Definition Of Energy Crisis Importance Of Energy Environmental Sciences Essay

Meaning Of Energy Crisis Importance Of Energy Environmental Sciences Essay A vitality emergency is any extraordinary blockage in gracefully of vitality assets to an economy. It regularly alludes to a decline in the gracefully of power when contrasted with its interest. None can prevent the significance from securing vitality in todays world. Vitality drives keeps an eye on residential life, industry, agribusiness, and his vehicles, and so forth. At whatever point there is a capacity of vitality varying backgrounds are influenced. Pakistan face an extreme vitality emergency nowadays. Present vitality emergency has passed all the past ones. Pakistan has introduced limit of about 19500MW. The significant donors of this figure are WAPDA, KESC, IPPs and PAEC. WAPDA creates 11327MW and minority partakes in the all out populace of vitality in the nation. KESC contributes 1756MW, PAEC 427MW and IPPs 5500MW. The nation takes this measure of vitality from three fundamental sources: HYDREL, THERMAL, and NUCLEAR. HYDREL power is 6444MW, from which Tarbela power plant, Mangla power plant and Ghazi Barotha power plant. The principle commitment towards the nation complete force is from warm source. This sort of vitality is delivered by Rental force plant(RPPS) and Independent force plant(IPPs) under power of private force board. Pakistan nuclear vitality commission (PAEC) is creating power from atomic fuel sources. Karachi atomic plant and chashma atomic force plant are delivering 472MW of power. Pakistan has ability to create 50,000MW vitality from hydrel source just yet it delivered just 6444MW out of this figure. The nation has complete coal save is 185 billion tones which can serve the nation vitality circumstance for quite a long time. The beach front belt of Sindh separate 1046 Km has wind vitality capability of 50,000 MW as per a few assessments. Pakistan has daylight span of around sixteen hours every day and a year a year and this daylight can produce around 100,000 MW of power for Pakistan, practically liberated from cost. The current forc e creation of nation from all sources is around 13000 MW, Whereas request is around 17500 MW. Consequently this noteworthy balance between the interest and flexibly of intensity and this uniqueness has pushed the nation in emergency. It has been evaluated that all out vitality prerequisites of the nation in 2030 will be around 160,000 MW, Whereas present age limit of the framework is just 19,000MW. Luckily Pakistan is equipped for this gathering objective with the potential available to its. For instance, its hydrel potential is near 40,000MW, Gas can delivered 50,000MW, coal can created all the more then 50,000MW, and the equalization of 1000MW can be delivered by atomic force plants. Just the need of time is better strategy making. Vitality emergency has its sweeping desolates from monetary to public activity. The variables which had prompted this circumstance would be talked about in the pervious sections. Modern development in like manner the interest of power has been duplicated in the previous scarcely any year however, the administration and concerned specialists have neglected to stay up with the developing requests of mechanical area and agribusiness segment. Farming division has become throughout the years with its own strain over the force dissemination condition yet not foreseen by the approach. Farming utilization of power was about 11% in 2005-2006 which rose upto 14%, as indicated by FBS. The pace of increment sought after is commonly more noteworthy than the pace of age of intensity. In this way, the outcome is vitality deficiency. Another factor answerable for vitality emergency is degenerate acts of the majority in a joint effort with the concerned specialists. Power burglary is contained especially in remote. The workers of wapda and kesc are engaged with this force robbery by giving unlawful associations with the individuals. Individuals additionally appreciate more th an one meter in a similar home to dodge duty, It has partitioned the assortment of income and furthermore causes loss of intensity. Line misfortunes of power during its appropriation from the site of creation to a definitive buyer are high in Pakistan attributable to its components. The circulation lines are in Pakistan either obsolete and harmed, there is no legitimate support of these lines. Line misfortunes from 20% of the absolute influence transmitted through the lines. It implies 20 units of each 100 units is squandered and not paid by the customer. The underlying foundations of the vitality emergency can be found to just about two decades back with advert of exceptionally liberal 1994 approach for free force maker (IPPs). With this strategy an emotional move happened in the age source and it made the nation prisoner of a sporadic rising and falling in number or sum in global oil and gas costs. The current reason for vitality emergency is over dependence on costly imported fuel blend. Before the usage of 1994 strategy the nation power age was trusted on fuel blend roughly 70 or 30 on the side of hydro warm. This changed significantly throughout the following decade and fuel blend become 30percent hydro a 70percent warm before the finish of 2010. The expense of this approach could be comprehended with the accompanying examination. Wapda is producing power from hydro source at Rs.1.03 kwh, While in open division warm force plant gave the equivalent at Rs.8.5 kwh. Anyway the (IPPs), gave the equivalent at Rs.9.58 kwh. This cost exp anded for the buyer because of line misfortunes and robbery in the transmission and dissemination frameworks. Not just single megawatt of power has been added to Pakistan national matrix stations since 2000 record breaking financial development and populace extension. In this land, favored with quick streaming waterways, there is no explanation behind us to not build our hydel ability to bring down power cost, Inter focal trust deficiency, in regards to the area of dams is a significant reason for this low hydel creation. All the more critically, those down streams dont need to see a lot of wellsprings of water decreased. The undertaking of kala bagh dam was conceived(responsible) practically 50 years back. Had it been built on time Pakistan would not confronted the vitality issue that it is tested today. Essentially gavader maga venture has been worked by china and balochistan is its greatest recipient however its own common administration is raising a wide range of genuine issues with make it dubious. World over coal based force is modest and biggest wellspring of intensity age. The wealth of this modest influence in the influence blend of a nation pulls down the normal cost of influence and greater power modest and reasonable. Coal based force isn't advanced science. It is intermediated innovation and takes a normal of three years for a coal power plant task to come on stream. The interest for power is ever expanding however no maga venture has been begun since the beginning of vitality emergency. As per a few gauges the interest of intensity is expanding at a pace of 9% while the creation rate has expanded by 7% as it were. It has added to vitality emergency. Not just the new age limit was added to the framework yet in addition the transmission and circulation organize was overhaul. Pakistan has seen a populace blast throughout the years. It had populace of around 84,254,000 of every 1981 with 28.8% individuals living in urban communities. Current populace of the nation is assessed to be 17,800,0000 with 32.2% individuals living in urban regions. In any case, the age of intensity and populace increment have stayed out of this stage with each other driving vitality lack.

