The Residential Child Care Practice Processes Social Work Essay

The Residential Child Care Practice Processes Social Work Essay To consider the process and practice of admitting young people into residential care today it is important to have an awareness of the history of residential child care. The second half of the 19th century saw the introduction of Childrens homes by philanthropists such as Victorian Gentleman William Quarrier and the Reverend Jupp. Residential child care was provided in groups of small cottages usually in rural locations. Residential child care today still contains charitable/voluntary interventions. (RGU 2007) Prior to 1983 there was no specific legislation that controlled the admission of young people into secure accommodation, an exception to this was if a young person was convicted of a serious offence through the criminal courts. In these circumstances the Secretary of State had the power to place the young person in a place of security. A hearing could name a specific school for a young person or child but it was left to the head of the establishment as to whether or not the placement was in a secure or open setting. This meant that the child could be moved between the units within the residential establishment without informing the hearing system. This raised concerns that the European Convention of Human Rights was being breached by Scotland. The three heads of the existing establishments and the Scottish office set out criteria for admission into secure accommodation. This resulted in new legislation being added to the health and social services and social adjudications Act (1993) which took effect from 1st February 1984. (Secure in the Knowledge, 2005, p7, p8) Scandals that led to public enquiries involving the standards of residential care for children and young people have also contributed to the higher level of care now provided. Grounds for referral: The reasons a child or young person is referred to the reporter and childrens hearing system vary, the child may have been abused physically or sexually or both. They may have been absent from school without reasonable cause, offended, been a victim of an offence or bullying, misused drugs or alcohol, be out with parental control, or any combination of these could be grounds for referral. (Childrens hearings 2011) Referral: The foundation of the childrens hearing system has laid out the following guidelines for the childrens reporter and panel. When a Reporter receives a referral, they will undertake an initial investigation to decide what course of action, if any, is in the child or young persons best interests. The Reporter has to consider whether there is enough evidence to support the grounds of the referral and then decide whether compulsory measures of supervision are required. The Reporter has statutory discretion when deciding the next step, they may à ¢Ã¢â€š ¬Ã‚ ¢ decide that no further action is required. The child or young person and usually the parent or appropriate person will be informed of any decision in writing. à ¢Ã¢â€š ¬Ã‚ ¢ refer the child or young person to the local authority so that advice, guidance and/or assistance can be given on an informal and voluntary basis. This usually involves support from a social worker. à ¢Ã¢â€š ¬Ã‚ ¢ arrange a childrens hearing because they consider that compulsory measures of supervision are required for the child. A childrens hearing panel is made up of three members of the public who have had training in this area. It must be made up of both male and female members and aims to have a balance of age and experience. One of the panel members will chair the hearing. The hearing thinks about and makes decisions on the welfare of the child or young person, taking into account all of the relevant circumstances, including any risk taking and offending behaviours. (ibid) According to Getting it Right for Every Child (GIRFEC) Consultation Pack on the Review of the Childrens Hearings System, the most common decision for disposal of a hearing is a supervision requirement. This means that the child will have contact with a social worker or other identified professional on a regular basis. The child or young person will have to meet certain criteria. This is as well as other people and professionals having to do specific tasks to work with the child or young person. A supervision requirement can have any condition attached if the hearing thinks it will help the child or young person. The local authority has to put the supervision requirement into action. Some examples of conditions attached to disposals are: seeing your appointed social worker regularly; attending a special programme to address their behaviours; being placed in foster care or in a residential school or in a secure unit because of particular concerns; victim-awareness and/or mediation. (GI RFEC) Pre-admission: Requests for placements must normally be made by Practice Team Workers. Exceptions to this are out-of-hours Referrals from the Emergency Social Work Services or emergency Referrals through the Criminal Justice system from Court Social Workers. Once initial requests for placement are received and considered appropriate, and then the referring worker will be required to complete our Secure Referrals Application Form. This will then be considered by the next meeting of the Secure Referral Group. The main principles that guide this decision are: Secure Accommodation must only be used as the last resort and all secure