Supply Chain Management Plan

Final Project Assignment: Supply Chain Management Plan

This week, you will complete Part 2 of the Final Project, a plan for integrating a new supplier into the supply chain at Johnson & Johnson (J&J). To prepare for completing this assignment read the article “The Supply Chain Management Processes.”
Using the “Supply Chain Management Plan Template,” complete the section on supply chain management practices. The requirements for the content and length of each section are provided in the template.

What (Good) is Historical

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What (Good) is Historical
Epistemology? Thomas Sturm reflects on a conference on historical epistemology, held at the
MPIWG in July 2008, which brought together historians and philosophers of science.
• AUG 31, 2008 • Thomas Sturm •
• DEPT. I
Philosophical epistemology aims to clarify what knowledge is, whether we possess
any of it, and how we can justify our knowledge claims, including scientific ones.
While epistemology is a strong branch of current philosophy, its universalistic
pretensions have often been criticized. In particular, it has been suggested that
knowledge is situated in contexts (biological, social, historical, material) and that
epistemology cannot afford to ignore these contexts. One such challenge, which has
recently attracted many historians of science, has been named “historical
epistemology”. Yet there are several different versions of this approach. The
conference aimed to clarify and evaluate these in talks and discussions with
internationally leading historians of epistemology and philosophers and historians of
science. The conference attracted over 120 guests from Europe, America, and Asia,
who work in disciplines as diverse as philosophy, history of science, physics, geology,
economics, sociology, psychology, art history, and philology.
The guiding task was to clarify what versions of historical epistemology exist and the
pros and cons each of them presents. What kind of historical enterprise is historical
epistemology? What are its basic assumptions, and what are their rationales?
Moreover, in what sense is such a focus on epistemic categories and practices itself a
form of epistemology (or philosophy of science)? As papers and discussions were
based on studies about specific topics that exemplify or test one or another version of
historical epistemology, the conference covered a wide variety of issues. These
included the historicity of epistemological categories and standards (such as the
replication of experiments in the seventeenth and eighteenth centuries, the relation
between perception and judgment, or different models of explanation and causal
inference); the historicity of epistemic objects, that is, the “birth, life, and death” of
real or apparent objects of research (like phlogiston, the electron, memory, or the
economy); and models of scientific development, which were either guided by a neo-
Kantian framework or tried to deal with alleged cases of incommensurability by
means of theories of concepts from recent cognitive science.

The way the program was organized reflected three versions of historical
epistemology, as they are practiced by researchers at the MPIWG. Each has its own
points of contact to philosophical epistemology and the philosophy of science: (1)
According to Lorraine Daston, historical epistemology raises “the Kantian question
about the preconditions that make thinking this or that idea possible” (1994, 284), but
views these preconditions as thoroughly historical. Thus, not only our knowledge and
evidence changes or grows throughout history, but our understanding of what can
count as knowledge can be historicized as well. (2) Hans-Jörg Rheinberger’s version,
again, focuses strongly upon the material – especially experimental and technological
– conditions under which scientific knowledge develops, and claims that this goes
along with a shift away from studying the cognitive subject’s conceptual grasp of
objects towards a “reflection on the relation between object and concept, which starts
from the object to be known” (2007, 11f. transl. TS). This touches strongly on the
realism/anti-realism debate in the philosophy of science. (3) Jürgen Renn views
historical epistemology as an historically founded theory of long-term developments
of scientific knowledge. This addresses the philosophical issue of scientific progress,
but pursues it in the form of a naturalistic epistemology centered on an empirical
explanation – based on models of cognitive science – of how scientists come to know
certain things.
These versions of historical epistemology are not strictly competitive, but
complementary. They can also overlap. For instance, as became apparent in the
debates over epistemic things, their “lives” are often connected with issues of long-
term scientific developments. That certain objects become interesting for researchers
at some points, and forgotten or completely ignored at others, for reasons that may not
look entirely rational, raises the question as to whether scientific developments
actually do entail – to use Kuhn’s term – “revolutionary” shifts. Likewise, the
question as to whether certain steps in long-term scientific developments are
legitimate cannot be answered independently of what one believes, or what the
relevant actors believed, to be rational procedures.
This has an important consequence. Historical epistemology is destined to involve
second-order considerations: One cannot simply reconstruct the development of
scientific knowledge as such. There must also be a parallel program of reconstructing
what the agents thought were permissible or recommendable steps, or how they
understood such concepts as knowledge, evidence, observation, probability,
objectivity, and proof. This understanding of historical epistemology converges also
with Michael Friedman’s neo-Kantian approach: He argued that in order to solve
Kuhnian problems of revolutionary gaps in scientific developments, during, say, the
Einsteinian revolution, one should study not merely the history of the relevant
research, but also the philosophical frameworks that guided certain important steps in
that revolution.
Several philosophers at the conference, however, tried to establish a different
connection to the history of science. They were all inclined towards naturalism, the
view that epistemology should use the empirical sciences to understand how
knowledge grows and can be improved (and should give up attempting to look for a
priori presuppositions of knowledge). Peter Barker, Michael Heidelberger, Philip
Kitcher, and Sandra Mitchell defended this approach. Kitcher even introduced a new
version of historical epistemology, claiming that philosophers abandon a static view
of knowledge and its justification, adopting instead a dynamic picture of science,
looking to history for reliable methods of revising beliefs. That does not necessarily
imply a subordination of historical epistemology to naturalized epistemology. As
Mitchell noted, the kind of naturalistic epistemologist who accepts that science
changes historically must accept that his or her own naturalistic conceptions of
science also can, or even should, continue to change as well: “If epistemology has a
history, it also has a future.” That, however, invites a further question: Can this
approach explain scientific change without using neokantian assumptions or without
losing all substantive naturalistic ingredients?