Free Essays on Platos Apology

Plato’s Apology Socrates was an extremely basic man who didn't have numerous material belongings and talked in a plain, conversational way. Recognizing his own obliviousness, he occupied with discussions with individuals professing to be specialists, for the most part in moral issues. By posing straightforward inquiries, Socrates continuously uncovered that these individuals were in reality confounded and knew nothing about the issues about which they professed to be a specialist. Socrates felt that the journey for astuteness and the guidance of others through discourse and request were the most elevated points throughout everyday life. He felt that The unexamined life does not merit living. Plato's Apology is the discourse Socrates made at his preliminary. Socrates was accused of not perceiving the divine beings perceived by the state and undermining the young people of Athens. In The Apology, Socrates endeavored to protect himself. He talked in an exceptionally basic, straightforward way. He clarified that he had no involvement in the law and courts and that he wou! ld simply use genuineness and unequivocal quality. He likewise clarified that he carried on in the manner that he did on account of a prescience by the prophet at Delphi, which guaranteed that he was the savvies of all men. Recognizing that he was oblivious in many things, Socrates presumed that he should be more shrewd than other men just in that he realized that he knew nothing. Socrates clarified that he thought of it as his obligation to address individuals so as to uncover their bogus shrewdness as numbness. By doing this, the young people of Athens started to respect him and follow in his manners. Nonetheless, Socrates got a lot of disdain and outrage from the individuals he humiliated. He accepted that he because put being investigated was on the grounds that he humiliated numerous individuals. Socrates contrasted himself with a gadfly stinging the languid pony, which is the Athenian state. Without him, Socrates guaranteed, the state would float into a profound rest, howe ver through his impact it tends to be awakened. Socrates was seen as liable by... Free Essays on Plato's Apology Free Essays on Plato's Apology Plato’s Apology Socrates was an exceptionally basic man who didn't have numerous material belongings and talked in a plain, conversational way. Recognizing his own obliviousness, he occupied with discussions with individuals professing to be specialists, generally in moral issues. By posing basic inquiries, Socrates bit by bit uncovered that these individuals were in certainty extremely befuddled and knew nothing about the issues about which they professed to be a specialist. Socrates felt that the mission for astuteness and the guidance of others through discourse and request were the most noteworthy points throughout everyday life. He felt that The unexamined life does not merit living. Plato's Apology is the discourse Socrates made at his preliminary. Socrates was accused of not perceiving the divine beings perceived by the state and adulterating the young people of Athens. In The Apology, Socrates endeavored to protect himself. He talked in a straightforward, simple way. He clarified tha t he had no involvement in the law and courts and that he wou! ld simply use genuineness and straightforwardness. He likewise clarified that he acted in the manner that he did on account of a prescience by the prophet at Delphi, which guaranteed that he was the smartest of all men. Recognizing that he was uninformed in many things, Socrates reasoned that he should be savvier than other men just in that he realized that he knew nothing. Socrates clarified that he thought of it as his obligation to address individuals so as to uncover their bogus astuteness as obliviousness. By doing this, the young people of Athens started to respect him and follow in his manners. In any case, Socrates got a lot of contempt and outrage from the individuals he humiliated. He accepted that he because put being investigated was on the grounds that he humiliated numerous individuals. Socrates contrasted himself with a gadfly stinging the sluggish pony, which is the Athenian state. Without him, Socrates asserted, the state would float into a profound rest, howeve r through his impact it tends to be awakened. Socrates was seen as liable by...

The Basics of Informative Essay Topics

The Basics of Informative Essay TopicsInformative essays are those that offer basic information about a certain topic that you're writing about. These topics are often selected in consultation with an academic advisor and can be of various types. Some types of informative essays include reviews, tutorials, introductory essays, opinions and the list goes on.Informative essay topics are all about helping the reader understand the information that you're presenting to them. The rules for these topics vary by subject matter. For example, reviews are written to inform the reader of the value of the product and how well it works. Tutorials, on the other hand, are written to provide information to the reader on a certain subject.However, many authors find that giving too much information may make their subjects too confusing and they want to keep their informative explanatory essay topics brief. For example, if you're writing an opinion article you might want to put an introductory paragrap h that introduces your points. This will allow you to move on and present your facts in a way that is simple to read. You may also want to make sure that your information is presented in an organized way and that your topic isn't too broad.As an author, the most difficult part of being successful with your informative essay topics is finding an unbiased perspective to use. When you go to a school or university, you might have a professor or an instructor who can provide the correct facts on a topic for you. Using the opinions of others can help your essay make sense and can even be your best friend when writing about a topic that has too many different viewpoints.This will work especially well for informative explanatory essay topics that are difficult to understand. This is why it's important to research the topic and its context to make sure that you can present all the facts in an easy to understand manner. It's also helpful to know how the topic can be used to solve a problem or to come up with a solution to an issue.When you are writing informative explanatory essay topics, the best method to follow is to analyze the facts that you are presenting to find out what the best way is to communicate them. There are many different ways to do this, and you should experiment with the best method that you can think of. Once you've found the best way to communicate your topic, you can then start writing the rest of the essay in that particular way.When you are writing a specific essay that requires a lot of analysis or that requires a lot of information, you should try to stick to one particular style. It might seem like a hassle to change your styles and your way of writing, but once you begin writing your essays you'll find that the quality of your work will improve drastically. This is because you'll be able to narrow down your topics and your essay writing techniques will become very precise.It's also important to remember that the most successful essays are the ones that provide comprehensive information about a certain topic and informative explanatory essay topics are no exception. So no matter what type of essay you are writing, don't give up when you don't like the format or when you aren't making any headway with your topic. Keep at it and you'll soon get better at writing informative and interesting essays.

