Future Healthcare Informatics Technology Research Paper

Future Healthcare Informatics Technology - Research Paper Example Most elderly people do not want to be kept in institutions for the old and having a person constantly employed to taking care of them may prove costly in the long run. These groups of aged people are also at high risk for serious health conditions such as those mentioned above and hence their caregiver should have medical background and if not may then require also a health worker nearby. The technology in discussion will be wearable and hence not a burden to the elderly individual and will monitor the health changes in the body such as the heartbeat, pulse rate, blood pressure, temperature among others which will assist in detecting the changes that may indicate onset of the serious conditions and hence immediate health care will be provided. It is an example of a preventative mechanism. The most obvious of the positive impact of this technology is the reduced cost of providing care to the elderly in the long run. In a family where there are several elderly people all requiring attention and do not wish to go to an institution, the device will prove cost effective as there will be no need of hiring helpers of nurses to monitor their health condition. By just having the device, the family can be able to monitor their changes in health and immediately a problem is detected, then help can be sought. The other positive impact is that the old people will be able to wear the sensor device anywhere and it therefore cannot hinder them from carrying out their daily routine. The advantage to this is that wherever the person is, they can be tracked and hence will also act as a monitor of movement in case of those who might have memory problems. The elderly are also able to remain in the confine of their homes even those with health conditions such as heart conditions without having to spend all their time in hospitals being monitored. This will however require self-discipline from the user of the technology not to remove

Authenticity of Installation Art

Authenticity of Installation Art Artistic value is achieved only when an artwork expresses the authentic values of its maker, especially when those values are shared by the artists immediate community (Tolstoy). In early December 2010 I went to an exhibition of French artist Louise Bourgeois in Hauser Wirth gallery in London. What fascinated me immensely in that exhibition was the way in which the installation was set up. I knew for a fact that Louise Bourgeois passed away earlier in the year. I wondered, regarding the installations in particular, how it had been possible for the curator and gallery staff to recreate the pieces in such a way that would speak truthfully to the original intention of the artist. It is not an easy task for a curator to bring out in a show authenticity to the audience, however regarding installation art without the artists physical presence or mediation, I had to ask myself the question how much can a curator intervene without the art work losing its authenticity? Since the very nature of installation demands dismounting and recreating, does the art work become a duplicate or a replica of the artists work, or does it become the curators art? Is the work still authentic when copied from its original site into the exhibition space of a museum? Inevitably, Installation art, being so different in appearance and relation to its audience than traditional art, has to challenge old concepts of conservation and authenticity. In this essay, I will investigate whether installation art, without the artists presence or intervention, is authentic according to the definition of authenticity. Furthermore, this will address whether the notion of authenticity needs to be rethought in order to fit in with more recent methods in contemporary art, such as installation. A curator encompasses many areas being the interphase between artists, institutions and the public. Whereas, an artist works hard to express and experiment with feelings, emotions and viewpoints through various medium that can influence and enlighten people. Together, both need to work in close proximity when coordinating an art project, event or an exhibition to remain as authentic and truthful as possible to the work of the artist. The task of the curator is challenging being the intermediate between the artist and the viewer, therefore it is important that the exhibition brings out the artists originality, intention and authenticity to the viewer. how much can he/she intervene without the art works losing its authenticity? The problem of defining authenticity in the arts has been a controversial topic amongst art critics and experts for decades, especially regarding representation and preservation in art works. The task of a curator can be challenging being the interphase between artists, institutions and the public. He needs to work in close proximity to the artist who works hard to express and experiment with feelings, emotions and viewpoints through various medium that can influence and enlighten people. When coordinating an exhibition it is important that the curator ensures that the exhibition brings out the artists originality, innovation and intention just as the artist perceives it.