Renaissance, Baroque, Impressionist, or Post-Impressionist periods

Unit VII Essay 
For the Unit VII Essay, you will visit an art museum of your choice. You may visit one in person or take a virtual tour via the Internet. Below is a list of museums that offer virtual tours that you may want to review for this assignment.
 
For this essay, write about two artworks from the periods we read about in Unit VII: Renaissance, Baroque, Impressionist, or Post-Impressionist periods. 

Monkey Puzzle, Keith Haring

QUESTION 1
1. In his image Monkey Puzzle, Keith Haring creates a bold and dynamic effect by using:

monochromatic colors.
analogous colors.
tertiary colors.
complementary colors.

12 points   
QUESTION 2
1. Raphael’s The School of Athens provides the viewer with the illusion of the three-dimensional world on a two-dimensional surface by the use of:

impasto.
analogous colors.
implied motion.
linear perspective.

12 points   
QUESTION 3
1. Architects are primarily concerned with qualities of:

time.
materials.
space.
texture.

12 points   
QUESTION 4
1. Alexander Calder’s mobiles are examples of kinetic art because they:

move in space.
are made of metal.
have only a few colors.
lack political content.

12 points   
QUESTION 5
1. The purity or saturation of a color is its:

hue
value
intensity
form

12 points   
QUESTION 6
1. Match the question or statement on the left with the corresponding word or phrase on the right.

  Which is an example of cool colors?
  Which is an example of warm colors?
  Which are the pigment primary colors?
  Which are the pigment secondary colors?
  What is implied when an object is placed over another object?
  Which technique uses a vanishing point to establish distance?
  Which technique uses color and value to establish distance?
  What determines the color we see?
A. Linear perspective
B. A painting of a sea shore
C. Red-orange, green, blue-violet
D. Blue, red, and yellow
E. Depth or distance
F. Reflected light
G. Green, orange, and purple
H. A painting of a sunset
I. Atmospheric perspective

Mosaic Invitational at the California Center of the Arts.

Super important!!!!The person who help me to write this paper must search some information about Niki de Saint Phalle’s Queen Califia’s Magical Circle Garden and the Mythical California and a Mosaic Invitational at the California Center of the Arts.
Three pages paper, double spaced with font size no latger than 10 for most fonts.
Include introduction, body and conclusion.
the paper is an analysis in your own words from what you saw and should not have an overuse of supportive references from outside sources
Here is the prompt.

Visual Elements

Unit III Assignment
Art Gallery: Visual Elements
For Unit III of your art gallery presentation, you will be adding descriptions of the visual elements you observe in the
artworks you placed in your art gallery. The purpose of this unit assignment is to demonstrate that you can apply what you
learned about visual elements to your gallery artworks.
 Begin by reviewing your Unit II feedback and making any necessary revisions.
 Place one Visual Elements slide directly after the artwork it describes.
 Next, research the elements using Chapter 3 of your textbook.
 Make sure you describe all of the visual elements from Chapter 3 using complete sentences. Questions to
consider are included below:
o Line: Describe what kind of lines are in the artwork (vertical, horizontal, diagonal, thick, thin, etc.). What do the
lines do? Do they lead your eye to something?
o Shape: Describe what kind of shapes are in the artwork and where they appear. Are there circular shapes in
clouds, rectangular shapes in buildings?
o Light: Where is the light coming from? What is it highlighting?
o Color: What colors are used? Are the colors bright, tints, muted? Are they different shades of one hue?
o Texture: Is there a pattern on some area in the artwork? Is there a paint texture such as impasto?
o Mass: Is the artwork heavier in one area?
o Time: Is there anything in the artwork that gives the sense of time? Is it a daytime or nighttime scene?
o Motion: Is motion depicted? Are people walking, running, floating, or climbing toward something?
 You must use at least your textbook as an outside source. Be sure to follow APA format for all sources used,
including the textbook. When adding your own opinion or observation, you will not need a citation as it is an
original thought.
 Please submit your full presentation thus far, which should include the previous updated segments and the
segment for this unit.
 This segment must include a minimum of five PowerPoint slides.
To access the art gallery template, an example presentation, and other PowerPoint resources, click on the “Course
Resources” link in the course menu bar of Blackboard.
Click here to access an example of this presentation segment. Click here to view this example in PDF format.
Click here to access a research guide that contains information on available resources from the CSU Library to aid you in
completing your coursework.
Information about accessing the Blackboard Grading Rubric for this assignment is provided below.

response paper

 Choose three of the following questions and write a 150-350 word response to each question (points deducted for not meeting word count requirements).  Include the question at the top of your response. Put all responses into one document – in other words don’t submit the assignment multiple times, once for each response.  Remember – you MUST put information in your own words (this includes information from your text book and online sources) or it is considered plagiarism and you will receive a score of 1 on the assignment. 
 
SELECT THREE below

  1. Name at least three ways of how the Roman Coliseum reflected Roman culture. (Do not just provide a description of the Coliseum.)

2. Provide an analysis of the significance of stoicism in Roman culture AND the spread of the Roman Empire?
3. How does Roman art and architecture differ from Greek art and architecture?  Provide at least 2 examples of Roman art AND 2 examples of Greek art with an analysis of how they compare to each other.
4. On the internet, find a copy and read Juvenal Against Women.  What is he talking about?  How is this an example of the new literary form of satire?
5. Look at Trajan’s Victory Column and the statue of Marcus Aurelius.  How do these reflect the culture of the Romans?
6. Name at least TWO monumental Roman architectural works. How does monumental Roman architecture serve as propaganda for the Roman