History of Taxonomy Essay - 849 Words

History of Taxonomy Taxonomy has a long history, spanning the course of over 2,000 years. It has grown and developed into one of the major branches of biology. Today, it is a universal methodology of grouping organisms according to their characteristics and their evolutionary history. (Source: Modern Biology 337) One of the oldest known systems of classification is that of Aristotle, who lived around 300 B.C. Dichotomies, or polar opposites, were what Aristotle based his division of the complexity of life upon. He divided organisms into two primary groups: animals and plants. Then, he applied his dichotomy-based classification to these two groups. For instance, Aristotle divided animals into†¦show more content†¦Swiss botanist Caspar Bauhin, who classifed an extensive list of plants, used Cesalpinos method in his cataloguing. Bauhin was also the first to organize plants into a crude system that resembles modern genera and species. The 16th century also marked significant advancement in the classification of animals. Pierre Belon, a French naturalist, conducted extensive research and classification of birds. Using habitat adaptation as a standard of dividing birds into groups (i.e. aquatic birds, wading birds, birds of prey, perching birds, and land birds, all categories still used informally today) was first started by Belon. In the 17th century, English naturalist John Ray followed in Andrea Cesalpinos footsteps and used character weighting when grouping organisms. Except, he grouped animals, while Cesalpino had grouped plants. (Microsoft Encarta 2003 Classification) This rapid increase in discovery of organisms led to two major problems in Aristotles classification system. For one, using a common name to name an organism was not universal, as there were many places throughout the world, each with their own language. So, what would be cat in England would be gato in Spain, to name one example. 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Arts Dissertation - Do You Call That Art - Free Essay Example

Sample details Pages: 20 Words: 5941 Downloads: 6 Date added: 2017/06/26 Category Statistics Essay Did you like this example? T: Do you call that art? I just dont see how something like could be called art, I just dont see it. Where is the form, where is the beauty? Is that not what art is for; to hint at universal truths, to uncover answers to fundamental questions about our human condition? To make us experience a kind of immortal truth, Beauty is truth, truth beauty that is all/Ye know on earth, and all ye need to know. (Keats, 1908: 14) Is that not what Keats said? To be honest I fail to see how an unmade bed surrounded by the detritus of a good night out can be classed as either. Don’t waste time! Our writers will create an original "Arts Dissertation Do You Call That Art?" essay for you Create order It is just sensationalism, pure sensationalism and should not be allowed into an art gallery. S: I suppose it has some merits doesnt it? T: No, none at all as far as I am concerned. What does it say? What does it mean? Where is the skill in its construction? Why, anyone could make that, look, it is only made out of every day items, theres no paint, no clay, no stone, none of the traditional tools of the artist. My six year old child could have made that, in fact he does every morning after a restless night. S: I read some interesting reviews on it. T: What do reviewers know? Listen to this: La Giaconda is, in the truest sense, Leonardos masterpiece, the revealing instance of his mode of thought and work. In suggestiveness, only the Melancholia of Durer is comparable to it; and no crude symbolism disturbs the effect of its subdued and graceful mystery (Pater, 1948: 264) That is both a reviewer and artist coming together in a perfect symbiosis of artistic appreciation, Walter Pater was a man of great intellect and understood the genius of Da Vinci in an intimate way. What is spoken of here lifts the everyday into the world of aesthetics and art, it transforms the daily life, it consoles and palliates, it makes the hardships seem worthwhile and the little pains of life worth bearing. S: Yes, I see that, but does that not apply to artists like Tracey Emin and Damian Hurst too? T: Do you feel palliated by this unmade bed? Do you feel as though your pain is soothed by a bisected sheep? These images serve only to make us feel worse, to highlight our pain, to capitalise on our misfortunes. These are the things that modern art work on, these are the emotions that they stir up; depression, sadness and alienation. Is that art? Is that worth bothering about, buying or funding? S: I dont know, perhaps if we were to look at them more carefully. Isnt art just a matter of taste anyway? T: Ah but taste is a complex thing and has been hotly debated in art history and philosophy. In some ways it goes right to the heart of our experience of art and literature as a whole. Two of the most interesting and most important theories concerning taste come, of course, from the English thinker David Hume and Immanuel Kant, both of these philosophers, in their own way, asserted the existence and importance of the notion of taste and aesthetic judgment. Hume saw that education and experience would enable men (and women) to acquire taste; the more art we see, the more books we read, the more films we see and the more music we listen to the more we learn about what is good and what is bad in art. For instance, if I had only seen one picture in my entire life, say of a cottage in a mountain glade surrounded by pink and blue flowers, then it goes without saying that this must be the best painting I know and, ipso facto that I must be of the opinion that this is the best painting in the world. The same, I suppose, goes for a situation where the only sculpture I had seen was this unmade bed, then I would naturally think it was masterpiece and hail it as the finest work of art ever made. Well, according to David Hume, the more I see the more educated I become, the more my taste develops. Therefore if I were to view, say, Eugene Delacroixs Massacre at Chios, that depicts a scene from the Greco-Turkish war of 1824 and is painted with both subtlety and strength, I would automatically think this was better than an unmade bed. If I then chanced to view a Renoir or a Rossetti then I might think that these were better. You see how this works? You see how, through education and experience my taste broadens and becomes more refined. S: But I still do not see who defines what is good and what is bad for the rest of us? Taste is relative isnt it? T: To an extent, says Hume, but taste as a benchmark and as a standard is set by those who are educated most. It stands to reason, does it not, that those who are educated and experienced most will know the most about a particular given subject. When your car needs a service what sort of mechanic do you choose? S: A good one? T: Yes, a good one, but what is a good mechanic? Is it a good mechanic someone who has had no or very little experience with cars, is it someone who has only ever seen or worked on one car the whole of their lives? No, you would choose the mechanic with the most experience, the mechanic who has worked on hundreds, perhaps thousands of cars. S: Yes, I suppose I would. T: So, could we not say that that mechanic is an expert, at least over the other mechanic who has seen very few cars? S: Yes. T: Well, it would that mechanic who sets the standard. What if he told you your engine needed replacing? S: I would believe him. T: Exactly, and if the inexperience mechanic told you it didnt, who would you believe? Who would you think was telling you the right thing? S: Probably the experienced mechanic, he after all is more educated and more experienced so he must know what he is talking about. T: So why is it so different with taste? Why is it so difficult to believe that those with most experience set the taste for the rest of us? Taste is intersubjective, it is founded on agreement and consensus. This was Humes great notion. It does not exist as an objective notion nor purly subjective but somewhere in between. Joshua Reynolds encapsulates it well when he says The arts would lie open for ever to caprice and casualty, if those who are to judge of their excellencies had no settled principles by which they are to regulate their decisions, and the merit or defect of performances were to be determined by unguided fancy (Reynolds, 1992: 182). Although, of course, Reynolds himself saw taste as being intrinsically fixed and established in the nature of things. S: So, what about Kant? How did he see taste and aesthetic judgement? T: For Kant, taste came secondary to the notion of beauty. There was, he thought such a notion as intrinsic beauty; a beauty that existed outside of taste, outside of the capriciousness of fashion, a beauty that