Relationship Marketing Essay Example | Topics and Well Written Essays - 1250 words

Relationship Marketing - Essay Example Consumer behavior is rapidly changing in today’ s world. Most of this changing behavior stems from rapidly evolving technology and its growing importance in our life. The emergence of Web 2.0 has also made it possible. It has helped pave way for door to content driven information which could either make one’s business or bring it down. Thus technology has a strong relationship with consumer behavior and eventually its impact on the purchasing behavior of customers. Social networking sites have opened new paradigms in marketing and relational marketing. Most social networking sites, for instance facebook are educational model tools that voice out what that niche of people wants. Models like yahoo, msn and other search engines have come up before but could never generate the community like feeling. Today companies are very accessible to the consumers because people are talking back to back with them. Other factors have also affected relational marketing.With the advent of the retailing era, products and pricing alone cannot target customers. Customers who enter a store with the advent of purchasing might return empty handed due to a number of factors. Though one of the factors is the unavailability of the products they need but there are a number of factors which might deter them. They include not being able to find the product, being unsure about the product because the store atmosphere doesn’t allow them to judge it properly and being uncomfortable in the store. The store might not appeal to them and the shopping experience is not as convenient as they would like it to be and they leave in order to buy that better shopping experience. ... (D Walters and D White, 1987). It involves communicating a positive product image to the customer and also ensuring that the customer decodes it well thus leading to positive behavioral outcome leading to purchase. The basic aim of the retailer is to trigger a customer to make a purchase. For this three major steps are to be followed. The first one should cause the customer to enter the shop. This can be caused by the shops exterior including both the exterior landscape, the board and the window display. The second effort is made to retain the customer in the store for as long as possible which is attained by making the ambience pleasing and the store comfortable. The third and the decision making process of buying is greatly affected by the product display and availability which is ensured by clean products on display in an efficient manner. The interior design of the store can greatly affect the customers psychologically, lowering their defenses and removing their doubts, encourage them to make purchases and maintain interest in the store. (Kotler, 1974). Thus all marketers are unanimous in agreeing with the fact that store design is one of the main factors behind customer store choice decisions. Other factors include pricing, distance and size of the outlet. Previously the emphasis was on the display of the products but now marketers also have to lay emphasis on the elements which excite the senses of the shoppers. Frequently used elements are smells, lighting, flat screen videos and graphics and flooring (McGoldrick, 1990) Visual merchandising involves using four basic design elements namely lighting, cleanliness, design layout and product display. These are also called orienting factors, signage and atmospherics by

Civil Litigation and Felonious Law Essay Example | Topics and Well Written Essays - 750 words

Civil Litigation and Felonious Law - Essay Example The challenge may include persons or organizations. Upon the final ruling, compensation is awarded to the person that was affected (Kleinig, 2008). The felonious law applies in the instances of murder, beating, and assault. When the victim is declared guilty, the ruling is passed for his punished. The punishment can be incarceration in jail, fine or exceptionally death sentence. The sentence duration is based on the form of offense the executed by the accused. Judgment is made to deter further crimes since people are known to be rational (Kleinig, 2008). The former includes the collection of regulations that guide the processes in courts. This law governs various court processes that depend on the type of lawsuit. It gives a guideline by which the court is supposed to conduct a case hearing and determine what happens. The regulation maintains persistency in the case handling process. Additionally, fairness and justice are checked through the procedural law (Budewitz, 2011). Substantive law constitutes the various regulations, which guide the states’ and people’s relationships. This law outlines the multiple tasks and freedoms of the people. It entails tort, a  felony,  and laws requirements. The regulation originates from public law and the legislative regulations. Mountford (2002) suggests that lawyers use this law to establish the actual claims by plaintiff and defenses by the defendant. The claims are weighed on the procedural law to ensure justice and consistency (Budewitz, 2011). While it is possible to use procedural law in non-legal contexts, it is impossible to use substantive law in such situations.