- how much can he/she intervene without the art works losing its authenticity? The problem of defining authenticity in the arts has been a controversial topic amongst art critics and experts for decades, especially regarding representation and preservation in art works. In early December 2010 I went to an exhibition of French artist Louise Bourgeois in Hauser Wirth gallery in London. What fascinated me immensely in that exhibition was the way in which the installation was set up. I knew for a fact that Louise Bourgeois passed away earlier in the year. I wondered, regarding the installations in particular, how it had been possible for the curator and gallery staff to recreate the pieces in such a way that would speak truthfully to the original intention of the artist. It is not an easy task for a curator to bring out in a show authenticity to the audience, however regarding installation art without the artists physical presence or mediation, I had to ask myself the question how much can a curator intervene without the art work losing its authenticity? Since the very nature of installation demands dismounting and recreating, does the art work become a duplicate or a replica of the artists work, or does it become the curators art? Is the work still au thentic when copied from its original site into the exhibition space of a museum? Inevitably, Installation art, being so different in appearance and relation to its audience than traditional art, has to challenge old concepts of conservation and authenticity. In this essay, I will investigate whether installation art, without the artists presence or intervention, is authentic according to the definition of authenticity. Furthermore, this might stress whether the old notion of authenticity needs to be rethought in order to fit in with more recent methods in contemporary art, such as installation. If one takes the meaning behind authenticity seriously the need to be genuine, original, truthful..etc. is it then possible in an installation to be authentic if it is not the artist himself who has constructed the art work? Is a part of an installation art work not the experience of constructing it itself? In order to become authentic, is it the right for an artist to make the installation? Surely the artist has his own right to do so and mind you, some artists even prefer that, but what if it is physically impossible due to the scale of the installation object? And What if the artist no longer exists, such as in the case of Louise Bourgeois. Is it then better not to reconstruct her art installations? Perhaps the notion of authenticity does not apply to installation art, as long as the intention behind the artist work is intact, who cares? Is authenticity in the art dead? Installation Art A Change in representing art What characterizes it? How is it different to the tradiational art form? By the 1960s the art world flourished with Minimalism, Dada, Happenings and Installation art. Much different to traditional art, installation art brought about new complications when dealing with conservation and presentation for museums, galleries and private patrons. The traditional relation between the viewer and the object had shifted where space, time and location became more inherent in the art work (Bishop, 2005, p. 10). Despite the difficulties in exhibiting installation art, it proved to be popular in the succeeding eras and flourished in galleries and museums around the world. However, methods of conservation and presentation are a different story when it comes to installation art. A quite coherent and clearly represented overview of different models and kinds of installation is given by Claire Bishop in her book Installation Art A Critical History, written in 2005. Her book is divided in four chapters, each presenting a different model of installation. The term installation in conjunction with art and art exhibitions is not new. However, the term was originally used in a slightly different manner. It referred to the exhibition space rather than being an independent art movement, as also indicated by Michael Archer in Installation Art written in 1996, the term installation was traditionally referred to as the process of hanging the exhibited works: In the early 1960 the terms assemblage and environment were most commonly employed to describe work in which the artist had brought together a host of materials in order to fill a given space. At that time, installation referred to nothing more than how an exhibition had been hung (Archer Petry Oliveira Oxley, 1996, p.11). A similar point is made by Julie H. Reiss in her book From Margin to Center The Spaces of Installation Art, written in 2001. She suggests that the term Installation art is post-enforced on room engulfing installations. She indicates that the term Installation art for room-size multimedia works developed from Allan Kaprows Environments that was used for these kinds of works in the 1950s. Later, it became synonymous for exhibition, therefore still referring to the exhibition space rather than a form of art. Only later the meaning of Installation for an independent art movement developed, however hard to pin down: Although the term Installation art has become widely used, it is relatively nonspecific. It refers to a wide range of artistic practices, and at times overlaps with other interrelated areas including Fluxus, Earth art, Minimalism, video art, Performance art, Conceptual art and Process art, Site specificity, institutional critique, temporality, and ephemerality are issues shared by many practitioners of these genres (Reiss, 1999, p. xiii) According to Bishop, the term installation for an art form that explored the space it is positioned in, came from the photographic documentation of an exhibition; usually referred to as exhibition shot. Therefore, the installation of art and Installation art, both, deal with the position of an art object in regard to its space and audience. However, the difference between the old term and the new art is the relation of space and work. Whereas the installation of art is secondary to the piece itself, Installation art and its site become a symbiosis, in other words they become an inseparable unity. (Bishop, 2005). Also because of this blurring in terminology and the wide span of different art objects, a correct definition of Installation art is somewhat hard to provide. Nevertheless, the next paragraphs will give deeper insights into the features and core characteristics of Installation art. The first kind of Installations art as described by Claire Bishop (2005) is the total installation. Here, the viewer is able to physically enter the artwork. Instead of using paint on canvas in order to create an illusion of three dimensional spaces, the viewer is, one could almost say, able to step into the painting, experiencing it from the inside: Installation art therefore differs from traditional media (sculpture, painting, photography, video) in that it