Why People Refuse To Use Internet Banking Information Technology Essay

Why People Refuse To Use Internet Banking Information Technology Essay Do you consider online banking in its current state to be secure. In your experience, what are the biggest mistakes that financial services providers and their customers make that expose them to security risks? The world is changing at a staggering rate and technology is considered to be the key driver for these changes around us (Papers4you.com, 2006). An analysis of technology and its uses show that it has permeated in almost every aspect of our life. Many activities are handled electronically due the acceptance of information technology at home as well as at workplace. Internet can be seen as a truly global phenomenon that has made time and distance irrelevant to many transactions. The transformation from the traditional banking towards e-banking has been a leap change. The evolution of electronic banking started from the use of automatic teller machines (ATM) and has passed through telephone banking, direct bill payment, electronic fund transfer and the revolutionary online banking. The future of electronic banking according to some is the acceptance of WAP enabled banking and interactive-TV banking. Online banking is the future of electronic financial transactions. The rise in the e-commerce and the use of internet in its facilitation along with the enhanced online security of transactions and sensitive information has been the core reasons for the penetration of online banking in everyday life (Papers4you.com, 2006). According to the latest official figures from the Office of National Statistics (ONS, 2006) indicate that subscriptions to the internet has grown more than 50% from 15 million in 2000 to 35 million in 2005 in the UK. It has also been estimated that 60% of the population in the UK use internet in their daily lives. Why people refuse to use internet banking? Today, there are still many internet users who refuse to do their banking online. Their main reason for not doing so is the lack of online banking security. One of the reasons why they feel insecure about banking online is because of misinformationà ¢Ã¢â€š ¬Ã‚ ¦.not knowing the correct information about internet security. A study from the University of Michigan by Atul Prakash looks at design flaws that many online banking sites have today. He concluded that they fail to protect users who dont know the basics about internet security. The study focussed on design flaws rather than actual software programming weaknesses. Website design flaws are decisions or assumptions that were made by the web developers when they designed the online banking website. For example, the developers assumed that online banking users were educated about internet security. In fact, the opposite is trueà ¢Ã¢â€š ¬Ã‚ ¦.many online banking users are uneducated about basic internet security. This assumption can be taken advantage of by unscrupulous hackers. Some of the design flaws of online banking security are: Being able to access the site by using insecure HTTP, Being redirected to an untrusted site, Low security password thresholds and e-mailing confidential data to users. These are all examples of website design flaws that can lead to confidential data being leaked! Strong Passwords: As far as user password information goes, many of the sites involved in the study dont require password restrictions for users. Having low quality passwords invite themselves to being disclosed by brute-force attacks. The study also noted that having a strong password does not protect against phishing sites and key loggers. Many banks find it to be just an inconvenience for their users to force strong passwords. The online banks claimed that by enforcing a three-strike  [1]  lockout policy when incorrectly typing in a password makes brute-force attacks on low quality passwords unrealistic. However, the study found that even when a three-strike lockout policy is enforced, it can be broken if low quality passwords are allowed. For example, if you use a password that is very weak like password, hackers can successfully use automated attacks to compromise your login. This is so, even if the online bank enforces a three strike policy. The design flaw here is that online banks have assumed that users will always use strong passwords. Online banks must not assume that some online users understand basic internet security and enforce the creation of strong passwords. Well designed online banking sites will enforce strong passwords by using JavaScript  [2]  to immediately test the passwords strength. If the password is not strong enough, the user will immediately be advised by an on-screen error message or a graphic. Click here to create a password and test whether it is a strong password. Hackers and intruders have an easier time figuring passwords out when they are not frequently changed. You must change your passwords regularly, especially for your online banking password. When you change your password, the hackers would have to start over again. Online banks with strong password security policies automatically enforce users to change their passwords periodically. Typically a password creation screen will appear and you will be asked to update your password twice. You will also need to know the old password. It is harder for hackers to figure out your password if you use a number of different charactersà ¢Ã¢â€š ¬Ã‚ ¦ especially if it is a combination of letters, numbers, and symbols found in your keyboard. Of course, it will be harder for you to remember the new password, so you have to make sure you memorize the combination. A useful tip: never use passwords that are codes like your birth date, spouses name, or other relevant information because your password can be deduced quickly and easily. These coded passwords are used by a lot of people, particularly in ATM machines and email passwords. By doing this, you simply make yourself a big target to hackers. Chain of Command: The University of Michigan study by Atul Prakash also mentions websites that break the chain of trust. Often