is, to quote Keats again A Joy forever. Kants philosophy extended far and wide, his works like The Critique of Pure Reason and The Critique of Practical Reason sought to classify and quantify exactly what it was to be human, not just in an ontological sense but in the sense of how we experience the world; how we perceive things and, most importantly, how we reason about these things. In fact Bertrand Russell says in his A History of Western Philosophy that According to Kant, the outer world causes only the matter of sensation, but our mental apparatus orders this matter in space and time, and supplies concepts by means of which we understand experience. (Russell, 1979: 680) In order to experience the world, thought Kant, we label many of the things we sense, often in ways that are unconscious or arbitrary. Take this bench, for instance, we both know this is a bench and that it is for sitting on but we only know this because it has certain characteristics as distinct from, say, that fire extinguisher over there. It is made of wood, it is flat, it has four legs etc. etc. The bench is out in the world (Cummiskey, 1996: 78) and thus our experience of it informs our idea of what it is. For Kant there was no such thing as an a priori knowledge; nothing, he said could be divorced from our experience of it. S: But how, then, if we know this is a bench through our perception of it out in the world can we ever know beauty. Beauty, after all is not out in the world, it is surely a priori? We must have an idea of beauty before something can be classed as beautiful. I understand that, for Hume this is based on consensus, but this does not fit in with Kants ideas. T: For Kant, beauty does exist in the world but not, perhaps in the way that we might assume. He noticed that we classify and label things according to the purpose they have for us as human beings. We have a notion of the bench because it is good for us to sit down on and take a rest every now and then. Beauty on the other hand can not be eaten or smelt or even touched, however it is in every culture every civilisation known to man so, in some ways at least, it must be intrinsic to our needs. Beauty and art have a purposeless purpose. S: How can a purpose be purposeless? T: Let me explain: when I see a picture by Monet for instance, it inspires feelings in me of contemplation and of emotion. I am touched by the delicate brushwork, I am moved by the images. If I see a beautiful flower I feel the same thing. I do not find the flower beautiful because I want to eat it or because it gives me an actual benefit in the real world but because it promotes a kind of internal pleasure, a psychological harmony. This is what Kant thought of the beautiful. If we begin to attach meaning to art by deliberately making it ugly or adapting it for our own psychological or socio-political ends we ruin its initial purity and lose a valuable part of its nature. Kant said Taste is the faculty of estimating an object or mode of representation by means of a delight or aversion apart from any interest. The object of such a delight is called beautiful(Kant, 1972: 479). This is why Kant regarded Nature as representing a higher plain than man made art, simply because it does not have the other aspects, the poetic, artificial meaning. This unmade bed is neither of these situations, it is neither a depiction of the sublime in Nature not does it evoke a universal response. It simply is, like the unmade bed that it mirrors, because of this is can not be art. However, if we take a picture from the Romantic movement of Nineteenth century, for example, such as Turners The Fighting Temeraire (1838) or Landscape with a Distant River and Bay (1840) we can see that what the artist is striving for is a universal achievement of beauty; a beauty that is invested in the very paint he uses, a beauty that arises from the purity of the image; the colours, the brushwork, the setting. S: So, for Kant, the artist is the translator of that sense of beauty? T: Yes, for Kant, only the artist or the man of genius can truly be said to be a translator of these universal truths. His theories gave way to the march of the Romantic movement in Europe and artists like Turner, William Etty and Landseer and writers like Wordsworth, Coleridge and Shelley. Let us think, for example, of the painting The Leaping Horse by John Constable (1825). What do we see in this painting? We see the majesty of Nature, not only in terms of the visual images of the sky, the clouds and the trees but in the way that this is translated through the human experience. The figure in the foreground is pictured not merely against Nature but in it, existing within it and being a part of it. There is a directness of vision here that reflects Kants assertions on the place of the artist within society. The artists role, he said, was to translate the experience of the sublime, of the beauty of Nature, into the synthetic medium of art. This unmade bed, or the bisected sheep of Hurst or even the daubings of Jackson Pollock do not attempt to do this and so, in my opinion at least, are not art in the slightest. A: I beg to differ with you. They turn to see A standing behind them. A: What do you see there? S: I see an unmade bed, I see rubbish, I see magazines, tissues, cigarette butts. A: I see an idea, a concept, a representation of truth. As you said, truth is beauty, right? T: No, actually what I said was Beauty is truth and truth beauty there is a world of difference between those two ideas. A: Yes perhaps, and I would agree with you, maybe this work is not about beauty in the Kantian sense, it is not about a universal notion of what is beautiful, what is sublime but it has everything to do with what the world means to us and how we interpret our own experiences of life. In his first manifesto on Surrealism, Breton says The marvellous is not the same in every period of history: it partakes in some obscure way of a sort of general revelation only the fragments of which come down to us: they are the romantic ruins, the modern mannequin or any other symbol capable of affecting the human sensibility(Breton, 1990: 16). All we have now are shards of aesthetic philosophy that have made their way down to us. S: So you are saying Kant and Hume were wrong? A: No, I am saying they were right in their time. We have been let down by their structures; the notions of truth and beauty no longer mean anything to us in this postmodern age. T: Postmodern? Does that word even mean anything? A: Well, yes, Modernism as a philosophical construct can be seen to stem from the Enlightenment of the mid Eighteenth century. S: I thought Modernism happen just after the First World War? A: Yes in a way, the artistic and literary movement hails from then but, in terms of philosophy and, of course, aesthetics, Modernism can be seen to be founded much earlier with thinkers such as Rousseau, Locke, Hobbes, Bishop Berkely and others. Later, of course, this manifested itself in philosophies of Kant, Hegel and Marx. S: So, what do these thinkers tell us about what art is and why this work should be called art? A: Well it was not so much what they said about art that is of importance as how they say it. Modernism, as Jean Francois Lyotard says in his study The Postmodern Condition: A Report on Knowledge, relied on metanarratives, all encompassing notions like truth, beauty, the body and even the self to provide a foundation for its philosophies. The Enlightenment is considered the birth of the modern because it asserted the primacy of the individual consciousness and the reason upon which it was based; it signalled a split from the religious dogma and the superstition of the Renaissance and Middle Ages. The art, the music and the literature all reflected the birth of this new idea. Postmodernism is not so much the rejection of this as a melancholic outcome of its demise and failures. I am sure there is not one thinker in the whole postmodern canon who would not find it agreeable to rely on concrete notions like beauty and truth, but what are they? That is what postmodernism asks us, they have failed us. Foucaults poetic evocation at the end of his history of human sciences is as good as any at expression this idea: As the archaeology of our thought easily shows, man is an invention of recent date. And one perhaps nearing its end. If those arrangements were to disappear as they appeared, if some event of which we can at the moment do no more than sense the possibility without knowing either what its form will be or what it promises were to cause them to crumble, as the ground of Classical thought did, at the end of the eighteenth century, then one can certainly wager that man would be erased, like a face drawn in the sand at the edge of the sea.