addresses the viewer directly as a liberal presence in the space. Rather than imagining the viewer as a pair of disembodied eyes that survey the work from a distance, installation art presupposes an embodied viewer whose sense of touch, smell and sound are heightened their sense of vision (Bishop, 2005, p. 6). As indicated in the quote above, one of the most profound innovations of Installation art was a new relation between object viewer and space. This new perception of artworks are connected to Freuds psychoanalytical method of interpreting dreams; the free association method. According to Freud, the interpretation, the making sense of our dreams, so to speak, consists of three steps: the visual images and sometimes auditory fragments (the dream itself), the analysis by free association and the expression in words or syllables. Citing the Russian artist Ilya Kabakov, Bishop suggests: These three features the sensory immediacy of conscious perception, a composite structure, and the elucidation of meaning through free-association precisely correspond to a model of viewing experience found in the total installation as described by Kabakov. We imaginatively project ourselves into an immersive scene that requires creative free association in order to articulate its meaning; in order to do this, the installations assemblage elements are taken one by one and read symbolically as metonymic part of a narrative (Bishop, 2005, p. 16). The work of art becomes a kaleidoscope, consisting of many paintings. By absorbing the viewer into the artwork it challenged the old fixed and traditional perspective of the viewer, suggesting that multiple perspectives are possible. [à ¢Ã¢â€š ¬Ã‚ ¦] various forms of institutional critique and conceptual art developed a different model of site-specificity that implicitly challenged the innocence of space and the accompanying presumption of a universal viewing subject[à ¢Ã¢â€š ¬Ã‚ ¦] (Kwon, 2002, p.13). Also, this first theatrical form of installation art posed severe problems and difficulties to the traditional treatment of art and seemed somewhat hostile towards popular cultural institutions. The size that expanded common exhibition space and use of seemingly useless components suggested a critical position towards the assumption that all objects in a museum have to be considered art. (Bishop 2005, p. 33-34). Another form of Installation art was inspired and resolved from the movement of Minimalism in the 1960s; even though minimalist sculptures were different in their relation to the exhibition space itself: [à ¢Ã¢â€š ¬Ã‚ ¦] the fact that the exhibition comprised several sculptures did not mean that it was an environment, because there are seven separate pieces (Judd in Bishop, 2005, p. 55). However, it took over core characteristics of this movement, by stressing the awareness of the relationship between artwork and the space in which it is exhibited as much as the viewers perception of it. The piece of work and the perceiving individual became inseparable. Although similar in their appearance, installations, different than minimalistic works, attempt to focus on the relationship between light and space; taking the space they are exhibited in into consideration: Like Minimalist sculpture, Ashers installation focused attention on the viewer, and on how he received and perceive any given space. Unlike Minimalism, it also showed how the white gallery space was not a timeless constant but subject to contingent flux: the installation was accessible day and night, so that the exterior light, sound and air became a permanent part of the exhibition (Bishop, 2005, p. 60). By focusing on flux and other constantly changing factors; daylight for example, the artists suggest that the perception of an object depends and is determined by the position and the period of time the perceiver observes the object; indicating our partial perception and questioning the objectivity of our perception of reality. This visitors heightened awareness of the work within its exhibition space and awareness that perception is bound to many different factors was taken to another level by involving the viewer directly with the artwork by recording or monitoring them. In the installations of Dan Graham (b.1942) made in the 1970s, mirrors and video feedback are used to stage perceptual experiments for the viewer that demonstrated how our awareness of the world is dependent on interaction with others. Grahams work is therefore a crucial consideration for this type of installation art, since the status of the viewer preoccupies his thinking throughout his decade (Bischop, 2005, p.72) This new awareness of perception also plays a crucial part in the next category of Installation art. However, it deals with this perception in a different, if not oppositional manner. With the help of different devices, engulfing darkness or colours, mirrors, sounds or assimilating environment artists tried to dislodge or annihilate the perception of the viewer. Even though done in a different oppositional way (dislodging instead of heightening the viewers perception), the visitor is forced to reflect on once position within society and history. The installations [à ¢Ã¢â€š ¬Ã‚ ¦] do not seek to increase perceptual awareness of the body but rather to reduce it, by assimilating the viewer in various ways to the surrounding space[à ¢Ã¢â€š ¬Ã‚ ¦] (Bishop, 2005, p. 101). The last of Bishops categories of different installation addresses and activates the viewer in a totally different and new manner. This last form of installation activates the spectator in opposition to most other installation because he actively participates. This form could be described as a Happening, an installation where artist and visitors act together upon a specific situation. The audience of this work is therefore envisaged as plural: rather than a one-to-one relationship between work of art and viewer, relational art sets up situation in which viewer are addressed as a collective, social mass; moreover, in many of these works we are given the structure to create a community, however temporary and utopian this might