time, bank websites will redirect you to other websites without notice. These sites may not be secured by using SSL  [3]  . Many times the certificates  [4]  used are not affiliated with the bank at all and there is no way for the user to tell if they are still on the banks website or not. This makes it hard for even knowledgeable users to know if they are on a phishing  [5]  siteà ¢Ã¢â€š ¬Ã‚ ¦ or not! Some online banking sites may present secure login options within an insecure webpage. While their online banking site may offer secure logins via SSL and HTTPS  [6]  , that same webpage may be available insecurely through a HTTP  [7]  version. While redirection to a secure page may occur, if the user had already entered in credential information under the insecure page, then their credentials are at risk of being compromised. While many sites exhibited 1 or 2 of the noted flaws, there were many on the list that didnt show any flaws and offered very good security. It also went on to note that some of the sites may have even fixed the flaws noted in the study at the time when the study was released. Online Banking: Tips for Doing It Safely With the increasing popularity of the Internet as a virtual marketplace, consumers and criminals alike have capitalized on this growing community. As a result the issue of Internet security has become one of great importance, especially when it comes to online banking. However, safe banking online is not as difficult as it may seem. It simply involves making the right choices. Here are some tips that will help ensure a safe banking experience on the Internet. First, make sure that the bank you choose is legitimate. If they do not have a branch you can visit locally, then you wont have the convenience of checking them out in person. In such cases, it is advisable to read pertinent information about the bank on its site. Most financial institutions will have an About Us tab where you can read more information about the bank and its history. You should even be able to the find name and address for the banks headquarters along with a toll free number you can use to speak with a live person. Second, be aware of criminals who put up fraudulent websites under a name or web address similar to that of a credible bank. Unfortunately, these undesirables have caused some trepidation when it comes to online banking. However, they can be fairly easy to spot and avoid. These sites are designed to trick you into entering their website and providing your personal information (i.e., social security number, account number, password). Be sure you have typed the appropriate web address for your bank before accessing your account online. This can be easily ensured by book marking your banks site or adding it to your favourites in your web browser. Doing this virtually guarantees you will visit the correct site in the future. Third, safeguard your private information. Thieves would love to get a hold of your credit card numbers, banking info, social security number and other private data. Review your banks security practices. This information is usually available on their website, but you should also be able contact the bank directly if necessary. Fourth, a secure online banking site will provide encryption  [8]  . In this process, private information is scrambled in order to prevent the wrong eyes from seeing it. Some web browsers will show an icon at the bottom of your screen that looks like a key or a lock. This icon indicates that your transaction is secure and your private information has been encrypted. Hackers and bad people are constantly attempting to crack into our online accounts and access everything from our email to our online banking records for nefarious purposes. How can you stop them from easily accessing your accounts? One very important step is to use highly secure passwords that arent easily guessed or cracked by their malicious software. Most of the time theyre after easy targets and will move on if your account cant be hacked quickly. Here are five tips to help you create secure passwords for your online accounts: Dont use names, dates, phone numbers, or addresses Dont use common words from the dictionary Use a mix of lowercase letters, uppercase letters, numbers, and special characters (such as! * % where possible) Make it at least 8 characters long (longer is better) Change it often (for online banking or hosting accounts, try every month) You may want to use an online random password generator. If youre worried that you may have trouble remembering all your secure online passwords, dont resort to using the same password at multiple sites or using passwords that arent secure! Instead, consider an option like RoboForm or RoboForm Online. You can also use Firefox as your browser (its free) and allow it to save your passwords. Just be sure to use a master password to secure your passwords file. You can find details about that at http://kb.mozillazine.org/Master_password Finally, make sure that you logout of the online banking site completely. When you are finished with your online banking session, you need to be sure that you log out. If you do not physically click the log out button, you may stay signed in. Anyone who uses the computer that you used to check your bank account could then get into your bank on-line account. It could also give more time to those people who want to crack into your bank account. Checking for the lock that indicates a secure log in is crucial to being careful when using online banking. It helps you to ensure that you are giving your password and information over a secure connection. Password protection, and having a secure password, will allow you to make it difficult for others to log into your account. By logging out, you can be sure that you have stopped the connection, preventing anyone (both online or in person) from finding and using your account. You need to be responsible when using online banking to ensure that your finances are safe. It should be clear that safe online banking is not an impossible task. It simply involves being well informed and making the right decisions.