placements must be for the shortest time possible. (Edinburgh Secure Services 2009) It is always better if there is a transition plan put into place for a child or young person coming into care but this is not always available as the child or young person may have a secure warrant attached to them or they may have to be accommodated imideatly for their safety or the safety of others. Admission: The admission process is the same for all children and young people who are entering the care system. This is however a more relaxed process if the child or young person has a planned transition into care. A transition plan follows a basic four week plan. This is not set in stone but the principals are. Week 1 induction, this is a chance for the keyworker to become familiar with the young persons background and file, do risk assessments based on the available information and start to develop a transition plan. Week 2 transition plan, this will include meeting the young person discussing the care plan and putting a transition plan with visits to the unit into place. Week 3 introducing the young person to the open unit through meeting staff and other young people, Week 4 building on Week 3, within the secure environment there would be preparation for endings. The keyworker from the secure unit would also visit the young person in the open unit during the move and once they have moved to provide support for their transition. (ibid) By following these guidelines the trauma of being admitted into care can be minimised although the child or young person will still suffer the feelings of loss and separation from their family, community and peers. Elizabeth, Kubler Ross describes the stages of separation and loss as D.A.B.D.A, Denial, Anger, Bargaining, Depression, and Acceptance. These stages of grief can also be applied to a young person going into care and will not necessarily follow any set order. (Kubler Ross, 1969) Anthropologist Kalervo Oberg discussed four stages of culture shock which an individual can go through when entering a strange culture. These stages can also be related to a young person entering into care. The four stages of culture shock are described as, the honeymoon period, the crisis phase, the adjustment phase and adaptation. Young people coming into care often display behaviours that they would not normally use, this will include being really quiet, angry, violent, hostil and submissive before they accept the new milieu they find themselves in. Staff in the unit can also assist in a less traumatic transition by assisting the young person to decorate their bedroom with posters and personal effects to make them feel more at home. Facilitating contact with parents or careers and ensuring the child is made to feel welcome in the unit by introducing them to the other residents and staff. Institutionalism is the syndrome which is now used to describe a set of poorly adapted behaviours that are induced by the pressures of living in any institutional setting. (McNown, Miriam. Johnson Rhodes, Rita. 2007) There is always a danger of becoming institutionalized when staying in care for extended periods, by trying to promote a sense of self and personal identity within the young people this is less likely to happen. If a young person is to be secured under section 70 of the Children (Scotland) Act 1995 they have no involvement in the identification of a placement. The resources available may mean that the child is placed out with their geographical area. This is an institutional response which is in direct conflict with the rights of the child; thought also needs to be given to statutory requirements and the law. The national care standards for care describe what each individual child should expect from their time in care. The relevant section is beginning your stay standards 1-7. The standards are grouped under headings that follow the child or young persons journey through the service. The significant ones in this case are Beginning your stay (standards 1 to 7) 1 Arriving for the first time 2 First meetings 3 Keeping in touch with people who are important to you 4 Support arrangements 5 Your environment 6 Feeling safe and secure 7 Management and staffing arrangement By following these standards admission trauma can be minimized and the young person will be able to continue to have a sense of self and personal identity. Forming new attachments is another area that a young person coming into care can find problematic, a securely attached child, according to, Mary Ainsworth, in the Strange Situation study, exhibit distress when separated from caregivers. Edinburgh children and Families department are now working towards an attachment promoting model of care. This will work in conjunction with anti-oppressive and anti-discriminatory practice. It is vitally important to us that young people are able to develop their identity within a positive environment. Therefore, we will not tolerate any unfair treatment or discrimination of young people which is based on their age, gender, culture, race, religious practices or beliefs, sexual orientation or indeed any other characteristic of the young person that they have a right to hold or express. (Edinburgh Secure Services 2009) In 1989, governments worldwide promised all children the same rights by adopting the UN Convention on the Rights of the Child. These rights are based on what a child needs to survive, grow, participate and fulfil their potential. They apply equally to every child, regardless of who they are, or where they are from. (GIRFEC) Within the care setting it is vital that all children have access to a childrens rights officer to act as an advocate for the young people who are looked after by Children families Services. The Care Commission was set up in April 2002 under the Regulation of Care (Scotland) Act 2001 Regulation of Care (Scotland) Act 2001 to regulate all adult, child and independent healthcare services in Scotland. From 1 April 2011 a new regulatory body, Social Care and Social Work Improvement Scotland (SCSWIS), is responsible for regulating social services. (National Care Standards)