The Woman in Black Essay Example for Free

The Woman in Black Essay No reader of The Woman in Black Can be left in doubt about its conscious evocation of the Gothic. It is full of motifs and effects associated with that genre, How far would you agree with this statement of the novel? I agree undeniably, with the above statement, as the novel is a pastiche of the Victorian/Edwardian ghost story which is a sub-genre of the Gothic. Thus consciously evoking the Gothic. However, it could be argued that Susan Hill at times cleverly manipulates the motifs and effects associated with the Gothic genre. It is theses motifs and effects that are present in the gothic genre, which I will discuss in The Women in Black (1983). I will begin by briefly discussing this essay on the genre itself The Gothic genre is a genre that has been burning artistically for centuries, ever since it was more or less invented by Horace Walpole in the classical gothic novel The Castle of Otranto1765 possessed the indispensable and core elements of this genre, it was set to be a benchmark for following work in this field such as The Woman in White (1860) by Wilkie Collins, The Italian (1797) by Ann Radcliff, The Monk'(1796) by Mathew Lewis and Bram Stokers Dracula (1897). The Women in Black is full of Gothic elements and conventions throughout. The reader at first realises the effectiveness of the first person narrative of the novel; this is delivered by Arthur Kipps the main character of the story. Effectively, the reader gains a first hand insight of thoughts, feelings and emotions of Arthur instantly as they happen. Therefore, slowly but gradually the reader becomes attached to Arthur due to the sense of immediacy that they experience with the unfolding of emotions, thoughts and events when Arthur does. This is initially used in the opening chapter Christmas Eve when Arthur states; I was seized by something I cannot possibly describe, an emotion, a desire- no, it was rather more, a knowledge, a simple certainty, which gripped me, Indisputably, the Christmas Eve opening of The Woman in Black echoes the opening of Henry Jamess Turn of the Screw. It is a convention of the ghost Story were in the festive season people gather by the fire and make up lurid inventions about vampires to even rats and bats. In addition the intertextuality of the novel is emphasised with the striking resemblance between Arthur Kipps and Jonathon Harker in Bram Stokers Dracula (1897). Here both are lawyers and both are very rational which is exemplified when Arthur describes himself as a commonsensical man. Another example of the novels intertextuality is one of the chapters actual name; Oh whistle and Ill come to you which is taken from an M.R. James ghost story. These thoroughly present intertextuality continuously imprints on the reader the elements of the novel, the ghost story. This is also agreed by most Enlish critic like (1)Alan Jones who says; Hills novel also shows an eclectic indebtedness to other text. The referential quality of text like Walpoles The Castle of Otranto or Lewiss The Monk, with their nods in the direction of medieval manuscript, Shakespeare, graveyard poetry and so on, finds full measure in the pages of her text. The first attribute acknowledged by the reader as a common Gothic element is the setting of The Women in Black. overall, there are two main settings of the story, one being Monks Piece where Arthur begins the story of The Women in Black. Initially, Monks Piece is presented as place from out of reach from civilisation, an area of remoteness and isolation, a place really distant. Arthur describes its air of remoteness and isolation which makes us feel ourselves to be much further from civilization. The supernatural or otherwise inexplicable events are a key theme in the Gothic genre and The Woman in Black is no exception. In The Woman in Black is the constant emphasis of man versus nature that is repeated throughout. Susan Hill provides an undetectable malevolent and treacherous force, using nature, whether its a fog, sea-freats or a mist. The ultimate felling of supernatural is without a shadow of doubt, created by the fog, one of Londons deadliest peasoupers. The fog slowly, but gradually constructs the sense of the supernatural by creating an illusion of uncertainty for both Arthur and the reader. This is conveyed when Arthur describes the fog. Fog was out door, hanging over the river, creeping in the and out of alleys and passagessly entrance at every opening of a door. This idea of the fog suggests the fog has become an entity by technique of personification used by Hill. This projects the idea that the fog is more than a fog. In that way it is given a beastly presentation especially by the use of the simile like a furred beast. The distinct description of the fog provokes the inevitable thought of the supernatural with its ever-present malevolent force. This idea of the isolation and remoteness is often used in the Gothic. It gives a clear sense of eeriness and vulnerability about Monks Piece. This is the setting were Arthur begins his ghostly narrative in an attempt to Exorcise the haunting of his past. This brings to mind the idea that when Arthur dies, his accounts of events would be found by someone else like the traditional manuscript found by Jonathon Harker in Bram Stokers Dracula. The other main setting of the novel is Eel Marsh House. In comparison with Monks piece, Eel Marsh House has an air of strange sensation, an excitement mingled with alarm. Eel Marsh House is projected as a place that will have you startled with excitement but also vividly perceptive at the same time. This is illustrated