Maiden Voyage by Denton Welch Essay

This passage from Maiden Voyage by Denton Welch is an account of an adventurous European boy in China who wishes to explore the different cultures and experience the extraordinary. Yet he is overwhelmed by the barbarity of the new culture and this reveals to the reader the unexpectedness of life from the boys perspective. Through the first person narrative and detailed descriptions of the events, various themes such as teenage rebelliousness, gap between different cultures and our limited knowledge is highlighted through different literary features such as contrast, colour imagery and metaphor. From the very beginning, the juxtaposition between the inside and the outside of the European villa accentuates the differences between two cultures. Inside the villa, where the foreigners live, seems to be more secure and settled as reflected by the reference to the stable doors. The boys observation of the signs of cultivation also hints the civilised European culture inside the walls. This perhaps links to Mr Butlers comment that foreigners are not very popular and people outside and foreigners have separate communities. The main character using moth eaten balls and the old tennis racket shows that young people like himself used to stay at the villa, but not for long periods of time it is where people dont appreciate the thoughts of the young. As the plot develops, the change in the setting is emphasized by imagery. Words such as a black speck and a dark boulder are colour imageries used to foreshadow the unfavourable and unexpected event. Outside of the European villa, the human head that the boy has found implies that the culture outside is in a way, barbaric. This is supported by cruel images such as odd white teeth stood up like ninepins in its dark, gaping mouth, its cheeks and shrivelled lips were plastered black with dried blood. These images not only highlight the unfortunate and unexpected events, but also give emphasis on difference between the two cultures. The boys fear and realisation of the hostility between cultures are conveyed from the head is described through imagery. Tall rank grass grew was dry and sharp as knives. Also the second mention of the insects reminds the boy of the head, causing the boy to feel more fearful. Through the main character, the author explores various themes of maturity  and our awareness of different cultures. Readers are able to observe that the main character seems to be a boy, from him playing tennis. It is shown that he is an adventurous person as he is [longing to explore]. He [hates] to be dependent on other people and says they would never want to do what I want to do- highlighting the theme of teenage rebelliousness and his desire to be independent. His unhappiness and dissatisfaction with his quiet lifestyle is suggested when [He hits] the balls fiercely against the stable doors. The boy feels imprisoned in a European villa and a line of poplars; the orderly line of poplar implies the structured and formal environment of the villa. For the boy, even the straight line of poplars is a sign of restriction and [imprisonment]. . As an act of rebellion, he does not want to listen to the elders, but carries out what he believes to be right, without rational thinking about the consequences. . From the action of the main character, the author highlights the themes of teenage rebelliousness, difference between two cultures and acceptance of a different culture. In the line, [he] let [himself] quickly out of the back gate, the back gate has an implication that it was done in secret. This once again reinforces the theme of teenage rebelliousness as this action was disapproved by Mr Butler and Mr Roote the adults. Despite his rebellious nature, however, his immaturity and lack of knowledge are evident in his initial response to finding the head. The rather naà ¯ve observation of the head, I saw that the object was not black but pink shows that he was not able to identify what he was seeing highlighting the boys unawareness of other cultures. This colour imagery used to describe the head, helps the reader picture the situation, and senses the shock that the boy feels. The line [he] stared at it stupidly until [his] numbed sensescan be interpreted as him being stupid and numb in the understanding of other cultures. When he finally finds out that it was a human head, [he jumps back]with [horror] and [terror]. Such shock from the discovery of a new culture highlights the unexpectedness of some events in life. The boys panic is emphasized through metaphors and diction in the passage. The first cur barked as a sound imagery, contributes to the fast-flowing and panicking situation where the boy is running away from the head. Also, the  wall is a metaphor for the separation between the two cultures. The tall rank grass that is dry and sharp as knives, shows that one culture is almost trying to repel the people from another. Also, knives are an image that conveys cruelty and hostility between the two cultures. The boys horrified action and shock contributes not only to the differences of two cultures but also the lack of endeavour to tolerate these differences. In the passage from Maiden Voyage, various themes such as expectations from different cultures, teenage rebelliousness and our limited knowledge are explored though a European boys horrifying experience. These themes are supported by a variety of literary features such as colour imagery, metaphor and contrast. The authors message that people should try to accept and understand other cultures is conveyed in the passage through highlighting these main themes. Text -Foreigners are not very popular here, Mr Butler told me at breakfast. So I dont think you ought to go out alone.My heart sank. I hated to be dependent on other people. They would never want to do what I wanted to do. I began to feel imprisoned. I took up the moth-eaten balls and the old tennis racket which were lying in the hall, and went into the garden. I hit the balls fiercely against the stable