The Role Of The Art Director Film Studies Essay

The Role Of The Art Director Film Studies Essay A firm and imagined set helps to bring forth a good visual and a better output. This is to the desire of the person who is putting up a set and what does it mean and how does it help him as many cannot be done without the help of sets. When coming to how I chose this topic is simple, everyone gets a shiver when we see some of the greatest movies of all times and the sets which they use in those are the ones which brings the environment and finish to the film as and when there are no sets and we want a finish a set is the most competent one and gives life to the stars surroundings and the entire output. This is why I had chose my topic as a cinema set as these have been around for most of a century and continuous and keeps growing vast in size and importance and with at most popularity where we can have a set of cave than going and finding a real one. This is a topic which has inspired me to create my own set for the short film I have shot and the set is the most important aspect of t he whole film as it deals with various periods of the cine time and how it changes due to the ongoing changes in time and people. The set has been made in a manner to resemble an old street feel in of the late 50s and how it went about the later decades and it has changed according to cinema and personnel. Some when seen has a spark and we would like to take another look at it cause of its structure and the glow its gives out and feel it resembles to be. This is the main aspect of the set as it creates a whole new being to the stage where the actors perform and it helps to bring out the best in them by giving out a specialness in the whole frame and that to it can be done only when the set is put with the likeness of how it should look or the way it has been imagined for the right kind of story and how do we get the best of it and to make sure it has been put up well and to be in frame in the right kind and not to be undefined as a not good. This is all into the art of a set how it is imagined and put up for the right kind of shoot and important it suits all aspects from dressing to the smallest detail as without a set there is no background and this takes us to the very beginning to show a set is important than all. ART DIRECTORS and their WORK: When we go to see a film to the theater, are we aware of the fact and truth that every single aspect of the set has been carefully designed by an art director and his conceptions. They are the ones that develop concepts and review the entire material that appears in films and theaters, and they are the ones who ultimately decide how to present the performance, so it is awe/eye-catching, gracefully appealing and captivating to all the audiences present.  The art directors happen to organize and direct the most technical and artistic part of aspects of motion pictures, live stage productions and day to day television shows by designing proper sets, matching costumes, correct furnishings and props to create an accurate portrayals and resemblance of various time periods and decade settings. These art directors are the ones responsible for the overall look and proper presentation of films, live television shows and live stage productions. They do have a very strong sense of vision and e nduring style. However as to them their jobs can vary much greatly depending on the type of medium they work with.   An art directors first and foremost job is to read the script or screenplay and to know on what period it is. Once they get to know the proper material, then they begin to do extended research about the time period in which a live stage play or film is set. If the set time period is of the present day, then their work is not too difficult and they can improvise on it. But however if a film is set in Queen Elizabethan times and Mughals period, the art director must go through and read history books about the past time period, by most possibly visit the various museums and art galleries on them to learn about the dress fashions, furniture and architecture of the time period. This is a bit very important because a film about the Queen Elizabethan period must be sort of accurate, to believable and have the proper costumes, props and other set design elements. If the art director is not careful and an extra artist is wearing an outfit/costume from a different period, then the audiences an d film critics could criticize the film for not being properly researched and looked upon. And finally, the art director also has to oversee the costume and dress design, props and setting designs to make sure that they portray the proper time period realistically and accordingly.    