art in the Renaissance Courts.” (2021).
Cranston, Jodi. “12 The Touch of the Blind Man: The Phenomenology of Vividness in Italian Renaissance Art.” Sensible Flesh. University of Pennsylvania Press, 2020. 224- 242.
Jaisingh, Yashu. Artisan Entrepreneurship & Community-Based Tourism Nexus-Indian Art & Craft Renaissance. Diss. Auckland University of Technology, 2021.
Marinozzi, S., et al. “The Art of Rhinoplasty: Researching Technical and Cultural Foundations of Western World Rhinosurgery, from the Middle Ages to the Renaissance.” Aesthetic Plastic Surgery (2021): 1-10.
Nygren, Christopher J. “Painting as a Modern Art in Early Renaissance Italy.” Contemporaneity: Historical Presence in Visual Culture 9.1 (2021): 104-108.
Scavizzi, Giuseppe. “The myth of Orpheus in Italian Renaissance art, 1400- 1600.” Orpheus. University of Toronto Press, 2019. 111-162.
Steinberg, Leo. “Renaissance and Baroque Art.” Renaissance and Baroque Art. University of Chicago Press, 2020.
Tolibjonovich, Madumarov Talantbek. “SYNERGY OF SCIENCE AND ART IN THE CULTURE OF THE RENAISSANCE.” International Engineering Journal For Research & Development 6.ICIPPS21 (2021): 3-3.
Watt, Gary. “The art of advocacy: renaissance of rhetoric in the law school.” Law and Humanities 12.1 (2018): 116-137.