in the description when Arthur initially sets eyes on Eel Marsh House by saying; it was a tall, gaunt house that is isolated and uncompromising but also on the other hand Handsome. Nevertheless, Eel Marsh house is so indistinguishable of Monks Piece in the sense of the sheer solitude and loneliness about the place. However, unlike Monks Piece there is evil with a touch of wickedness about Eel Marsh House, this illustrates that Eel Marsh House is an updating of the Gothic castle. It is this Gothic aura that seems to be seducing Arthur. This idea can be unmistakably recognised when Arthur mentions that; I was aware of a heightened of every one of my senses, and Conscious that this extraordinary place was imprinting itself on my mind and deep on my imagination too This cleverly hints the supernatural force that seems to be enveloping itself around Arthur, inevitably, he appears to be addicted to the place and not discouraged by eeriness incorporated by the satanic sea vultures and by the bleakness that is being hurled by the small burial ground near Eel Marsh house which is typical Gothic iconography. This is further emphasised by the condition of the decayed gravestone with patches of greenish-yellow lichen and moss. Moreover, its the indecipherable dates and names on the Drablows graveyard that create mystery, just like how the novels time period and place of setting is left ambiguous. An atmosphere of mystery and suspense is another key Gothic element in the gothic genre and The Woman in Black is no different. The presentation of London in A London Particular establishes the mystery and mood of the novel. The city is presented as dark, evil-smelling, with a foul gloom atmosphere, when these carefully constructed metaphors and adjectives bind, they do paint a vivid image for the reader. In addition, the true sense of mystery and suspense is cemented by the introduction of Jennet Humfrye the Woman in Black herself. At the funeral of Mrs. Drablow, she is described as a woman with some terrible wasting disease a woman with skin that is tautly stretched and strikingly, a woman only a short time away from her own death. This description deployed by Hill illustrates that this is no ordinary woman and inhuman in some sort even to the extent that she is a walking corpse, a curse on Crythin Gifford. Therefore, Hill sustains the key Gothic theme of death and curse in the novel. The novel itself is built around the mystery of the woman and the tragic death of her child. This unravels that Jennets separated from her son because of the social stigma associated with children being born out of wedlock. This is heightened by the inexplicable behaviour of the Woman in Black and more effectively the reaction of those who see and hear of her presence. This is conveyed to the reader when Arthur says I had never in my life been so possessed by it, never known my knees to tremble And my flesh to creep, and then to turn cold as stone. The absolute fear here is over-ridden by the total danger which she has caused him. This utter tantrum is fuelled by the unexplainable event of disappearance by the wasted woman. This high, even overwrought emotion is common in most Gothic novels; it clearly portrays the feeling of impending doom being experience by the character, in this case, Arthur when he is in intense fear and sense of shock as he witnessed the vanishing of The Woman in Black. It is clear that Susan Hill effectively deploys the basics of gothic elements of gothic fiction. However, these elements are altered to appeal to a more modern audience in the case the castle. Therefore it can be said that Eel Marsh House is an updating of the Gothic Castle. Hill effectively sustains her Gothic genre of Gothic horror of contracting the soul, freezing the faculties and nearly annihilating them. This is apparent in The Woman in The Black several times with excessive examples of Arthur and even other characters including Mr. Jerome, when he is in shock, paralysed by fear of the Woman in Black; Mr. Jerome grabbed my wrist and held it in an agonizingly tight grip or collapse with some kind of seizure. Or even more effectively when the sense of danger and horror is built up using Arthurs companion dog Spider, who becomes accustomed to the threat present; Every her of her body was on end, her ears were pricked, her tail erect, the whole of her tense, as if ready to spring This form of reaction defines gothic horror capturing the idea developed by Ann Radcliffe. Another Victorian/Edwardian convention of ghost stories that cements the pastiches of the novel is how the setting is kept ambiguous. This is shown when Mr Bentley sends Arthur to Eel Marsh in-shire? to represent the firm at Mrs Drablows funeral. Moreover, the context of the novel is kept unclear, because the story could be taking place after the First World War or more likely in the Edwardian period due to the lack of cars present and more significantly to the continuous appearances of a pony and trap in the novel as a leitmotif. Overall, Susan hill captures the mood of the Gothic genre and specially the sub-genre the ghost story. Hill shows a great variety of traditional gothic elements with a blend of originality and innovation by overturning the readers expectation of the genre inconsistently within the novel. In the woman in black the oppressor is a woman and the victim is a man, Arthur, threatened by a powerful, impulsive and a tyramical female, where on the other hand most gothic genre have a woman as a victim. Nevertheless, this ingenious thesis by Hill is a pleasant one because undoubtedly the novel is unpredictable while still consciously evoking the gothic.