(Foucault, 1997: 387) The postmodern condition recognises no hierarchy of taste; it does not see taste as being universal or being classifiable in any meaningful way. With technological advances like the internet and reprographics what now is beautiful? What can even be considered original? This is the point that Walter Benjamin makes in his seminal essay The Work of Art in the Age of Mechanical Reproduction. S: So, the Modernist artists were the beginning of this, after all they experimented with style and content didnt they? As Ezra Pound said, they sought always to Make it new. A: Could we not see artistic Modernism as not so much the beginning of something new as the end of something old? Its theoretical foundations are clearly based in a number of thinkers all of which assert the importance of teleological thinking: Freud, Marx, Hegel etc. If we examine, for instance Guillaume Apollinaires series of essays and articles on the Cubists, we can see that we characterises both Cubism and Apollinaire is the sense of revolution; in both art and in conceptions of beauty. He says Greek art has a purely human conception of beauty. It took man as the measure of perfection. The art of the new painters takes the infinite universe as its ideal, and it is to the fourth dimension alone that we owe this new measure of perfection.(Harrison and Wood, 1997: 178) We can see here how, even though the nature of the artists vision has changed, his or her place hasnt. The Cubists and, indeed the Moderns as a whole (especially in terms of its literature) asserted the validity of the artist in exactly the same way as our friend here has pointed out that Kant did. T: Which I see as being a testament to the correctness of Kants vision. A: It was this that the Moderns desperately strove to cling on to, all of their experimentation, all of their theorising, all of their invention can be seen as merely an attempt to cover up the fact that what was dying, what was losing its validity was them; their special place as artists, writers and thinkers. In the postmodern age all things are equally valid as art, all things are equally worthy even an unmade bed. How does a painting like David Bombergs The Mud Bath (1914) or even Picassos Guernica (1937) reflect the ideals of Kant? They are obviously beautiful pictures and yet they have the power to terrify and to inspire awe, they do not palliate or console so much as remind us of our own death and mortality. How do they fit in with your scheme? T: You have answered your own question, they are sublime paintings. They remind us of our own place as human beings. I agree with you, times change and so does art but the notion of the artist as a translator of human emotion is an important one. Picasso was a visionary, his art was beautiful, it made one think, to cogitate, to realise ones own humanity. OK, not in the same representative way as, say Constable or Rossetti but, then again, neither did Turner, Monet or any of the Impressionists. The subtle play of colour and light, for instance in La Promenade (1875) or even the famous Waterlilies (1905) is nothing but the distillation of experience both in terms of the artists heightened sensibility and training. The same can be said of Picasso or Braque or any of the so called Moderns that you speak of. The form is of no importance, forms and fashions change, what matters is the importance of the artist. There are recent artists who manage to combine both an artistic brilliance with a clear understanding of exactly what art means. Take someone like Lucien Freud, for instance, his paintings do not inspire one in the traditional sense of the word. They do not remind one of beauty in the same way Botticelli does or Poussin, however he asks questions about the human condition whilst displaying an artistic talent, or skill if you will. Freuds pictures are about what is like to be human, about what it is like to have a body that is constantly dying, that is betraying the young person that you still are on the inside. His naked self portraits are concerned with my point exactly: with the place of the artist in society. It is their role to exorcise the ghosts. A: Art should not be a religious experience. T: You are wrong, thats exactly what it should be. A: Art is about reflecting whats here and now not what is eternal. The work of Tracey Emin is as valid as Lucien Freud, as valid as Picasso as valid as Turner and as valid as Rembrandt because it is a product of a time that recognises no universal truths, no absolute hierarchies and no metanarratives. T: But how, then do you judge? How do you decide what should be in an art gallery and what isnt? Do you simply open the doors and let everyone in? A: Yes. T: But thats absurd, where would that led us? A: What are you afraid of? What have you got to lose? S: What is there to lose by the destruction of the discourses of truth and beauty? A: Well, this is at the heart of the question of whether this work is a work of art. What is there to lose by saying it isnt? We have seen the failure of realism in describing the truth about the human condition and we have seen the failure of abstraction in describing the truth about human emotions and mind. The only thing left for us to do is to suggest that it is the truth itself that is non-existent. S: So there is no truth left. A: There is no universal truth, the same as there is no universal sense of beauty. What is beauty after all? The Japanese have a notion they call Wabisabi, it makes up almost all of their aesthetic appreciation. Roughly translated it means imperfect or incomplete, modest or humble. It is as far from our traditional notions of Western aesthetics as we could get. There is none of the grandeur of the sublime, none of the intricacies of Vermeer or Zoffany just the simplicity of line and the imperfection of creativity. S: You mean Wabisabi actively encourages imperfection? A: Yes, it is an intrinsic ingredient of the Japanese aesthetic, but the important point is that aesthetic notions change from country to country from time to time, therefore it is an impossibility for them to be a universal ideal as our friend here seems to think. S: But is it art, this unmade bed? A: Is it in an art gallery? S: Yes. A: It must be art then. T: So you are saying anything that is in an art gallery is art, how ridiculous. That means anything I bring into this gallery could be called art. My dog? The shoes on my feet? The flask I have in my bag? At least we know where we are with the universal notion of beauty. It may not be perfect, in fact it may far from perfect but it is solid, it is not ever-changing or open to this mumbo jumbo that you are talking of. You speak as though everyone were an artist, as though everyone could lay claim to being a Picasso or a Matisse. A: Well, in a way, yes, I am. For postmodernism to work we must adopt a number of responsibilities and positions as well as reject old ones. We must be aware of our actions, Of course that means realising that, perhaps, the whole system of aesthetics needs re-evaluating. Media such as the Internet and increased access to cheap means of publishing means that it is becoming easier and easier to publish ones work and get it to a wide audience. Many musicians have found this out and have started making their work available for Internet downloads and many artists are using technology to challenge the boundaries of the traditional routes into the art world. This has got to be a good thing hasnt it? S: So, what you are saying is that because of changes in society, because of this postmodernism thing the old ideas about what is beautiful, what is true, what is art become irrelevant. In their place is a series of individual judgements based on context. If I put a light switch into a gallery a s a light switch it is not art, if I put it in as art then it is? A: Exactly. S: So it has a linguistic base your argument? If I say something is art, it is? T: This all sounds like rubbish to me. Art has a function in the real world, to be beautiful or at least to make us realise our own humanity or humanness. If we do not draw boundaries, if we dont make distinctions between art and the rest of the world we cheapen art. A: Or we elevate life! T: Take for example Hegels aesthetics theory. For Kant, existence, and along with it art and culture, could only be witnessed in a subjective sense, in other words only bits of the larger picture could be seen by anyone at any one time. It would be impossible to see the whole. Hegel disagreed with this and stated that, if we used reason, we could look at the entire universe at once. S: But thats clearly impossible isnt it? How can we look at anything other than through subjectivity? T: Think about the philosophy of science, physics, chemistry, do they not claim to be able to look at the entire world at once? There is no suggestion in medicine, for instance that we find a cure for TB in a subjective way. An integral part of the truth of the discovery is that it is reproducible, objective and quantifiable, in other words that it is being viewed in some kind of universal way. Israel Knox has a fine quote about Hegels method Hegel exalted reason to an eminence from which it could have an adequate and cordinated knowledge of the whole of reality of reality as the incessant temporal forward march of the Absolute, of Spirit, of God.