The art directors have to do everything behind the scenes and they consult with the film directors, film producers and production managers about all aspects of a work they have to do and how it has to be done. They must also make sure that they meaning the cost is to staying within of the film companys budget when purchasing props, proper set designs and other special effects items which have been asked for. Art directors bring the imagined stories to life existence through the visual components and art work. They work with the films technical directors and other crew members to plan films camera angles and set lighting to start with their work.   In the films, due to the explosion and outbreak of animation, vfx and technological special effects in many types of fantasy and adventure kind of genres, art directors are hired to supervise the animators, clay animation designers and various makeup artists. Now art directors work closely with crew members not only of their team but of others, giving advice and instructions. In each and every scene, art directors must work with the film director to plan the shots framing and frame, composition of the frame and camera involvement and movement. These kind of process takes a very long and painful time and makes movie-making process seem less glamorous than the other professions.   In the theaters, art directors also prepare various plays for production. They do have to arrange all the details coming on the stage as per settings and to all other stage effects. Art directors then consult with set designers, various props artists, their costume designers, dance choreographers and stagehand managers in the number of weeks before the production stage comes to in order to make sure that everyone is working and proceeding towards the play directors vision and proper interpretation of the play. During the rehearsals, art managing directors work very closely with people behind the screen labors to ensure a proper output. Every little or small detail is to be of a large detail in the art directors eyes and point of view. What Does an Art Director Do? An art director is someone who traditionally undertakes the direction of the production designer, and surrounds all the altering of the setting and missing settings of the scene. This means that they only design and then alter the set so that it will and would appear as how the director intends in their imagined vision. They will begin by a basic meeting with the director and getting a very clear idea of what they want and how they want everything to look like. After that and all the art director will add many creative designs and basic sketches as to how the set will be dressed, finished and altered so that the appearance fits within the directorial vision of the director. All things in this stage will be the main responsibility of the art director has to take every small change to account. Visit Locations: The very first thing that a successful and most wanted art director must do is to go to the  shooting location  and see what they are dealing with and how. If the film director wants the inside of a bedroom to look like an old brick alley there may be no option for the art director but to create a new one. They will have consider to see how they can take the given amount of location and alter it in a better way that will continue directorial vision of the director. He has to take a look at the space, available electrical supply, and all objects in the general area aspects. Production Stills: Production stills are going to be the other most important function of the art director in his process. What this happens to mean is that the art director is going to be taking pictures throughout the production time, that is of the set and actors and the crew doing their work and its process. These production stills end up filling a few functions for the director. First, they document the art production as it is happening for their company books and other film documents. These can be used to get an extra funding, that is especially if you create an  internalHYPERLINK http://www.brighthub.com/multimedia/video/articles/28851.aspx presence in the set and can use some more. Second, the pictures of the lead cast can be used for post promotional purposes that later on which helps in good manner. Third, these photos are very crucial since they will not only indicate exactly where all the props and set dressings and were in every take or shot so they can be moved back to their original an d proper location within the story space allotted for them. VARIOUS FIELDS OF AN ART DIRECTOR: An art director is in the most hierarchical structure of a film art department works directly only below the production designer and production manager, and above the set designers and set decorators. A total of large part of their duties that include the administrative aspects of the art department and management of their sets. They are responsible for properly assigning tasks to their personnel, and keeping track of the whole art department budget and scheduling of work completion, as well as overall quality control of the setting and props.Various artists may create or develop some specific parts of an art piece or scene; but a sole part of art director unifies the vision. In particular, that the art director is in charge of the overall visual and set appearance and how it  communicates visually in the output, stimulating moods, contrasts color features, and psychologically appealing to a target audience. The art director makes his decisions about the visual elements