The Other And The Intersubjective

The Other And The Intersubjective In the following write up, my attempt is to explicate the understanding of the other and intersubjectivity vis-Ã  -vis the way people interact with each other. It appears that there are two ways of interactions the subject-object interaction and the subject-subject interaction. The subject-object interaction can perhaps be understood through the method of the positivist, the scientist, the behaviorist, and those of the ilk who divide the universe into the material and the non-material and declare the material to be real. They then create an objective universe of method and thought. The subject-subject interactions can be understood on the differences between the inter-subjective (between two subjects) and the intersubjective (within two subjects thereby avowing continuity), the former is available in the thought and writings of Hegel, Husserl, Levinas and Lacan and the latter through the thought and writings of Buber. Questions that arose in the mind of the researcher from this cate gorization have become the groundwork for exploration in the direction of developing a research proposal. The understanding of I, Other and the ensuing implications for the method of Dialogue in education may become the thrust for this study. What follows is an articulation of the possibilities for developing a research proposal In todays techno-mechanistic world our object-centered understanding dominates our interaction with not only inanimate things but also in our approach towards beings around us. The interaction with beings is replaced by the inferences based on the outward manifestation of behavior. The world, then, is an object, and by looking at things, empirically, one can understand the truth. This is the approach of the positivist paradigm, in which the content of knowledge consists of objective truths or facts and the knower can gather these facts as information. The knower then becomes a recipient of information who has to process it to assimilate into the preexisting categories or to make new ones for reproducing that information as and when required. The universe of educational studies is largely dominated by an understanding of the processes and purposes based on the discipline of psychology and the positivist paradigm is the basis of most of the personality theories in Psychology. Neverthel ess, psychology has expanded itself with the understanding of philosophies like existentialism and phenomenology to fill this gap. This movement is the response to the cry against the objectivity of science and the psychological theories based on the scientific model. As we move from the subject-object interaction towards the subject-subject interaction, we realize that the self itself requires the other to define itself. This other is not an object though it may be an inanimate thing. Then everything around one becomes a walking mirror for one to see the image of oneself in all and all in oneself. The interactions, then, are not with persons but with projected images of ones own self, sometimes even to the extent of denying the others existence. With these images, one identifies and because of these identifications, one emotes. Because of this identification on believes that he can understand the other, empathize and make predictions about his behavior. Other people are part of ones totality in ones sameness and this primary way of being-in-the-world with others seems to be quite egocentric. It is to say that we are always being-in-a-situation, where our being as selves is inseparable from a shared, meaningful life-world. This inter-subjective of the subject-subject is the focus in the phenomenological inquiry. This intersubjectivity refers to the contents, not the context, of consciousness and addresses the psychological domain rather than philosophical issues and this intersubjectivity is preceded by the subjectivity of the participants. The intersubjectivity refers to the coming together of already existing and experiencing subjects, where they have separate consciousnesses being shaped interdependently by their interaction. This incorporates in itself the notions of self as ego, which is there to experience the world. Nevertheless, Husserls idea of the other seems to be quite close to the above elaboration, The other then is a phenomenological modification of myself, for Husserl, grasped only within my ownness. This grasping is on the basis of something like analogy. Just as a primary givenness is experienced in perception, memory affords a kind of secondary givenness (Moran, 2000. p.177). Hegel claims that, such subject-object identity, such self-consciousness, exists perfectly only in love (Beiser, 1949.p.113) in which the subject and object, self and other, realize their natures through one another, they recognize itself only through