(Knox,1958: 81). It is reason that is at the basis of scientific discovery so why can not reason be at the heart of Aesthetic theory? A: Because reason is an outmoded construct. T: Let me finish! For Hegel, art is a reflection of Geist, which can be translated as either spirit or mind. In Hegel the two are much the same thing the mind and the spirit could be thought of as the defining entity in man; it is the thing that distinguishes him from anything else. His humanness, if you will. Geist is a manifestation of the order of the universe, the phenomenology of Geist is existence and its highest expression is art and philosophy. In this Hegel disagrees with Kant who, as we saw, thought that Nature was the most beautiful of all things. If art is an expression of Geist and Geist itself is a manifestation of the orderliness or reason of the universe, then it follows that the greatest art must be that which mirrors most succinctly this universal sense. For Hegel, art transcends nature precisely because it is a manifestation of mans spirit. You see, Hegel believed in a system he called dialectics. In the Preface to his Phenomenology of Spirit (1977) (or mind, of c ourse) he outlined his grand scheme of things and one that he was to go on to relate to art in his Introductory Lectures on Aesthetics (1993) of the 1820s. The dialectic is the grand working of history, it describes how progression can be achieved by thesis, antithesis and synthesis rather than relying on the idea of a continual advancement. In art, as in everything, first an antithesis establishes an idea, say the classical period of art; here we have a number of philosophies, ways of seeing and ideas that go up to making what we know about the world. However this is very rarely enough, this is never would we call exhaustive. Our culture, in order to progress, needs an antithesis. The classical period of art then, gave way to a period of Romanticism whereby artists and writers developed startling new ideas and notions that would transform art into something completely new. This second notion is the antithesis, it describes not a backward movement but a negation that can propel things forward; that can ensure a synthesis is formed that unites the two and causes forward momentum. For Hegel, this happens in all walks of life, from ideas and science to art and literature. He takes the great periods of art and shows how they interacted with each, succeeding schools challenging preceding schools and so on until eventually there will be an end to art where we have reached a final stage of enlightenment and there is no longer any need for dialectics. Hegel sees that reflected in his own age, with its use of reason and beauty and its synthesis of ideas and notions. Look at this bed, I see no spirit in this, I see no manifestation of Geist here, I see a manifestation of damp and mildew but very little else. This is not art because it does not conform to any of the notions I have been talking about, there is nothing here of the majesty of the universe nothing that lifts us above our everyday experience, in fact it is our everyday experience. S: I can see how Hegels philosophy makes art seem reasonable and structured, I can see that there is a progression from one idea to another. After all, if you look at a painting of the classical period it looks nothing like a painting of today, does it? Hegel must be right; art must be a reflection of some universal spirit that finds its expression in an ever progressing artistic movement. A: But, of course, if that is the case where is the end point? S: The end point? A: Yes, according to Hegel and the other philosophers of Modernism like Marx, the dialectical process inevitably advances, it has to lead to some end point. In Marx it was the glories of revolution and a Marxist state, in Hegel it was the enlightened mind. For their philosophies to have any form of truth in them this end point needs to taken into account but, where is this end point? Where has it gone? We have had almost 150 years of Marxism and over 200 hundred years of Hegelianism but still there is no sign of reaching the end point that they speak of. Consider this, for Hegel the crowning glory of civilization was his own, and therefore our, age. This was the time at which art and literature, music and culture reached its highest point, the point at which Geist was reflected most in societys artifacts. T: Yes, that is what I said. A: According to that philosophy there can only be progression, there can only be forward motion through dialectics; art, literature, culture can only get better. T: Yes, surly. A: But where is this enlightened society? If anything, society is getting more dangerous, more violent. The canonical image is that of Auschwitz, how can Auschwitz be a symbol of a society getting more enlightened and reflecting the reason of the universal unity? If anything it is a sign that it is getting less enlightened. What about the Russian Gulags, they challenge both Hegel and Marx and the same time! On the one hand they make us question the idealist dialectic of Hegel by suggesting that, far from getting more and more enlightened, society is getting more and more barbaric and, on the other, it questions Marxs dialectical materialism by asking where is this glorious revolution that was promised? What we have is not a series of structured progressions based around thesis and antithesis at all but an ad hoc collection of ideas that are organised retrospectively by history. S: So what does this mean for art? A: Well it means that, not only are the ideas in Hegels aesthetics challenged but also that his very methodology is as well. It was this failure that Adorno and Horkheimer traced in their ground breaking work The Dialectic of Enlightenment (1997). It is not so much that postmodernism negates modernism or reason but that it shows up its failings. In an interesting reworking of Odysseus and the Sirens in their book, Adorno and Horkheimer suggest that there is forever a socio-political aspect to art that precludes it from ever being a universal given. Odysseus plugs the ears of his sailors with wax so that they can not hear the song of the Sirens but he ties himself to the mast, fully able to hear. S: What does this mean for art though? A: Well, it means, for one thing that the experience of the Sirens song (a clear symbol for art) depends upon who you are in the ship. If you are a sailor you only know the dangers of the song, you are blissfully unaware of its terrible beauty and alluring qualities and if you are Odysseus you are know the beauty and the terror but you have the pain and responsibility of denial. The song remains the same, only the listeners change. S: So the value of art, its meaning and the way it is received is dependant upon who you are? Captain or sailor? That sounds reasonable. A: It is and how, given all we have said about it, can anyone argue for a stable basis for the judgment of art, there is not even a stable basis for art itself. T: Of course, you realize what you are saying here? A: Tell me. T: There is no such thing as art, art, truth, beauty none of these really exist. A: Yes, that is exactly what I am saying. T: But the world obviously does not work like that. For instance, we are in an art gallery, right? A: Right. T: So someone must have made a value judgment and you are in this art gallery, so you must have a judgment, an aesthetic judgment that what you can see here is art, are you with me so far? A: Yes, yes, carry on. T: Well, you are arguing a paradox. On the one hand you say nothing is

Perceptual Form Organization - 854 Words