used, on wh at artistic  style  to use, and  how and when to use motion. It is one of the most and very difficult problems that all art directors face is to translate the desired moods, new messages, new concepts, and the underdeveloped ideas into imagery. During the brainstorming and thinking process, art directors, coworkers, and the clients are engaged in imagining what the finished piece or scene might look like and their desire. At most times, an art director is the ultimate responsible for all solidifying the vision of the collective imagination while resolving conflicting agendas, concepts and inconsistencies between the various and all individual inputs and outputs. IN ADVERTISING: Though despite the title, an  advertising  type of art director isnt necessarily the one head of an art department. In modern advertising forums practice, an art director is who typically works in tandem with a  copywriter and gives the output. The team usually and mostly works together to devise an overall concept that is also known as the big idea for the ad, commercial, magazine, mailer, brochure, or other advertisement forums. The copywriter is the one responsible for the textual and script content, the art director is for the visual aspects. But the A.D. may or can come up with the headline or other copy of the output, and the copywriter can or may suggest a visual or the aesthetic or desired approach on his touch. Each person usually may welcomes suggestions and other constructive criticism from the others. Ideally these words and visual should not or may not parrot each other; each should and can enhance or enlarge the others meaning and aspect and its main effect. Art directors and copywriter teams working methods vary, but that the copywriter is more involved in many processes of gathering all information from the client or account executive and other personnel, while the art director, who is usually less skilled according to the ads, remains more involved through proper production period. At the most extreme, a writer is what might simply submit a hand-written text copy and ask strategic instructors to the art director to complete, who then contributes the visual aspects of the final text output. If this part of irony is true, the only immortal success of this approach may be due in part been as widely held the greatest and best advertising print ever of an art director who ever lived. The ability to make, formulate and communicate, and syllabify the message, to rather than simply stylize it with colors, is one of the best qualities that distinguishes an expert art director from a graphic designer. These two professions always overlap in what is known as  communication design in the one media, with individuals those fulfilling both roles at the same time or but in alternating between roles. Although to a good art director that which is expected is to have  a graphic design  state to a judgment and least technical knowledge of the production, it can or may not be necessary for an art director to  handle a render  or even be able to draw as of now that which is virtually all but the most preliminary work is done on computer. Except in the smaller of organizations, the art director and copywriter team is to be overseen by a  creative director,  a senior media creative, a chief creative director. In such a large organization, an art director may only over see other art directors and that a team of junior  level designers,  level image developers  and/or  production level artists, and their coordinates with a separate form of production department. In these smaller organizations, the art director may fill all these roles completing all including oversight of printing and other production quality works. IN FILM: In films an art director is in the  hierarchical  structure of a proper film art department, who works directly below only of the  production designer, that is in collaboration with the set decorator, and above the  set designer available. A very large part of their duties includes the administrative aspects of the  art department and output. They are mainly responsible for assigning all tasks to  personnel, keeping all track of the art departments budget and scheduling of process and outputs, as well as overall quality control as per time. They are often also a proper liaison to other departments; especially the  construction department as they are the ones who help in putting up the sets. In the past, the art directors title was used to denote as the head of the art department and hence the  Academy Award for Best Art Direction. Example :On the movie Gone with the Wind they had such a significant role in the look of the film, that the title of Art Director was not s ufficient for the works and process, and so the title of Production Designer came up being. The title has become more and very common, and now the Production Designer is commonly used as the head of the Art Department, although this title actually and only implies control overall and every visual aspect of a film, including costumes and props. IN PUBLISHING: Art directors in publishing  typically work with the publications  editors and top personnel. Together all they work on a proper concept for each section and pages of the publication. Individually only the art director is mostly responsible for all the visual look and feel of the publication or magazine, and the editor has the ultimate responsibility for the publications verbal and textual content.