the other. This is possible because, there is a single structure of self-consciousness holding between self and other: the self knows itself in the other as the other knows itself in the self (ibid.). Levinas, however, uses two different words for speaking of the other; the non-personal other in general and the other person, as the Other. Levinas claims that the self-other relation is not reciprocal, but rather that there is a priority of the other over the self. This is what he calls the asymmetry of the relation between self and other. The Other means for Levinas that which cannot be objectified, the sphere of subjectivity, although not understood in the spirit of mastery, but rather as founded on openness to the other (Moran, 2000. p.342). Levinas pays special emphasis on the understanding of the other for the understanding of ethics. For Levinas, ethics is never an egocentric mode of behaving, nor the construction of theories, but involves the effort to constrain ones freedom and spontaneity in order to be open to the other person, or more precisely to allow oneself to be constrained by the other (Ibid. p.321). Lacan uses a similar classification in which the other is, the other who is not really other, but a reflection and projection of the EGO (Evans, 2006. p.135) and the Other designates, the radical alterity, an other-ness which transcends the illusory otherness of the imaginary because it cannot be assimilated through identification (ibid. p.136). Lacan explains that the child, during the mirror stage, acquires the sense of self at the price of his self becoming an-other that is distinct from him and visible in the reflection of the mirror. However, the inherent continuity in the relation of the I and the other in intersubjectivity as opposed to the distinction of the I and the other emerges through Bubers writings. This intersubjectivity is different from the Inter-subjectivity that refers to how the consciousness of participating subjects is in interaction during an experience. The understanding of intersubjectivity that Buber explicates here is that the intersubjectivity is from the whole being of an individual and this is its most radical meaning. Therefore, intersubjectivity now can be conceptualized as a process of co-creativity, where relationship is ontologically primary. The being of any one subject is dependent on the being of all other subjects in the relationship. Here, intersubjectivity precedes subjectivity. Further Buber (1958, p.1) wrote, There is no I taken in itself, but only the I of the primary word I-Thou and the I of the primary word I-It. Here, the I-It refers to the subject-object and the inter-subjective of the subject-subject ways of interaction. The I-It is the primary word of experiencing and using of the positivist paradigm in which the I is distant from the object. It takes place within a man; it is entirely subjective and lacking in mutuality whether in knowing, feeling, or acting, it is the subject-object relation. Whereas in I -Thou, the inter in intersubjectivity refers to an interpenetrating subjectivity which is holistically mutual. The I-Thou is not limited to men but may include the whole world. Thus in the silent or spoken dialogue between the I and the Thou both personality and knowledge come into being. Unlike the subject-object knowledge of the I-It relation, the knowing of the I-Thou relation takes place neither in the subjective nor the objective, the emotional nor the rational, but in the between -the reciprocal relationship of whole and active beings (Friedman, p.60). The questions, then which the researcher is left with, after this very preliminary and tentative probe are around the three areas probed so far and may lead to other areas like the Self in relation to the above and to implications of the Consciousness or Self, I, inter-subjective and the Other. Some of the questions my be articulated as under: How has the movement in the understanding from the subject-object interaction of the positivist paradigm to the subject-subject interaction of phenomenology helped us in our understanding of the other? What is the relation between the self and the other? Does the phenomenological entails the merging of the I in the other or does it endanger the other by consumption and annihilation? How does the understanding of the I, the other, inter-subjective and intersubjectivity impact on pedagogy? How does our understanding of Dialogue develop with our understanding of the I, the other and the intersubjectivity? Does our understanding of the I, the other, inter-subjective and Intersubjectivity affects our understanding of the Values, Selfhood and Consciousness? Will a study of the I, the Other, inter-subjective and the Intersubjectivity lead us to the probe the normalize, i.e. in the realm of ethics and axiology, when contextualized in education,