doors until I was too hot and unhappy to go on. I sat brooding on the steps. I might have been in Sydenham for all I could see a European villa and a line of poplars; yet outside lay a Chinese city which I was longing to explore. After lunch I decided that I could stand it no longer. Mr Butler and Mr Roote were still deep in their mornings discussion, so I let myself quickly out of the back gate and walked along the sandy lane which led into the country. Mr Butler could not mind my walking in the country, I thought. Everything was still and silent, in an early-afternoon torpor. The only sound came from the stunted bushes which squeaked and grated linguistically as the wind passed through them. Pillars and scarves of dust and sand rose up from the ground, eddying and swirling themselves into flat sheets which hovered  in the air. Harsh spears of grass stuck up through the sand. The soles of my shoes began to burn and I looked round vainly for some shady place. I enjoyed the dreamlike stillness and wanted to stay out for as long as possible. I thought that if I walked on I might find a place. The road led towards the hills. Across the sandy plain the city walls stood up like cliffs. Turrets and bastions were ruined cottages, crumbling into the sea. I walked on, fixing my eyes on a black speck some way in front of me. I wondered if it could be a cat crouching in the middle of the road; or perhaps it was a dark boulder. As I drew nearer, a haze of flies suddenly lifted, and I saw that the object was not black but pink. The loathsome flies hovered angrily above it, buzzing like dynamos. I bent my head down to see what it was. I stared at it stupidly until my numbed senses suddenly awoke again. Then I jumped back, my throat quite dry and my stomach churning. The thing was a human head. The nose and eyes had been eaten away and the black hair was caked and grey with dust. Odd white teeth stood up like ninepins in its dark, gaping mouth. Its cheeks and shrivelled lips were plastered black with dried blood, and I saw long coarse hairs growing out of its ears. Because it was so terrible, my eyes had to return to it whenever I looked away. I stared into its raw eye-sockets until waves of sickness spread over me. Then I ran. The whole plain and the bare hills had suddenly become tinged with horror. I found myself between high banks. I would soon be coming to a village. There were signs of cultivation. When the first cur barked, I turned and ran back the way I had come. I did not know what to do. I would have to pass the head again. I tried to avoid it by making for the city walls across the pathless sand. My feet sank in, and my shoes became full and heavy. My only idea was to get  back to the house. Tall rank grass grew in the shadow of the wall. It was dry and sharp as knives. I pushed through it, looking up at the towering cliff for a gate or steps to climb. Nothing else seemed to be alive except the insects. I could only hear their buzzing and the slap of them when they hit the wall. There was no gate. I began to feel desperate. I ran towards a bastion, wondering if I could climb up to it in any way. I knew that I could not. Denton Welch, Maiden Voyage (1943)

Leadership Is The Greatest Tool Society - 1420 Words

Perhaps of all the great gifts that the study of history offers to the world, the power to look through the past to identify humanity’s greatest achievements and shortcomings are the most useful. Looking through primary and secondary documents to determine why and how society reached certain points is integral to figuring out what is to come. From humanitarians to scientists, history is the greatest tool society possesses. It supports humanity’s ambition to solve the problems of today and prepare to combat the potential problems of tomorrow. To truly understand how society grew to where it is today, leadership must be examined under a microscope. True leaders not only have noteworthy influence over what happens in their own time period, but also the world beyond their own existence. Leadership, if implemented appropriately, has the power to transcend the physical and march on with time. If this notion holds true, then one can argue that if leaders were only vessels for leadership then society would be mistaken to judge leadership on the merits of the morality of any leader. If the past is a puzzle that helps illuminate the future, then it is the obligation of humanity to look to put the pieces together. While looking to identify great leadership, it is important to sort out what leaders were better than the others. This research paper aims to engage in critically comparing two leaders, Christopher Columbus and Donna Beatriz Kimpa Vita, to determine which of the two was theShow MoreRelatedLeadership Styles : Leadership Style780 Words   |  4 PagesIntroduction Leadership style is designed according to a pioneer s behaviors, which is enveloped under behaviorist theory. Inside of this class, distinctive examples of leadership behavior are watched and classified as leadership styles. 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USS Hancock (CV-19) in World War II

The Story Of An Hour By Katherine Mansfield - 992 Words