The House of Mirth by Edith Wharton Essay -- lily, society

Edith Wharton’s novel of manners The House of Mirth is a satirical representation of upper society. The personification of this satire is the character Lily Bart. The leader is led to believe that Lily is trapped by her upbringing in higher society, which is seen in Wharton’s use of characterization, imagery, and motifs throughout the novel. Wharton’s characterization of Lily Bart focuses on her beauty as the reason for her acceptance into high society. During the tableaux vivants at the Welly Brys’, Lily’s simple costume was the main focus of the men at the party: â€Å"This was the world [Lily] lived in, these were the standards by which she was fated to be measured! Does one go to Caliban for a judgement on Miranda?† (130). Wharton notes through Selden’s thoughts that Lily’s only place in high society is as a result from her beauty. The allusion to The Tempest by Shakespeare only furthers this fact, as Wharton then implies that without her beauty, Lily would not have a place in high society. Wharton’s concept of fate associated with Lily furthers the idea that Lily is trapped because of the predetermination of life and Lily’s upbringing culminate into Wharton’s trapped character of Lily Bart. The next time that Selden sees Lily again, it is on the train t o Nice when he comments on her beauty: â€Å"[At the Brys’, Lily’s beauty] had had a transparency through which the fluctuations of the spirit were sometimes visible; now its impenetrable surface suggested a process of crystallization which had fused her whole being into one hard brilliant surface†¦ to Selden it seemed like that moment of pause and arrest when the warm fluidity of youth is chilled into its final shape† (182). Wharton’s indirect characterization of Lily through Selden s... ...it to love because she still desires money and power. Wharton creates Lily with her character flaw of indecisiveness to lead her down her fated path; she is trapped by her desire of association in society and longs for the freedom that love would bring. Edith Wharton created The House of Mirth to mock the society that she lived in and gave Lily the negative traits associated with it. With these negative traits and Lily’s upbringing, Wharton creates a character that is trapped by her upbringing desire to have a permanent place in society but also yearns for love, expressed through Wharton’s characterization of Lily Bart, imagery associated with Lily, and the motif of Lily’s fatal flaw. The end result is Wharton’s fated demise of her heroine with neither love nor a position in society. Works Cited Wharton, Edith. The House of Mirth. Toronto: Bantam, 1986. Print.

Experiential Methods for Acquiring Self-Knowledge Essay -- Education C

Experiential Methods for Acquiring Self-Knowledge Do people ever know enough about themselves to determine the direction of their career journey? Various strategies have been developed to provide guidance toward this end; however, as the realities of work change due to such factors as global competition and new technologies, it is necessary to develop new awareness of self in relation to work. This Digest examines various processes by which learners of all ages, elementary to adult, can expand their self-knowledge--their interests and the importance of those interests to their personal satisfaction, their strength and weaknesses in relation to their interests, and the ways in which their interests and abilities are applicable in the changing social, economic, and work environments. Self-knowledge is the first of three integral competency areas in the National Career Development Guidelines (National Occupational Information Coordinating Committee 1989). The guidelines address the progressive acquisition throughout life of (1) knowledge of the influence of a positive self-concept; (2) skills to interact positively with others; and (3) understanding of the impact of growth and development. Studies conducted by Anderson (1995) and DaGiau (1995) among others demonstrate the influence that increased understanding of one's self-concept and its effect on roles and relationships has upon career maturity. According to Anderson (1995), "self-knowledge is a domain with many pathways" (p. 280). Historical self-knowledge--understanding of past experiences and influences that led to one's current level of development--is a key to shaping the future. Ask any first-time job seeker the main reason employers rejected them and they will ... ...llege, 1995. (ED 386 609) Lester, J. S., and Perry, N. S. Assessing Career Development with Portfolios. ERIC Digest. Greensboro, NC: ERIC Clearinghouse on Counseling and Student Services, 1995. (ED 391 110) Lock, R. D. Taking Charge of Your Career Direction: Career Planning Guide, Book 1. 3d ed. Pacific Grove, CA: Brooks/Cole, 1996. National Occupational Information Coordinating Committee. National Career Development Guidelines. Portland, OR: Northwest Regional Educational Laboratory, 1989. (ED 317 874-880) Savoie, J. M., and Hughes, A. S. "Problem-based Learning as Classroom Solution." Educational Leadership 52, no. 3 (November 1994): 54-57. (EJ 492 914) Willis, S. "On the Cutting Edge of Assessment: Testing What Students Can Do with Knowledge." Education Update: Association for Supervision and Curriculum Development 38, no. 4 (June 1996): 4-7.