War in Iraq :: Politics Political History Government Essays

War in Iraq Introduction In 1979, President Bakr resigned under pressure from Hussein, who then became president. Immediately after his succession, Hussein called a Baath Party meeting and had all of his opposition systematically murdered. As president, Hussein continued to reinforce his power base by enlarging security forces and employing family members in the government. One 1984 analysis indicated that 50 percent of Iraqis were either employed by the government or military or had a family member who was -- thus making the population intimately connected to and dominated by Hussein. For the past two decades, Hussein has tyrannically ruled Iraq. He started a war with Iran, and his invasion of Kuwait led to the Persian Gulf War. While his abuses are widespread, opposition groups receive little popular support, and uprisings have been minor and easily squelched. Fear of reprisals forced nearly unanimous positive votes for Hussein in the 1995 and 2002 referendums on the presidency. In addition, many in the Middle East seem to believe that if Hussein is deposed the country will break into pieces, leading to more problems in the already troubled region. Iran-Iraq War (1980-1988) Gulf War I The Iran-Iraq War permanently altered the course of Iraqi history. It strained Iraqi political and social life, and led to severe economic dislocations. Viewed from a historical perspective, the outbreak of hostilities in 1980 was, in part, just another phase of the ancient Persian-Arab conflict that had been fueled by twentieth-century border disputes. Many observers, however, believe that Saddam Hussein's decision to invade Iran was a personal miscalculation based on ambition and a sense of vulnerability. Saddam Hussein, despite having made significant strides in forging an Iraqi nation-state, feared that Iran's new revolutionary leadership would threaten Iraq's delicate SunniShia balance and would exploit Iraq's geostrategic vulnerabilities--Iraq's minimal access to the Persian Gulf, for example. In this respect, Saddam Hussein's decision to invade Iran has historical precedent; the ancient rulers of Mesopotamia, fearing internal strife and foreign conquest, also engaged in freque nt battles with the peoples of the highlands. Iraq and Iran had engaged in border clashes for many years and had revived the dormant Shatt al Arab waterway dispute in 1979. Iraq claimed the 200-kilometer channel up to the Iranian shore as its territory, while Iran insisted that the thalweg--a line running down the middle of the waterway--negotiated last in 1975, was the official border. The Iraqis, especially the Baath leadership, regarded the 1975 treaty as merely a truce, not a definitive settlement.

Piping Plover :: science

Piping Plover Introduction The piping plover, a bird now going extinct, was once very bountiful. When an animal is going extinct, it could mean a lot of things. The Piping Plover is an endangered species. An endangered species is a name for a plant or animal that is slowly dying out. This bird is experiencing population drops, so it is called endangered. It is known to scientists as the Charadrius Melodus (ES: Piping Plover). It mainly resides around the Great Lakes and sometimes lives along the Atlantic coast in Canada and the United States (Piping Plover Page). Piping plovers are sometimes found in Alberta as well (ES: Piping Plover). People used to hunt this bird for sport, or for it’s feathers, which was a leading cause of its dramatic decline in population (Piping Plover Page). Piping plovers always return to the spot in which they were born, and find females to breed with (Piping Plover Page). They woo the female, and mate with her, producing eggs. Many efforts are being made to maintain, and incr ease the population of this struggling bird, and so far, they have maintained the species very well. Habitat The Piping Plover is a small, endangered bird. It is otherwise known as the Charadrius Melodus (ES: Piping Plover). It lives, and breeds along the Atlantic coast of Canada, but usually around the Great Lakes, in Canada and the U.S.A (Piping Plover Page). Recently, it has been found in the Wasaga Beach area (Springwater News). This bird has not been seen in this area since 1978, so an area of Beach 1, where the Nottawasaga River enters Nottawasaga Bay was fenced off, and could remain closed until July (Springwater News). It also lives in and around Alberta (ES: Piping Plover). These birds generally live on or close to beaches and lakes, usually places with water. This bird generally likes to be around places with sand, like beaches, because it can blend easily. The bird has a back that is sandy brown in colour, so predators can’t see it (Piping Plover Page). They are constantly losing their habitat to buildings, pollution of lakes and ponds, and clearing of forests. Why the Species is At-Risk This bird was added to the list of endangered species in 1986, when a total count of 300 was produced in the Alberta region (Piping Plover Page). There was a significantly large drop in the Plover population in the twentieth century, because people wanted them for their feathers, and also hunted them for sport (Piping Plover Page).