When one thinks of marriage, it is natural to imagine a happy couple, hand-in-hand, walking towards the sunset. Many literary pieces offer a contrasting opinion of marriage, depicting trials and tribulations, heartbreak, and unhappy endings. Katherine Mansfield s Bliss and Kate Chopin s The Story of an Hour offers a look into the darkness and angst that can lie within a marriage between two lovers. Both of these works depict the perspectives of the women from these unions. Bliss and The Story of an Hour explore the pain and angst that can hide beneath the surface of what appears to be a happy marriage. Katherine Mansfield s Bliss takes the reader through a day in the life of Bertha Young as she prepares to host a dinner party with beloved friends. Bertha is filled with energy and bliss- absolute bliss!- as though you d suddenly swallowed a bright piece of that late afternoon sun and it burned in your bosom†¦(Mansfield 130). 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It was first published in the Saturday Westminster Gazette on 4 February 1922, then in the Weekly Westminster Gazette on 18 February 1922. It later appeared in The Garden Party: and Other Stories.[1] Its luxurious setting is based on Mansfields childhood home at Tinakori Road, Wellington. Plot summary The Sheridan family is preparing to host a garden party. Laura is supposed to be in charge but has trouble with theRead MoreThe Theme of Death is Crucial in Literature733 Words   |  3 Pagespeople react towards it . Whether its in The Story of An Hour by Kate Chopin, The Masque of the Red Death by Edgar Allan Poe, The Lottery by Shirley Jackson, or even The Garden Party by Katherine Mansfield, death appears to be unavoidable. Although these are different short stories, death is applied, but the authors interpretations differentiate. Within The Story of An Hour, Chopin talks about death and illustrates the significance of it. This story implies that death may actually be a blessingRead MoreAn Improbable Exciting Yankees V. Red Sox Baseball Game1586 Words   |  7 Pagest-shirts featuring the faces of athletes. Food vendors lined the sidewalks and worked quickly to serve the ever-growing lines circling their carts. Dad, Kenny, Rebecca, and I continued to move through the street in our haste to get to the car which, hours earlier, had decided to stop working entirely. The farther we moved from the stadium, the thinner the crowds became. Eventually, after about twenty minutes of walking through Boston, we had wandered far enough that there were only a few other people

Design of the Gunma Museum of Modern Art Free Essays

Gunma Museum of Modern Art The Gunma Museum of Modern art is located in the Gunma Prefecture in Japan. The building of the museum took 3 old ages from 1971 to 1974. [ one ] Arata Isozaki ( born 1931 ) was chosen to explicate the architectural designs of the Gunma Museum. We will write a custom essay sample on Design of the Gunma Museum of Modern Art or any similar topic only for you Order Now [ two ] The museum is recognized as one of his most impressive signifiers of architecture and summarizes many of Isozaki ‘s architectural ideas every bit good as his accomplishments. Even today twenty old ages after its construct, it still holds an of import significance every bit far as Isozaki ‘s architectural point of view and take on conceptual every bit good as modernistic architecture. The beginnings of conceptual art are said to hold originated with Marcelle Duchamp, the â€Å"Father of Conceptual Art† . [ three ] Duchamp ‘s work had a immense impact on and influenced Isozaki. It was against this background, and the munition of 1960 ‘s conceptual art that Isozaki ‘s drama on dematerialization was manifested through the creative activity of the gunma museum. In add-on to dematerialization, the marked architecture has a great accent on regular hexahedrons for the conceptual model of the museum. Isozaki placed himself in the same comparative postion. With respect to the function of the object in conventional art as American conceptual creative persons had done in the late sixtiess. [ four ] Artists sought to make off with the object and cut down it to a simple dematerialized geometric entity. His subsequent infatuation with grid surfaces would look to hold been inspired by the superstudio group ( who began there activities in Firenze in December 1966 ) and sol lewitts minimalist sculptures, but it was an avenue which increased instead than lessened the dematerialization of his signifier. Isozaki made it clear at the beginning that it was his purpose to avoid all historical mentions and connexions with anterior designers. He has said in an interview, †i was believing much more conceptually compared to richard meier ‘s bronz developmental centre in new York, I was believing how to destruct the traditional sense of tradition and balance- those proprotions based on the humanistic system of the aureate mean from Greece, and the kiwari†the Japanese modular system† for wood constructions. Le corbusier developed proportions related to the Greek aureate subdivision and kenzo Tange trid to unite the kawari traditional proportions with the fibonnaci series to do proportions like lupus erythematosus corbusier. I wish to get away from these traditional systems of proportion. My purpose was to contradict any significances originating from the surface any connexion with alvar Aalto and gunnar aspeld were post- design.† Herein lies the significance of the cosmopolitan grid. Its intent was to heighten the dematerialization of signifier and deny the material nature of the artefact. Dematerialization became a major concern of conceptual creative persons in the late sixtiess every bit merely in importance by the accent proccess ; what it amounted to was the purpose to do architecture as unsubstantial, unseeable, and missing weight as the mental constructs from which the signifiers sprang. This gives the visual aspect that the museum rests lightly on the green plane of lawn in Gunma-no-mori Park. The edifice was non tethered to the Earth, and the square frame of each regular hexahedron that goes across the underside is indistinguishable to the side and top members. There was no differentiation in footings of proportion between top, bottom and sides ; there was no up or down, no narrowing of the square in acknowledgment of the anisotropy of infinite to get by with the weight of the edifice mass. The aluminum-covered regular hexahedrons appear to be weightless, drifting every bit light as helium-filled balloons. The exterior of his concrete three-dimensional model with glistening trecherous surfaces realised by the medium of brooding aluminium home bases. In taking regular hexahedrons and take a firm standing that the strengthened concrete construction have the same dimensions throughout and the beams and columns the same subdivision, Isozaki ignored gravitation. †¦an abstract