be (Bishop, 2005, 116). One of the most precursor and representative for these action or life installations are, so Bishop, the German artist Joseph Beuys and the artist Rirkrit Tiravanija born in South America to Thai parents. Beuys works were quite political constituting a mixture of installation and performance. On group exhibitions or art fairs, such as the Documenta in Kassel, he put forward political campaigns in the form of art (The Bureau for Direct Democracy, 1972), where everybody could discuss about issues, such as democracy. Tiravanija, as another example for this category of installations organized collective cooking session in a museum or gallery; conveying a communion between individuals. In his installation Untitled (tomorrow is another day) from 1996 he rebuilt his apartment at the Kà ¶lnischer Kunstverein in Cologne so visitors could cook in his kitchen or socialize in his livening room. (Bishop, 2005, p. 102-199). Though, it is hard to give a full overview of Installation art because to many different works can be included into the notion of Installation art, the short overview above intends to give a rough outline of the major categories of installation art. As it became apparent from the examples already, the new appearance of Installation art gave rise to a couple of difficulties, especially concerning conservation and reinstallation of the works. In contrary to traditional forms of art, Installation art changed the perception and position or point of view of the viewer. Because of their disarming character the works disperse or decentre the traditional or fixed point of view by either heightening or dissolute the viewers perception. Most importantly, however for the further chapters if this paper is the caducity or time and place specificity seemingly inherent to this new form of art. They all rely on the literal presence of the viewer in that particular moment of being and demanding the v iewers first hand experience. [à ¢Ã¢â€š ¬Ã‚ ¦the art work] articulate and define itself through properties, qualities or meaning produced in specific relationships between and object or event and a position it occupies (Kaye, 2000, p.1). All of them seem to be linked to their time and place that makes a reconstruction at another place (another museum or gallery for example) impossible without loosing its original meaning. This or a similar point is also made by Miwon Kwon in her book One Place after Another Site-specific Art and Locational Identity, written in 2004 as much as in her article One Place After Another: Notes on Site-Specificity published by Erika Suderburg ( 2000) in Space, Site Intervention, Situating Installation Art. In her writings on installations, she stresses the importance and influence of the site and location the work was intended for by the artist. Because of this site-specificity the first-hand experience of the viewer remains, also for her, a crucial point in the acquaintance of Installation Art: The (neo-avant-garde) aspiration to exceed the limitations of traditional media, like paintings and sculpture, as well as their institutional setting; the epistemological challenge to relocate meaning from within the art object to the contingencies of its context; the radical restructuring of the subject from an old Cartesian model to a phenomological one of lived bodily experience [à ¢Ã¢â€š ¬Ã‚ ¦] all these imperatives came together in arts new attachments to the actuality of site (Suderburg, 2000, p. 39) Therefore, Installation art, being another step within the development or the search of art for its limits, led to a type of art that took its environment into consideration, to an extend that the actual presence of the viewer was of crucial importance. Moreover, Kwon suggests that the new kind of art inherent another characteristic that gave rise to difficulties for cultural institutions, such as museums. Maybe influenced by Conceptual art, as well the artists of installations increasingly blurred the borderline between art and non-art. This came to the fore when the installations were accompanied by debates and discussions (like the works of Joseph Beuys and Rirkrit Tiravanija presented above). This way, the first-hand experience became even more crucial because the bases of art became increasingly fluid and virtual. (Suderburg, 2004, Ch.2). Since some of the works could not be moved from its original site, either because they were too big or they emerged with the site (like wall paintings, for example, Richard Serra Splashing, installation at Catelli Warehouse, 1968), reproduction became a common means to transfer the art objects into institutionalized exhibition space. [à ¢Ã¢â€š ¬Ã‚ ¦] the re-creations come to coexist with or replace the old, functioning as new originals (some even finding homes in permanent collections of museums) (Kwon, 2004, p. 48). Clearly, there are a multitude of problems concerning Installation art. Most of the works seem as if they could not be preserved for future generations at all. Should these objects that are so much bound to a time and place art all be exhibited? How can one possibly exhibit an action that took place at a certain time and place performed by a certain group of people? Without doubt there are and have been exhibitions of artist such as Joseph Beuys in museums all around th e world? How can his works be preserved or re-experienced in a totally different place by totally different people? However, the next chapters of this paper will focus on the problems of authenticity and authorship regarding the conservation and re-building of installations. If an installations has to be re-installed or material has to be protected from decline conservators, curators and sometimes even the artist are confronted with the question in how far they are allowed to engage into the original artwork without loosing its meaning or originality. Much of the materials used are subject to enormous change and mortality, such as media technology, natural products or other time bound devices. What kind of problems of authenticity evolve and how are these problems solved and recognized in every-day practice?