Impressionism and Earth Art

Impressionism and Earth Art When one hears the term Impressionism or Earth Art, one can already presume and expect what sort of depiction each movement would present without having any prior knowledge of them. Impressionism, which began in the sass's, often depicted scenes and the artists' impression of nature and, modest yet vivacious quarters of Paris. Now almost exactly one hundred years later, a completely new form of art takes the place of the prior paintings of those subject matters, actually inside -called Earth Art. In France, 1875, a new genre of painting began to emerge.These paintings demonstrated a fleeting outcome of colors. Impressionists aimed to capture that immediate moment of their subjects which provided a sense of spontaneity. These sudden bursts of color and light had taken the public by surprise -who had adapted to observing rather conservative, academic paintings with somber shades of colors. It was the first most dramatic change in style, expression and revolu tionized painting throughout Europe and eventually the world. For Earth artists, they all had similar objectives as well.It was now taking their imaginations to the outdoors as well as raise awareness towards the environment. This form of art is almost like three- emotional version of Impressionism landscape pieces, but with a more defined arrangement and form. Earth artists made of use of the materials the landscapes offered such as dirt and rocks. The leaders of their respective movements, Claude Monet and Robert Smithson both began completely new eras of art. Claude Monet started off as a realist and Robert Smithson started as a conceptual artist.Monet wanted to create an impression of what he saw and defied the norms of realistic, bibliographic paintings. The thickness and low consistency of his oil paints allowed him to dramatically express his impression of his subject matter. His paintings mainly consist of landscapes, water lilies in particular. Smithson also took the initia tive to start something completely new. Smithson pieces were meant to gradually perish through time and nature. It was a theme throughout all his works, whether it was his art or his writing -the theme of time.Smithson aimed and successfully displayed the delicateness of nature in such a commercial environment. In 1873, Motet's pieces entitled Impression; Sunrise initiated the spark which would soon become Impressionism. Louis Leroy, the critic, declared this painting incomplete, that it was solely a sketch of Motet's impression and this resulted in the hole movement being coined by this piece. Monet conveys vague forms through his short, natural brushstrokes of his oil paints. The constant altering of light and color are effectively represented through the shadows and contrasting of the pure colors.This piece, Spiral Jetty (1970), is already exceptional in a sense that there is no exact set way to observe it. From afar, from above, up close, each different view gives off a differen t sensation. Smithson implements the use of black basalt, limestone rocks, dirt and the earth itself to create this seemingly effortless spiral. It is a staggering Engel of 1,600 feet, smoothly extending into Salt Lake City, Utah. Both pieces use a body of water as the foreground, but different focal points. Motet's piece has a dark boat figure and bright sun which contrasts the more composed shades of green, blues and yellows.Spiral Jetty doesn't necessarily contrast greatly color-wise but in form. The elongated, linear movement of the spiral with a Jagged texture is distinct from the uniformity of the ocean. Initially looking at the two pieces, Haystacks, Morning Snow Effect and Spiral Hill, there is already a similarity in form of the central objects. The haystack and the hill ACH have a trilateral shape and upward motion. Smithson evidently creates circular motion up the hill. Often through the use of circular motion and shapes, he demonstrates his theme of time, the chronologic al cycle.Through Motet's piece, he also embraces the notion of time but more so of a moment in time. Although the brushstrokes of the oil paints are rather rough, the softness of the colors and contrasts emit the serenity of a winter morning. The appropriate choices of colors, the soft yellows, blues and grey, capture the essence of the bitter cold winter morning but also the warmth of a morning sun. The murky cast shadow of the haystack illustrates the progression and movement of the sunrise. This atmosphere in Motet's painting clearly depicted and established whereas Smithson piece is transposable.Depending on the time and day at Men, Holland, the weather can alter the impression it imprints. Wet, gloomy weather versus a warm summer day, each produce a different foreground. Rain or snow, along with the black soil and white sand that Smithson utilized for this piece, can affect the color and shade of the materials as well as the texture. Though Claude Monet and Robert Smithson idea s are a century apart, they both had significant effect on society and the history of art. Their contributions and efforts lead art history to keep moving to what it is today.