neoplatonic system that is unconnected with the demands of gravitation pure shapes like the regular hexahedron therefore connote a gravity-free environment such as outer infinite where stuffs have no weight. The suggestion of lightness was strengthened by covering the surface of the edifice and concealing the construction of columns and beams under a tight tegument of 2 millimeters thick aluminium panels, composed of indistinguishable square units. This unvarying square grid is expressed limitless extension in resistance to the three-dimensional frame whose function was to specify the museum. Buildings are of class made from heavy stuffs such as concrete, steel and glass, and are hence capable to a much greater extent than picture and sculpture to the pull of gravitation. Engineers have developed optimum subdivisions, beams that are deeper than they are broad to defy flexing minutes, columns that are square or unit of ammunition to defy the different types of compaction tonss, and frames designed to do the most economic usage of stuff. The museums three-dimensional thesis had it roots in the earlier Oita Prefectural library and nakayama house of 1964 and it late resurfaced in the New oita prefectural library ( 1994 ) . Subsequent designs have elaborated parts of the original gunma museum strategy giving prominence to some facets at the disbursal of others. Thus the quickest and most thorough debut to Isozaki ‘s architecture is a visit to the Gunma museum. Page 22 The Gunma Museum is non symmetrical, but it looks as though it should be. It is uncomplete as it stands. From left to compensate it consists of four parts, two of which are indistinguishable A, B, C: . To finish the bilateral symmetricalness all that is needed is to add two more parts, A, B, C: C, and ( B, A ) to it. Mentally, we are prompted to provide the mirror or impudent image. The presence of ‘C’ – an indistinguishable row of regular hexahedrons on the right side, equilibrating the left side of the symmetricalness axis, strengthens the given of bilateral symmetricalness. Page 23 Isozaki violated its implied bilateral symmetricalness and this induces an air of instability. Symmetry signifies well-proportioned, well-balanced, and it denotes a harmony of the several parts. Beauty is normally associated with symmetricalness and the grasp of form. This was ignored with the add-on of a regular hexahedron to the chief entryway facade. Alternatively of finishing the bilaterally symmetricalness Isozaki broke it. There were purely practical grounds for this – the most obvious was the propinquity of Masato Otaka’s 1979 Gunma Prefactural Museum of History 15 m off. Page 20The auditorium is located on the first floor opposite the chief step. The chief step is enclosed on two sides by walls faced in reflecting marble in between which is an unpolished cardinal strip of unthinking rock that is somewhat narrower than the step. The step rises through the spread between two rows of 12 m regular hexahedrons sandwiched between the entryway hall and disposal that ploughs its manner though the museum. The breadth of the step is hard to gauge because it is reflected in the polished marble walls on either side, giving the semblance that it extends boundlessly. * Exterior Design Page 17 On the exterior, the Museum of Modern Art was stripped back so that small else remained besides the grid and sleek mirror-like sheath of square aluminium panels. The erasure of anything which might add significance was deliberate. Although the museum is deliberately impersonal and its construction assimilated within the annoyer aluminium tegument, it is non passive- instead, it urges us to oppugn what is the nature of architecture by coercing architecture on this juncture to interrogate itself. The usage of the frame as a metaphor for a museum devoted to modern art is extremely implicative in these footings. First, it detaches the museum from the landscape and limits it, proclaiming it to be a kingdom set aside from the mundane while labeling it a topographic point specifically devoted to the art experience, at the same clip that it designates it a semisynthetic infinite. It creates a new focal point in order to direct attending to the art. In Japan the frame acts as a gesture which draws the audience into its drama of semblance and, conversely, it is a agency of taking the interior into the landscape. Isozaki conceived his basic three-dimensional model as a impersonal spacial entity for plants of art, with the model puting the plants apart from the environing park. Yet it besides draws the park equivocally indoors, while stressing that the act of sing a work of art is a specialised aesthetic act in that it places the work in a new unnaturally delimited context. Peoples tend to reject any absence of intending – where there is nil they frequently invent something in its topographic point. The more empty and blank an object is, the more it draws in intending from outside itself. The shimmering immateriality of Isozaki’s museum, its general emptiness and the upseting feeling of non-existence which emanates from it, challenges the person to add something of his ain. Ultimately we, as users and viewing audiences, provide the message and imbue objects with significance. Isozaki hence magnified the frame in its function as a device for specifying the infinite of a picture to the point that it included the museum. By extension, the museum can be seen as a cultural frame of art. Like the frame around a work of art, the museum alerts the visitant to the presence of art by extinguishing anything that might distance the person or decrease the familiarity of that experience. P13-14- A ; gt ; isozaki was therefore runing on two degrees ; utilizing a basic construction compromised of the gunma museums three-dimensional model to modulate the infinite additively giving rise to the primary signifier. At the same clip, he deployed secondary ancillary or auxiliary constructions within the basic tructure to make multiple beds and such things as sculpturer aiko miyawaki ‘s