Mythic Heros: Sinbad The Sailor :: essays research papers

Mythic Heros: Sinbad the Sailor   Ã‚  Ã‚  Ã‚  Ã‚  When I think about mythic heroes, for many years the first name that came to mind was Sinbad: Sinbad the sailor. In his days as an adventurer, he went on seven fantastic voyages which earned him fame for the rest of his life. Yet, now in retrospect, I no longer consider him to be the great adventurer that I saw him as in my childhood.   Ã‚  Ã‚  Ã‚  Ã‚  On his seven voyages, Sinbad encountered every obstacle one could possibly think of. He and his crew met up with: a fish so large, many mistook it for an island, an island where rocs (enormous birds (their eggs were often mistaken for buildings)) still lived, cannibals, giants, and even herds of angry elephants. On each and everyone one of his famed voyages, he was shipwrecked, alone, and faced with some hideous danger. On each and everyone, he overcame the odds, destroyed his foes, and returned home with riches beyond the imagination.   Ã‚  Ã‚  Ã‚  Ã‚  As a child, the stories of Sinbad's voyages were wildly entertaining. In each one, there was adventure, danger, money, and the hero always came home in one piece. Now that I look back at the stories, there are some parts of Sinbad's fantastic tales that bother me.   Ã‚  Ã‚  Ã‚  Ã‚  First of all, Sinbad never set out in search of adventure. These amazing things just seemed to always happen to him. He normally set out as a merchant, carrying goods from one exotic land to another. Yet, on each of these trips, something incredible happened to him and his crew, resulting in a dead crew and a fantastic story for Sinbad the sailor.   Ã‚  Ã‚  Ã‚  Ã‚  Secondly, all of Sinbad's great adventures occurred sequentially. In other words, he went immediately from one adventure to another without so much as a nap in between. This man never had a quiet boat ride in the entire span of time in which his adventures took place.   Ã‚  Ã‚  Ã‚  Ã‚  Another interesting point is the manner in which Sinbad always left and returned to his home port in Baghdad. All seven times, he left with a full crew and carrying the goods of a local merchant. Yet all seven times he returned, he was alone, the crew having died in the early part of the respective adventure. All seven times, he returned without the goods that he was to take to market, but he often returned with new riches from the island where he was stranded (and of course, kept them for himself). This leads me to believe that maybe his crew

Ida Jean Orlando Essay

Ida Jean Orland was a first- generation American of Italian decent, born 1926. She received her diploma in nursing at New York Medical College in 1947, Bachelor of Science in Public health from St. Johns University in Brooklyn, New York in 1951 and her Master of Arts Degree in Mental Health Nursing from Columbia University. Orlando was an associate Professor at Yale School of Nursing, and while there she served as the Director of the Graduate Program in Mental Health Psychiatric Nursing. She was the project investigator of a National Institute of Mental Health grant entitled Integration of Mental Health Concepts in Basic Nursing Curriculum. In 1961, Orlando published her theory, The Dynamic Nurse- Patient Relationship and in 1972 The Discipline and Teaching of Nursing Process. She has served as a board member of Harvard Community Health Plan. Her theory is explanatory and straightforward, she believes that the role of the nurse is to find out and meet the patients immediate need for help. She describes nursing as it is, the nurse is responsible for gathering all the information directly from the patient and making decisions based on this information. We as nurses are the Care Plan that we develop, however, we must always be aware that situations change and we must be able to adapt to the change immediately and come up with other ways of treatment without allowing it to interfere with the quality of care that the patient is receiving. She directly states definition of nursing that can summarize the theory provided by Ida Jean Orlando. â€Å"All patients behavior can be a cry for help, both verbal and non-verbal. It is up to the nurse to interpret their behavior and determine the needs of the patient†. Nursing differs from medicine according to this theory because based on Orlando’s theory; everything we need to know to provide the best care to the patient is received directly from the patient. Usually with medicine, we use textbook information and trial and error, however, according to the theory  of Orlando, it is the nurse’s job to collect all the information directly from the patient and interpret it on our own to provide quality care. Orlando’s theory definitely relies on the content/knowledge of nursing. It is clearly stated that it is the nurse’s job to use their perception, thoughts about the perception or the feeling engendered from their thought to explore with patients the meaning of their behavior. This process helps the nurses find out the nature of the distress and what help the patient needs. It is the knowledge of the nurse that is being relied on for the best care. Ida Jean Orlando theory Deliberative Nursing Process was developed in the late 1950’s from an observation she witnessed involving nurse and patient interaction. Orlando’s Deliberative Nursing Process is based on and involves the patient’s behavior and nurse’s reaction. In most cases the patient will exhibit certain behaviors both verbal and nonverbal as a plea for help . The role of the nurse is to find out and meet the patient’s immediate need for help. The four major concepts of the metaparadigm, the person, environment, health and nursing collectively are one with Orlando’s Theory Stages Assessment, diagnosis, implementation, and the goal. Together they provide the nurse with the data needed to accurately assess and serve the patient. Ida Jean Orlando uses an assessment as a tool when collecting subjective and objective data in relation to the person/patient hence allowing the nurse to notably assess the disease process. The assessment stage enhances the nurse ability to analyze and interpret the behavior and determine the needs of the