Week 4 - Chapter 4 Review 1. Your visual receptors have begun to receive, translate, and transmit the contours of the letters on this exam to your brain. You are therefore engaged in the process of _____. a) selection b) organization c) reading d) sensation x 2. The key functions of sensation and perception are respectively: _____. a) stimulation and transduction b) transmission and coding c) detection and interpretation d) interpretation and transmission 3. When you first put your clothes on this morning you felt them on your skin, but within minutes you no longer noticed them. This is an example of _____. a) sensory accommodation b) sensory adaptation x c) habituation d) the fabric of your life 4. Pain†¦show more content†¦a) is presented during a person s motivational need state b) manipulates people without their knowing about it c) is presented below the threshold of a person s conscious awareness d) none of these options 11. Experiments on subliminal perception have _____. a) supported the existence of the phenomenon, but it has little or no effect on persuasion b) shown that subliminal perception occurs only among children and some adolescents c) shown that subliminal messsages affect only people who are highly suggestible d) failed to support the phenomenon 12. Your aiblity to raed thsi sntenece desipte its mnay mssipllengis is deu to ____. a) bottom-up processing b) integration c) top-down processing d) cognitive flexibility 13. Naomi and Karl have been corresponding over the internet. Karl wants her to attach a photograph of herself to her next message. Naomi wants Karl to find her attractive. Which of the following factors explains why she should send him a picture of herself alone, rather than one that includes her truly gorgeous roommate standing next to her? a) personal motivation b) expectation c) frame of reference d) all of these options 14. 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Reason for the Success of IKEA-Free-Samples-Myassignmenthelp.com

Question: Discuss about the Fundamental Reason for the Success of IKEA. Answer: Introduction: Logistic management of an organization works as one of the key success factors of the organization that helps the organization to provide quality service to their consumers (Mrquez, Pardo and Nieto 2015). In this era of globalization where every business organization is expanding their business to the every corner of the world, it has become essential for the organizational managements to maintain a strong and effective supply chain along with the logistics management (Ringsberg and Lumsden 2016). It is often evident that many business organizations face several challenges due to failure of the logistics management. Thus, all the business leaders implement all the required and efficient techniques to strengthen logistic service. IKEA is known for its world class and stylish furniture (Stadtler 2015). The journey of IKEA has been started since 1943. It has put significant impact on the world of furniture by providing high quality service to the consumers. The organizational management of IKEA pays close attention to their logistics and supply chain along with the quality of the products. They are aware of the fact that it is not possible to grab the attention of the large number of consumers without meeting the expectation level of the consumers by providing uninterrupted service to the consumers within the desired time span (ikea.com 2017). The following article has concentrated on the logistic service of IKEA that works as a major strength of the organization. It has enlightened various aspects of its logistics management, which help the organization to flourish day by day. The Fundamental Reason for the Success of IKEA: According to the reports, IKEA delivers more than thousands products daily which requires a strong supply chain management along with the strong logistic management (Waters and Rinsler 2014). The primary objective of the organizational management of IKEA is to provide flawless service to their large number of potential and loyal consumers. In order to achieve the desired target, it is highly essential for the organization to maintain strong, scientific logistic service. There are some key reasons that has strengthen the logistic service of the organization, such as Full Control: IKEA management has full control over the logistic service of the organization. In order to offer high quality service to the consumers under all kind of circumstances, the organizational monitor the performance of the logistic service and employees who are appointed to provide quality service to the consumers. It helps the organization to identify any kind of loopholes in their logistic service, which is highly beneficial for maintaining long-term logistic service. By adopting such practices, the organizational management can easily overcome many future risks that can destroy the reputation of the organization (Reimann and Rolfson 2016). Flow of Goods: The efficient and effective flow of goods among the stores of IKEA is one of the key reasons for the success of the logistic service of the organization. It ensures quality service to the consumers in an affordable price. The leaders of IKEA believe in teamwork. Efficient logistic staffs of IKEA pick up the manufactured products from the firms and deliver the products to the stores where the team unload the products from the trucks and other vehicles and reload it in the shelves and racks of the stores carefully. Although, it is not a part of the logistic service, it is important to provide quality products to the consumers. Hence, the organizational management considers the fact in their logistic service as well (Garca-Arca et al. 2014). Managing Logistics: The organizational management maintains effective communication with all the members of the logistics service to strengthen the logistic service. They supervise all the activities of the employees to ensure that they are motivated to perform their role in an appropriate manner. It helps them to maintain a strong logistics and supply chain management, which is the key success factor of the organization. They appoint all the modern techniques to maintain regular communication with the employees who are appointed for the logistic service (Lebherz and Hartmann 2017). Experienced Employees: Another key weapon of IKEA is their skilled and experienced employees who are aware of their role and responsibility towards the organization. The leaders of IKEA pay close attention while recruiting staff members for their logistic service. They always appoint skilled and efficient employees who possess quality experience in the respective field. It helps them to participate actively in the organizational operation. The leaders of the organization make sure that all the employees are aware of their role and responsibility towards the organization. They often conduct training session for the employees where they provide training to the employees about the modern techniques and working style. It helps the employees to adopt modern skills, which put strong impact on the performance of the employees. Employees are considered as one of the key pillars of the organization that plays major role in the success of the organization. Hence, the leaders of IKEA consider e fact while designing t heir organizational structure (Lebherz and Hartmann 2017). As discussed in the earlier section, these skills have distinguished IKEA from other business organization that has faced massive failure in the logistic section. There are many successful and leading business organizations that have failed in maintaining effective logistic service to provide uninterrupted service to the consumers. An exemplary example of such business organization is Apple. In 2001, the organizational management of Apple fails to provide enough iPods to the potential consumers. It worked as a weak link for the organization. It has led the organization to face an awful consequence. Another major reason for such failure is miscommunication between the employees, Apple authority and misleading of the leaders. It is the responsibility of the leaders to ensure that staff members of the organization are contributing their best performance for the benefit of the organization. Moreover, they need to ensure logistics service of the organization is working properly. However, the apple authority has failed to perform their roe in an appropriate manner, which led the organization to meet the deadly consequence. Although, Apple is a renowned name in the technological industry, the organization was about loose a large number of loyal consumers due to this incident (Johnsen, Howard and Miemczyk 2014). Competitive Advantage: The competitive nature of the market has been enhanced in the past few years due to the arrival of many strong rival companies in every sector (Szymonik and Bielecki 2015). Every business organization is trying to incorporate efficient and modern technologies every now and then to stimulate the organizational function and survive in this competitive era. It has become mandatory for every business organization to enhance their competitive advantage to survive in the competitive era and battle against the competitors (Banaszyk and Fimi?ska-Banaszyk 2016). In this scenario, IKEA also faces various challenges every now and then in the industry while performing due to high competitive nature of the market. In order to overcome these challenges the organizational management needs to enhance their competitive advantage. It will be beneficial for the organization to achieve the desired position in the market. Although, IKEA is considered as a giant in the furnishing industry, the organizatio n must enhance and maintain its competitive advantage. In order to achieve the desired target the organizational leaders of IKEA