Fun Should be the Focus of Youth Sports :: Argumentative Persuasive Essay Examples

  Ã‚   Over the last two decades the growth of youth sports has reflected the popularity of professional sports in our society. To a foreign observer of the American culture we appear to be a sport's obsessed society. Sporting events and news are available to us twenty-four hours a day on television and radio; sports are an enormous industry. In 1995 it was determined that the sporting industry generated 85 billion dollars worth of business. It is now estimated that by the year 2005 the sporting industry will be worth more than 150 billion dollars, making one of the top ten industries in the U.S. (Murphy 32). The outstanding popularity of the sports industry has had a profound affect on youth sport's organizations. Recent surveys place the number of children participating in various team sports at around 20 million. However, critics estimate that as many as 73 percent quit sports by age thirteen. The majority of children drop out by middle school age because sports are no longer fun for them. There are several contributing factors to this phenomenon, parents and coaches putting excessive pressure on children, over competitiveness, anxiety, and simple loss of interest.    Children join sports at a young age, and it is usually the parent who decides what sport the child will play. Parents are often very involved in their child's sport. The parents buy the team trophies, uniforms, and equipment and shuttle their child to and from games and practices. Most children enjoy this time they spend with their family and friends. There is little emphasis placed on competition and children all have an equal chance to participate. They are able to "play" with their friends outside the school environment and simply have fun, which in turn keeps children interested and involved in their sport.    As children get older they ascend to a higher level in their sport, for instance, from T- ball, to little league. During this time pressure to succeed starts to rise. Parents and coaches often become more involved with the game than with their children, attention starts to focus to the more "talented" players on the team, and competition and "who wins" takes precedence over having fun. In his book The Cheers and the Tears, sport's psychologist Shane Murphy Ph.D., claims that "One way in which many traditional youth sport programs fail to meet the needs of children is by introducing too much competition too early.

Relationship Between Program Planning and Grant Proposals Essay

Program planning is evaluated in following a proposal. Program Planning processes will yield a component of the body proposal. Grand proposals are evaluated and based on business practices/good planning. A grant proposal address goals within the organizations ability to provide relevant services. Grant proposal s could be contract submitted to perform an activity for example better training and research. Program planning is the first step in planning to redevelop a particular program that wishes to be funded by the a grant for a government purpose. The grant proposal has a description of what the organization is planning on doing and the deliverables, budget and other important information. Program planning is a way of executing the program and planning on how to get the funds needed to deliver the training or extra things for the organization to make it better for not only the company but for their employees as well. When young adults/adults want to go to school they have to plan what program / career they would like to learn about and get a degree in. Then they have to plan on the budget needed to get to go to school. The last step is to fill out for a grant through the government to get the funds needed to go to school to achieve our goals in getting a better career after school.