patient. The assessment is done without reason. The health of the individual is closely evaluated to determine the patient needs. During the diagnosis stage the diagnosis can be confirmed using links to classify the characteristics, related factors, and risk factors found in the person/patients assessment .The behavior of the person as well as the disease is well thought-out in this process. The nurse then uses clinical judgment regarding health dilemmas, tackling each one individually. The environment is an important part of this process. It influences the  individuals external as well as the internal aspect of life and well-being. After gathering the diagnosis, interventions can be implemented to help accomplish the goals. In this stage we put everything into action allowing us to carry out the care plan that was created using Orlando’s theory. The nurse is now able to assess whether the person have achieved their goals. Often times the complete set of goals are not met, however Orlando’s theory is adjustable. Orlando’s theory is universal allowing the nurse to be flexible. It’s also easily adapted when providing service to different person/patients with different diagnosis. With the mutual aid of the person/patient and the deliberate actions of the nurse, the goal put in place by the nurse is attained. Every deed of a nurse has significance. Ida Jean Orlando Theory focuses on the Dynamic Nurse-Patient relationship. Even though the theory focuses on the communication between the nurse-patient relationships, it makes it clear that the nurse is to assume that the patient’s communication is a plea for help and must be taken as is. This dictates that the primary focus is on the dynamic relationship but does give a secondary focus on the nurse as the modifiable component. The theory in itself is clear and simple. It describes the interaction between the nurse and patient in a certain time and place and follows a sequence until the patient’s problem is resolved. The sequencing of events results in its clarity. All of the primary duties of a nurse involve interacting with the patient, meaning that Ida Jean Orlando’s Dynamic Nurse-Patient Relationship Theory can applied in almost any setting. Whenever a patient interacts with nurse, the theoretical model can be applied. It does not need any special tools nor does it require a specific setting. It is derived from the patient, as a whole, interacting with a nurse as a whole. It stages the interaction to happen in a specific sequence. It places special emphasis on the nurses’ role on perceiving the patient behavior and interpreting it beyond its superficial affect. It deals with the immediate context and attempts to find the most complete resolution of the situation. It theory is built on the examination of over 2000 Nurse-Patient interactions. Her theory has led to deliberative consequences for nurses. It sets principles that have become ingrained in nursing education. It is the principle set on how a nurse’s role should be active rather than passive in a nurse’s interaction with a patient. It is set to give structure to a nurse’s role of performing ongoing assessments with validated results, to treat a person as a whole with feedback as reassurances of her actions and to achieve role and problem clarity so that the patient understands his or her own problems that may have been hidden from his or her own perception. Ida Jean Orlando’s theoretical is ingrained in all aspects of nursing interaction. It has also been codified in some fields as a standard of practice. When giving medication to a patient, we nurses must explain the medication, its expected effect, purpose, and its possible side effects. It is then standard practice to make note of its actual effect and react to that effect. It is logical, active, and directly follows the model. It is most important with pain medication. The patient may over exaggerate, misplace direct cause, or maybe misinterpret the pain. To the patient, pain is simply pain. It is the nurse’s role to accept the patient’s complaint and internally analyze it. Using the nursing discipline, decipher the superficial plea in order to see any underlying cause, react appropriately until the underlying cause is exposed and treated. Her theory serves as the basis for any interaction with a patient, arguably, for every health professional. As an emergency room nurse, we are encouraged to process patients efficiently and with haste. Patient interaction is, however, valued for its quality. We are expected to treat the patient’s most immediate concerns while looking for underlying agitators so that treatment can be administered efficiently. Unfortunately, in a fast pace environment, there may be no time to interpret and internally analyze a patient’s behavior or get their reaction to a certain treatment. Stabilizing and to processing a patient with an unfortunate consequence of diminished patient interaction quality as a frequent casualty. Without Orlando’s theoretic model, patients become numbers, treated by their symptoms rather than being treated like a person, without it we would end up dehumanizing patients. References Alligood, M. R., & Tomey, A. M. (2010). Nursing Theorist and Their Work seventh edition. Maryland Heights, MO: Mosby. Ida Jean Orlando- Nursing theorist. (2011). Retrieved October 12, 2013, from Nursing- theory.org website: http://nursing-theory.org/nursing-theorists/Ida-Jean-Orlando.php Nursing theories a companion to nursing theories and models. (2013, September 9). Retrieved October 6, 2013, from Current nursing website: http://currentnursing.com/nursing_theory/Orlando_nursing_process.html Orlando, I. J. (1972). The discipline and teaching of nursing process: An evaluative study. New York: G. P Putnam. Orlando, I. J. (1990). The dynamic nurse-patient relationship: Function, process, and principles. New York: National League of Nursing. Orlando’s Nursing Process Theory. (2013, September 9). Retrieved October 12, 2013, from currentnursing.com website: http://currentnursing.com/nursing_theory/Orlando_nursing_process.html Parker, M. E. (2005). Nursing Theories and Nursing Practice second edition. Philadelphia, PA: F.A. Davis Company.