needs to follow some steps, such as- Effective Communication: The organizational management needs o maintain strong and effective communication with the employees and suppliers and distributors. Communication is the key for success of every business organization. It helps the organization to maintain transparency within and outside the organization, which is highly required to achieve the long-term organizational goal. The organizational management must adopt all the modern technologies to interact effectively with the members of the organization supply chain and logistics service. It will help the leaders of the IKEA to maintain regular communication with the suppliers, distributors, consumers and employees. By adopting such practices, the can give a vivid idea about the requirement and demand of the loyal consumers which will help them to perform in an appropriate manner (Komassi and Pal 2015). Committed Employees: Although, the IKEA authority aims at appointing loyal and hard working employees within the organization to stimulate the performance of the organization, they need to pay more attention to influence the commitment level of the staff members. The must provide some provisions to their employees, like some extra leaves, monetary support, rewards and appreciation to the employees. It will motivate them and enhance their commitment level towards the organization. They will feel as an important part of the organization and it will shape their behaviour in an appropriate manner. The organization must appreciate their employees for their good performance. At the same time, they must stand by the side of the employees during their crises. They can provide monetary support or moral support to the employees when they are going through any kind of rough patch. It will motivate them to participate in the organizational function in an appropriate manner (Tejedor, Tejedor and Elola 2016). Modern Technologies: The organizational management needs to adopt modern technologies to strengthen their logistic and supply chain management. The advancement of the technologies has provided a wide opportunity to the business organization to provide quality service to the consumers. The leaders of IKEA need to adopt all the suitable techniques that can be beneficial for the growth of the organization. It will help them to battle against the rival companies and survive in the competitive era (Mendibil et al. 2013). Suitability for Other Organization: The previous discussed strategies are suitable for other business organization as well. It can be adopted by other business organization to enhance their competitive advantage and survive in the competitive era. As discussed in the earlier section, communication is the key success factor of every business organization (Trkman, Budler and Groznik 2015). In this modern era, where all the business organizations are operating globally it has become essential for the authority of the organization to maintain a strong interactive relation with other parts of the organization and large number of suppliers and distributors to provide uninterrupted service to the local as well as global consumers. Otherwise, the organization may become the victim of miscommunication or misunderstanding which is harmful for the growth of the organization. Thus, it is essential for the leaders of the organization to embrace all the modern communication techniques to boost up the communication structure organization to provide uninterrupted service in a large scale (Gustafsson 2017). As discussed in the earlier section employees are e of the key weapon of every organization that works for the benefit of the organization. In this competitive era, it has become mandatory for every business leaders to maintain a strong and effective relation with the internal stakeholders and maintain a peaceful environment within the organizational structure to boost up the performance of the organization. Reward and performance appraisal system works as a key for the employers to maintain healthy relation with the employees. Reward system offers a scope to the employers to appreciate their employees. At the same time, performance appraisal system helps the leaders to identify their weak and strong performers. By such practices, the organizational management can easily work on the weak points of their employees and motivate them to perform actively (Zhang and Shen 2014). Modern technologies are the bliss for every business organization. It helps them to boost up the organizational function. Modern technologies have left no stone unturned to lead the business organization to achieve the desired target. Business organization often embraces new and modern techniques to stimulate the performance of the organization. In order to provide quality service to the large number of consumers, it is highly beneficial to adopt modern techniques (Mendibil et al. 2013). Thus, it can be stated that the techniques that have been discussed in the earlier section that is suitable for all the business organization. Sustainability: It is important for every business organization to be a responsible citizen and perform all the responsibility of a citizen to operate the organizational function in an appropriate manner. Sustainability has become one of the major concerns for the every business organization (Shi et al. 2017). Maintaining effective supply chain management and logistics management also a crucial part of the sustainability development of the organization. As per the given case study, providing high quality service to the potential consumers is an integral part of the sustainability development (Mangan and Lalwani 2016). Clients are the key element of every business organization. In order to retain loyal clients for a long period of time, a business organization must provide uninterrupted service to them. Hence, the organizational management must consider the fact while designing the organizational structure. They must not adopt any techniques that can be harm the reputation of the organization in fron t of the consumers and destroy the relation between the consumers and company. Otherwise, the organization may face many difficulties in coming future. In this competitive era, it has become essential for every business organization to maintain healthy and friendly relation with the local community and people around the organization. Strong and healthy supply chain and logistic service helps the companies to put a remarkable footprint in the world of sustainability. It distinguishes a business organization from other rival organizations and survive in the race with other business organization (Lun et al. 2016). In this scenario, the organizational management IKEA maintains its sustainability development by maintaining healthy relation with the clients and providing quality service to them. The organization does not involve in any kind of unethical practices. They maintain transparency level with their distributors and suppliers to encourage them to manage the flow of goods and raw materials. It helps the organization to earn the desired position in the industry. Being a leading furnishing company of the world, IKEA is aware of their role in the society and the organizational management pays close attention to fact while constructing the organizational structure, which helps the organization to make a strong remark in the industry (Gustafsson 2017). Conclusion: As per the previous, discussion it can be stated that the strong logistic management is the key success factor of IKEA. It has helped the organization to fight against all the challenges and obstacles to provide high quality and uninterrupted service to their target consumers. The feature of the logistic service of IKEA has distinguished it from many other leading business organizations that have face massive failure in the logistic service. In order to enhance the organizational competitive advantage, IKEA management can adopt some strategies, such as- effective communication, committed and skilled employees and modern technologies and so on. These strategies are beneficial for other business organization as well. This type of strong and effective logistic management has helped IKEA to ensure the sustainability development and maintain healthy relation with the local community and local and global consumers References: Banaszyk, P. and Fimi?ska-Banaszyk, R., 2016. Symbiotic and Parasitic Supply Chains.Research in Logistics Production,6. Garca-Arca, J., Prado-Prado, J.C. and Gonzalez-Portela Garrido, A.T., 2014. Packaging logistics: promoting sustainable efficiency in supply chains.International Journal of Physical Distribution Logistics Management,44(4), pp.325-346. Gustafsson, ., 2017. Beyond reasoning: pitfalls when developing an interdisciplinary program.Lrarlrdom, pp.25-44. ikea.com. 2017.IKEA.com. 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