stepped tokonoma-like object at the far terminal of the entryway hall.art today is no longer tied to one topographic point, instead it is transported around the Earth traveling from one exhibition site to another. Once art is removed from its original context and placed inside a museum, and so migrates signifier museum to museum, it loses its connexion with a specific clip and topographic point. Paintings and sculptures arrive in crates complete with their ain frames and bases and small else. the art museum might so, seem every bit little more than a big container and recepticle, for hav ing displaying, and sing progressively nomadic plants of art. Isozaki decided that the gunma museum should run mostly as an enveloping model with no explicit or associatory iconography of its ain. He reasoned back since its chief map was to expose plants of art, the museum was a phase, and, as such, it needed the equivalent of a apron arch to border the work of art in the same manner the apron arch frames the phase play in theatre in the West or the phase of a Japanese noh theater. A three-dimensional model enveloping infinite in 3 dimensions hence seemed a suited metaphor for the art museum. Squares balance the co-ordinates. Because the sides of a square are equal, no dimension is overriding and this produces an consequence of hush and repose instead than dynamic instability. 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Plagiarism and Its Consequences in Tertiary Education

Question: You are required to research, analyse, discuss and provide recommendations on the following topic, through the writing of an academic style report. Topic: Plagiarism and its consequences in tertiary education, and how Plagiarism can be minimised. Answer: Abstract Plagiarism is a term being used in the current tertiary educational institutions across the globe. The actions of plagiarism in the educational systems include the activities of the students to copy entire or part of the works submitted by other students and submit the same as their own. There are a number of impacts of plagiarism on the quality of education provided by the tertiary educational institutions along with the effects on the reputation of the institutions. The report analyses several consequences of plagiarism in the tertiary educational institutions. These consequences of plagiarism are of different magnitude and intensity depending on the frequency and quantity of the plagiarised content present in the work submitted by the student. There are a number of ways of minimising plagiarism in tertiary education, some of which are analysed in this report and are also mentioned as recommendations to the educational institutions. These consequences of plagiarism along with the p reventive measures are considered to be one of the most focused module in any of the tertiary educational institutions across the globe (Bretag, 2013). Introduction The topic under analysis is, Plagiarism and its consequences in tertiary education, and how Plagiarism can be minimised. This topic focuses on the term plagiarism, which can be defined as the action of presenting others work as own work in educational institutions. The topic focuses on the plagiarism in the tertiary level of education across the world and its effects on the quality of the education. Various programs such as management degrees in the tertiary education provide the students with a number of assignments, which allows the students to utilize the knowledge gained in the prior lessons. The question of the topic focuses on the importance of minimising plagiarism in the tertiary education and the impacts of the inclusion of plagiarism in the educational activities. The educational institutions across the globe give a lot of importance to the removal of plagiarism and gives it a lot of importance as it directly impacts the quality of education provided by the institution. Thi s report tries to analyse the term plagiarism first and then tries to reveal several ways of minimising it in the tertiary educational system (Gipp, 2013). Plagiarism As mentioned earlier, plagiarism is considered to be the action of a student presenting or copying the creative work of another person as his or her own. This action can directly be compared to the theft of the intellectual property of an individual. The students of the tertiary educational system are assigned with a number of assignments and research papers to allow the teachers to evaluate the knowledge gained by the students in the lessons along with their capabilities to apply the same in the real-time scenarios. These research papers and assignments allocated to the students in the educational institutions require them to go through the study materials and utilize their creativity to apply their knowledge to real-time scenarios. This in turn makes some students to either copy some statements or entire contents from someone elses work and present the same as their own. This is considered to be plagiarism in the tertiary educational system (Masic, 2012). Consequences of plagiarism The educational institutions providing various tertiary educational programs to the individuals across the globe are very strict in terms of plagiarism in the assignments and research papers of the students. There are a number of consequences faced by the students due to the inclusion of plagiarism in their research papers and assignments in the tertiary education. Some of these consequences are mentioned in this section. Preliminary warnings/actions Generally, the teachers in the tertiary educational institutions take assignment-specific actions against the student in case of the presence of plagiarism for the first time or to a minimal extent. In such cases, the student is asked to redo the entire assignment or is given zero for the corresponding assignment, which is reflected in the final grade of the educational program. In some cases, the student is also allowed to redo the plagiarised parts of the assignment and resubmit the modified assignments (George, 2013). Failure in the