Just like Helen Keller Essay

Marketing new services that will enhance existing organizations must be carefully thought out and planned to be considered a needed addition to any organization. Companies which have been founded on principles of ethics and quality services, ensure that every additional service provided to the many existing services must meet the expectation of each customer that is serviced. Team B has begun to target the process of marketing the expansion of processing packages that are undeliverable within the Fed Ex organization. Instead of returning the packages to place of origination, or re-delivering packages after an additional delivery failure, a process specifically geared to contact the person for whom the package is meant, will be the newly planned addition to the existing services which Fed Ex provides. Learning Team B will focus on reviewing the existing organization, providing a more detailed description of our LT goals in this process, review the importance to our success in planning and executing the idea, provide a SWOTT analysis on the project, and will develop a marketing strategy in order to be successful with this new process. Providing a consumer friendly service will give Fed Ex further success in the industry of package delivery to all consumers; both within the U. S. and Internationally. In today’s fast paced, high competition and deadline driven environment millions of people turn to FedEx Corporation everyday to get packages to the desired destination because of the assurance and commitment behind the name. FedEx Corporation was built upon providing top of the line innovative solutions and it continues to be an crucial part of the FedEx the overall culture and business strategy. FedEx Corporations commitment has been an instrumental part in the overall development of products, ideas and services that have given FedEx’s customers the ability to grow their businesses around the world. What is known as FedEx Corporation today, was originally introduced in 1971 as FDX Corp, and since their inception has engineered the shipping and logistics industry and has set the mark over and repeatedly, for all others in the business to meet. Since its beginning, FedEx Corp has been seen in the public eye as a leader in the transportation and logistics industry. The FedEx Corporations ability to collectively work together through their different entities demonstrate the leadership and foresight of the trusted FedEx brand. It is this loyalty which brings customers to FedEx every day. â€Å"FedEx provides customers and businesses worldwide with a broad portfolio of transportation, e-commerce and business services. FedEx Corporation offers integrated business applications through operating companies competing collectively and managed collaboratively, under the respected FedEx brand. † (FedEx Corporation, 2009). With a marketplace that is always changing FedEx Corporation is always putting forth full effort to be on the forefront of technology and to bring new and innovative ideas to maximize their profits and customer choices. FedEx currently handles an â€Å"averaged 3. 4 million† a day and delivers to over 213 countries† (E-Logi, 2009). Even in a hard international economical time, many â€Å"Customers are increasingly seeing the value of using FedEx to reach new markets, grow their businesses and cut inventory carrying costs. The global economy is expanding steadily, particularly the manufacturing sector, giving our business more opportunities to grow in the future. † (FedEx Corporation, 2009). As one can tell FedEx Corporation is a trend setting and revolutionary business force which continues to be on the forefront of innovation due to its ability to focus on the customer, ability to make tough decisions and always absolutely positively delivering on its promises. Federal Express is a global leader in getting packages to consumers. Business consumers already enjoy services like a hold feature for important packages and documents. This service is designed for the organization that ships a large number of packages and documents to regular business partners or employees. Employees and partners can retrieve their package from the closest sorting facility by having a hold placed on any or all incoming packages. Federal Express notifies partners and employees via pre-recorded voice mail that their package is available for pickup at the location nearest them. The service that is being contemplated is a kiosk idea, where customers business or individuals can send packages or documents, as well as pick them up all in an automated system that is based on the needs of the consumer. Undelivered packages and documents will be retained with in the kiosk, and consumers can pickup their delivery. This will be offered in a few different manners. Customers can log into the web site and obtain a pin number for the package, or it can be e-mailed or an automated voice mail can be sent to a cell or land line telephone. Customers whom do not want deliveries to be sent to there place of residence can have the option to have this become their primary way of receiving anything shipped by Federal Express. People in a specific delivery area will have the ability to ship and receive their packages and documents using the same kiosk based on geographic and delivery area. The kiosk will be totally automated and open twenty four hours a day, based on customer needs. Marketing is defined as the strategy-allocating resources (time and money) in order to achieve the objectives of (a fair profit for supplying a good product or service). The economy uses tactics to get buyer’s attention in order to gain maximum success. â€Å"Marketing is the activity, set of institutions, and processes for creating, communicating, delivering, and exchanging offerings that have value for customers, clients, partners, and society at large† (American Marketing Association, 2008, p. 1). Marketing is vital to any organization