Mirror, Mirror on the Mind Essay

The sight of a stranger’s foot getting hammered induces an instant surge of sympathy within us. Watching a friend nauseate after eating something repulsive quickly causes our own stomachs to turn. This ability to understand and relate to another individual’s internal state has provided great motivation for research. One source of explanation arose from research on mirror neurons-which fire both during execution and observation of a behaviour (Rizzollati & Arbib, 1998). This particular class of neurons plays a crucial function in human social interactions. The importance of the mirror neuron system (MNS) for communication can be understood through its influence on nonverbal communication including facial expressions and hand gestures and verbal language. Furthermore, disorders affecting human communication-such as autism and schizophrenia-convey the impression of stemming from a malfunctioning MNS. Generally, human social interaction involves both verbal and nonverbal forms of communication. Obvious examples of nonverbal communication are facial expressions and hand gestures. A recent functional magnetic resonance imaging (fMRI) study by Montgomery and Haxby (2008) found evidence supporting the claim that the MNS contains distinct representations for facial expressions and hand gestures. Particularly, this study examined the inferior parietal lobule and the frontal operculum as the potential MNS brain regions involved in nonverbal communication. Further evidence comes from another fMRI study by Montgomery, Isenberg and Haxby (2007)-which demonstrated the activation of the MNS during hand movements used to manipulate objects and hand gestures used to communicate. A third fMRI study by Van, Minderaa and Keysers (2007) highlighted similar results by examining other putative MNS brain regions-inferior frontal gyrus, posterior parietal cortex, insula and amygdala-thought to be associated with facial expressions. Activity spontaneously increased in the MNS of participants that produced and observed certain facial expressions (Van et al., 2007). A study by Enticott, Johnston, Herring, Hoy, and Fitzgerald (2008) demonstrated an associations between mirror neurons and facial emotion processing. Instead of using fMRI as a method of analysis, Enticott and colleagues (2008) used the transcranial magnetic stimulation (TMS) technique. In brief, much evidence supporting the involvement of the MNS in the processes of facial expression and hand gesture exists. Such forms of communication form the basis for the later, more complex, verbal language development. Taking this thought further, verbal language also seems to be linked to the MNS. Firstly, Rizzollati et al. (1998) marked the discovery of mirror neurons in the F5 area within the monkeys’ frontal cortex. This primate-specific F5 area has been considered to be the homolog of the human Broca’s area, which is a region crucial for language (Rizzollati et al., 1998). With this in mind, Horwitz et al. (2003) demonstrated that both spoken and signed language are associated with mirror neurons firing in Broca’s area as a result of the production of language. In addition, an fMRI study by Aziz-Zadeh, Wilson, Rizzollati, and Lacoboni (2006) made evident that the MNS of the premotor cortex is activated both when participants observed mouth, hand and foot movements and when participants read phrases related to these body parts. Overall, these findings suggest that indeed the MNS influences verbal language. Moreover, another way of understanding the importance of the mirror neurons’ influence on human social interaction is by considering the consequences of a malfunctioning system. Autism spectrum disorder is characterized by social and language impairments. In other words, individuals with autism tend to be less interactive when it comes to communicating with others. Part of the MNS-the posterior inferior frontal and rostral inferior parietal areas are affiliated with social behaviour and imitative learning; however these areas have deficits in autistic individuals (Locoboni & Mazziotta, 2007). In one study individuals with autism spectrum disorder showed significantly different electroencephalography (EEG) recordings of mirror neurons compared to a control group consisting of healthy individuals (Oberman, Hubbard, McCleery, Altschular, Ramachandran, & Pineda, 2005). Similarly, schizophrenia is another disorder characterized by deficits in social communication, especially of the nonverbal type. Research by Kato Y., Muramatsu, Kato M., Shibukawa, Shintani, and Mimura (2011) using magnetoencephalography recordings on the right inferior parietal cortex showed atypical mirror neuron activity in non-treated schizophrenia patients. Likewise, similar results were found in a study that tested mirror neuron activity using TMS,; it was demonstrated that during action observation a reduction in motor facilitation occurs in schizophrenia patients (Enticott, Hoy, Herring, Johnston, Daskalakis, & Fitgerald, 2008). Clearly, communication impairments observed in individuals with autism and schizophrenia are influenced by the MNS. In conclusion, human social interaction is influenced by mirror neurons. Evidence supports this statement through research done on the involvement of the MNS in nonverbal communication, including facial expressions and hand gestures and verbal language. Research has also suggested that an impaired MNS negatively affects social interaction, which is exemplified in the cases of autism and schizophrenia. Taken as a whole, combining mirror neurons’ role in imitative behaviour and social interaction-the process through which humans possibly acquire new social knowledge becomes evident. Additionally, the presence of mirror neurons in primates as well as humans provide evidence for the development of social interaction over the course of evolution. Thus, in order to further strengthen their existing relationship, future research should examine the co-evolution of mirror neurons and social interaction.