corresponding course Some of the institutions are very strict in terms of minimising plagiarism in the educational system. In some of such institutions, the student is failed for the corresponding course of the program, for the submission of plagiarised work. Generally, the teacher considers a minimum and maximum limit of plagiarism contained in a submitted work before failing a student for the corresponding course (Bretag, 2013). Extreme actions Some of the educational institutions across the globe take extreme measures against plagiarism and to prevent the same in the work submitted by any of the students. In such extreme actions, the students are stripped of their ability to get a degree from the corresponding college and are not allowed to continue the corresponding educational program. Such extreme actions are generally taken against a student due to repeating instances of plagiarism in the assignments and research papers (Rodriguez, 2013). Training and other educational activities Some of the educational institutions allow the students to go through various training and seminars to learn more about the effect and consequences of plagiarism. These students are generally unaware of the plagiarism in their work and not aware of the consequences of the same (Chaddah, 2014). Minimising plagiarism There are a number of ways in which the presence of plagiarism in the tertiary educational institutions. Some of these ways are mentioned in this section. Increasing student engagement The more the students are engaged in the class activities and the assigned activities, the less is the chance of having plagiarism in the assignments and research papers. The more engagement of the students in the constructive activities in the class allows them to have a better sense of the study materials and the assigned work (Kalani, 2013). Developing questionnaires Developing questionnaires based on the subject allows the teachers to evaluate the knowledge of the students on the subject matter. This in turn ensures that the work submitted by the students dont contain any plagiarism (Baugher, 2013). Teaching about plagiarism The students should go through effective training activities to understand the effects and consequences of the presence of plagiarism in the work they submit. This in turn allows the students to have better understanding of plagiarism (Barrn-Cedeo, 2013). Using computerized tools to submit work and assignments There are a number of tools like TurnItin, which can be utilized by the educational institutions for the submission of the assignments. These tools ensure that the plagiarised work in the submitted assignments are found in an efficient manner. This in turn causes the students to avoid having plagiarised content in their work (Broussard, 2015). Conclusion The term plagiarism is gaining a lot of focus and importance in the tertiary educational institutions across the globe due to the increasing presence of the plagiarised contents in the assignments and research papers submitted by the students. The educational institutions across the globe manage the plagiarism in different ways in their courses and programs. These consequences of plagiarism range from very minimal actions to very high penalties. These consequential actions are taken against the students based on the frequency of the presence of plagiarised content in their work and the magnitude of the plagiarised content in the work submitted by the students. There are a number of ways in which the plagiarism in the tertiary educational system can be minimised and the educational institutions across the globe follow some of these ways based on a wide range of factors (Anglil-Carter, 2014). Recommendations Some of the recommendations to minimise plagiarism in the tertiary educational programs are mentioned in this section. The students can be allowed to work only on computerised platforms designed to track the activities and identify the plagiarism in the work. It should be mandated for the students to generate a plagiarism report using any of the tools available in the market, while submitting their work (Ghajarzadeh, 2013). The students should be asked to explain the process or methodology used for the completion of the assigned work. This allows the teacher to be cleared regarding the presence of plagiarism in the submitted work. The student should be asked to provide explainable and open references for the work submitted to the tertiary educational institutions, to ensure the minimal chances of plagiarism. References Anglil-Carter, S. (2014). Stolen language?: Plagiarism in writing. Routledge. Barrn-Cedeo, A., Vila, M., Mart, M. A., Rosso, P. (2013). Plagiarism meets paraphrasing: Insights for the next generation in automatic plagiarism detection. Computational Linguistics, 39(4), 917-947. Baugher, M. E. C. (2013). Plagiarism Scanning of HVACR Submissions: Making Sure Your Paper is in the Clear. HVACR Research, 19(6), 647-648. Bretag, T. (2013). Challenges in addressing plagiarism in education. PLoS Med, 10(12), e1001574. Broussard, L., Hurst, H. (2015). Plagiarism Prevention and Detection: A Challenge. Nurse educator, 40(4), 168. Chaddah, P. (2014). Not all plagiarism requires a retraction. Nature, 511(7508), 127-127. George, N. G., Thuku, J. K., Kamau, J. (2013). Plagiarism in Face of Turnitin Service: the Kenyatta University Experience. Ghajarzadeh, M., Mohammadifar, M., Safari, S. (2013). Introducing Plagiarism and Its Aspects to Medical Researchers is Essential. Anesthesiology and pain medicine, 2(4), 186-7. Gipp, B., Meuschke, N., Breitinger, C., Lipinski, M., Nrnberger, A. (2013, July). Demonstration of citation pattern analysis for plagiarism detection. In Proceedings of the 36th international ACM SIGIR conference on Research and development in information retrieval (pp. 1119-1120). ACM. Kalani, V., Twinwal, A. (2013). Plagiarism and its Consequences. Masic, I. (2012). Plagiarism in scientific publishing. Acta Inform Med, 20(4), 208-213. Rodriguez, V. (2013). Plagiarism, its consequences, and how to avoid it.