in meeting the needs and wants of the consumers and if the marketing department is not focusing on meeting the needs of the consumers, stakeholders or vendors, the organization will not be successful. Marketing helps the organization develop a plan, collect data on the target population, examine and explore areas of the organization that will improve services to his or her customers in order to provide top quality services. FedEx marketing department has decided to explore the problem of holding customers package when they are not home to receive these packages. With the current system, customers can pick up their packages at the nearest Kinko’s FedEx store, but in order to know if the package is there for pick up, the customer would need a tracking number then have internet access to see if the package is there for pick up but many times, the package is not there before the driver finishes his or her route, therefore, FedEx has decided to incorporate a kiosk system. This system will create a faster tracking system and enhance the quality of service provided to the consumers, vendors and stakeholders. The marketing department will create services that would fit the lifestyles of the consumers, by understanding demographics, psychographics, cost and time in providing a new service as well as if the new service will be beneficial to the consumer. Without a clear understanding of the importance of marketing in the success or failure of the organization, misrepresentation of marketing can have consumers going to the competition because of getting their needs better met with faster turnaround services, better customer service and overall, top quality management. Strengths of reputation and organizational processes of Federal Express now known as, Fed Ex are what they have worked hard to create. Companies which have the focus of excellence usually have the proper organizational values in a progressive environment. Weaknesses within Fed Ex are between the past upper management decisions to categorize delivery drivers as independent instead of employees of Fed Ex. In 1998, 203 drivers filed a lawsuit against Fed Ex, citing they were paid as independent contractors instead of regular employees with benefits. (1) This class action suit would cause competitors to think Fed Ex has less sensitivity to employee requests for better benefits and more importantly working relationships within the company. Opportunities may present of growth within a company for in-house middle management and upper management. Promotions are readily available to the employee who shows they are working toward the growth of the company. Threats may be exhibited in ways which show habits that are representative of carelessness and lack of ethical behaviors of employees. Intrusion of thieves which may attempt to sabotage or rob delivery persons of packages delivered is another type of external threat. Any action which causes the inability to provide the services for which the company is known for may be categorized as a threat. Major mistakes, poor decision making skills, package losses, or failure to deliver on time are all errors which represent key threats to an established business such as Fed Ex. Of these threats they are known as internal and external threats. Trends may be what a company starts and is shown throughout the city, state or world as a mainstream guide for other companies in similar fields of service. Other companies may begin to show the public how a stable company works; as a level of standards. As a company which is known for delivery, productivity, quality improvement techniques and reputation, Fed Ex is a trend setter. Analysis of the plans of a package holding process will aid with deliveries that cannot be delivered after the second attempt. This is an opportunity for Fed Ex to stand out from among the other delivery services. Creating a personalized processed to contact the recipient until located will cut costs with returned item shipping, in addition to up-building of customer services. Marketing research can be a quantitative or qualitative process. Quantitative research would be conducting surveys to the consumers. Qualitative research includes focus groups and observational studies. The best marketing research approach for our service would be a qualitative approach. It is the less expensive approach and a more efficient way of getting feedback from the consumer for our particular service. Marketing research follows the guidelines of the scientific process. The research project for this particular process is a 24 hour automated Kiosk for Fed Ex customers to send and receive packages based on their own needs. The next step would be to collect primary and secondary data about the new Kiosk service. Then we can perform qualitative research by use of observational studies, by picking a sample of Fed Ex customers to test the new Kiosk service. From the observational studies, we can then compile the data on how the customers reacted to the new Kiosk service. Once we have all this data we can then summarize our findings and determine whether or not this idea is feasible for Fed Ex. The market research process leads us to our marketing strategy for the new Kiosk service. A good marketing strategy includes a target market and marketing mix. Our target market would be adults over the age of the 18, and our marketing mix would include the 4p’s: product, price, place and promotion. References American Marketing Association. (2008). Marketing definitions. Retrieved January 22, 2009 from http://www. seologic. com/ E-Logi (2009). E-longi. net FedEx corp. Retrieved January 6, 2009, from http://www. e-logi. net/index. php? ID=696 FedEx Corporation (2009). FedEx Corporation – investor report. Retrieved January 5, 2009, from http://ir. fedex. com/releasedetail. cfm? ReleaseID=259392 http://www. fedexdriverslawsuit. com/ (1) Retrieved Feb. 8, 2008 http://www. fedex. com/Dropoff/start? locale=en_US Retrieved 2-7-09