Intelligence Led Policing Essay Example for Free

Intelligence Led Policing Essay Intelligence Led Policing is a strategy that reduces crime through a strategic management and effective enforcement of strategies that target prolific offenders. In order to reduce social harm, the police have to work wider partners for wider potential solutions. The police have to combine their knowledge on criminal intelligence with crime analysis knowledge so as to come up with a substantial decision. It aims in achieving crime reduction and prevention by disrupting the activities of offenders through employment of a top-down management approach. Another way of predicting a prolific offender is through strategic targeting and prioritization. Targeting should be strategic towards individuals, location or operations that will produce the best results and success, thus enabling police officers to work effectively (Peterson, 2005). In addition, the information should be from reliable sources so as to allow the best results without breaching innocent people’s rights. Another issue is the use of previous crimes records as indicators so as to foster preventive measures in order to mitigate the offender from committing crimes. This operation can happen to be the best given that the information at hand is reliable but it can be unethical if the target happens to be clean (Peterson, 2005). Furthermore, through proper data collection either through physical surveillance, electronic surveillance, confidential informants, and public records or under covers operators who have provided vital information which after being analyzed they guarantee success. In conclusion, Intelligence Led policing focuses on certain criminal activities and key criminals can be targeted for inquiry after there problems are assessed. Moreover, some character and upbringing traits are use to predict recidivist behavior which helps in predicting prolific offenders and it tries to capture both operational and ethical issues. The number of times an offender has appeared in court, drug users’ and having delinquent acquaintances foster a good prolific offender target.

Justice And Injustice Essay -- essays research papers

In The Republic, the great philosopher Plato attempts to reveal through the character and dialogues of Socrates that justice is better when it is the good for which men must strive for, regardless of whether they could be unjust and still be rewarded. His method is to use dialectic, the asking and answering of questions. This method leads the audience from one point to another, supposedly with indisputable logic by obtaining agreement to each point before going on to the next, therefore, building an argument.   Ã‚  Ã‚  Ã‚  Ã‚  Interestingly about the work of Socrates is that its not known very well, since nothing was recorded during his time. Everything that we know about Socrates has come through the writings of his greatest pupil, Plato. Socrates was a man that revolutionized philosophy and how to approach his surroundings. One of Socrates greatest findings as a philosopher was that he admitted that he knew nothing, which to others, specifically the Delphic Oracle led them to believe that there were none wiser than Socrates. Socrates techniques as a philosopher came about with his abilities to question others. His line of questioning, to see why everything had a purpose drew a crowd of younger people, which leads us to The Republic, where Socrates encounters some questions for him.   Ã‚  Ã‚  Ã‚  Ã‚  Socrates had two young listeners posing questions of whether justice is stronger than injustice, and what each does to a man? What makes the first good and the second bad? In answering this question, Socrates deals directly with the philosophy of the individual's goodness and virtue, but also binds it to his concept of the perfect state, which is a republic of three classes of people with a rigid social structure and little in the way of amusement.   Ã‚  Ã‚  Ã‚  Ã‚  Although Socrates reiterates the concept of justice over and over again it all comes to his discourse on the perfect city-state, which seems a bit off the mark, considering his original subject. However, one of Socrates’ main points is that goodness is doing what is best for the common. It is greater good as opposed to that of individual happiness. There is a real sense in which his philosophy turns on the concepts of virtue, and his belief that ultimately virtue is its own reward. His first major point is that justice is an excellence of character. He then se... ...uite compassionate. Since happiness is the sign of justice, and pleasure is one sign of happiness, then the just person is the happy person. Socrates then equates true pleasure with knowledge, the province of reason and the philosopher.   Ã‚  Ã‚  Ã‚  Ã‚   Within Book X, In The Republic, Socrates argues for the existence of an immortal soul. With this plead, he makes the point that good is that which preserves and benefits. Justice is good, so it therefore preserves and benefits in this life as well as the next. Therefore, even though a man may wish to behave badly when no one is looking, as with the myth of the ring of Gyges, according to Socrates, by behaving justly we will have the most rewards. Eventually, the difficulty with Socrates' arguments is that they rely on associating things on to the next in a chain that eventually leads back to the original proposition. But, the logic of these connections seems built more on assumptions than on objective truth. Thus, within keeping his stance that ultimately what he says is right is right because he is a philosopher, and therefore is by his nature right. The dialectic seems more of a game to get the audience to go along.

Design of the Gunma Museum of Modern Art

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

Essay Voltaire - 549 Words

Voltaire The building blocks of the Enlightenment were formed out of a desire for truth, reason, and freedom – virtually contingent upon the last. An examination of Voltaire’s Candide and La Feyette’s Princess of Cleves, both well recognized pieces of the period, exemplify two views of freedom, the first based on its use in moderation and the latter making it a relative term. Relative freedom meaning it is correspondent to one’s social, economic, and religious place with in society. In Candide, the main character’s own freedom and ability to make decisions is rather dangerous too not only himself but to others as well. Freedom to choose to dedicate his life to a relentless pursuit of his dear Cunegonde led to not only her†¦show more content†¦Her way of life is according to the virginal, puritan values of her mother. The princess’s gender, along with the time period addressed in this novella, limit her freedom. The few liberties she is l eft with only lead to her unhappiness and that of the two men in her life. The princess makes a free decision to confess â€Å"such as no woman has ever made to her husband† of her forbidden passions for another man (125). Her freedoms only haunt her and leave her alone in the end. It causes the death of her beloved husband and the solitude of both her and the Duke. Accompanying the negative outcomes, there are many restraints place on the degree to which the freedom extends. When feeling overwhelmed with her surrounding society Madame de Cleves must ask her husband if she may remain where they live as the court continues onward. Her one effort to temporarily escape from the â€Å"bustle of the court† is questioned by another person, pure evidence of the circumstantial freedom she is allowed. Along with her husband’s powers, while her mother was alive, she held on to a portion of Madame de Cleves’ freedom. Her mother and society built the rules an d morals she lived by, none of which were her own. When confronted with the affliction between her husband and the man she truly loves, her mother merely reminds her to think of â€Å"what [she] owes [her] husband† and to â€Å"remember that [she] is in danger of losing thatShow MoreRelated Voltaire760 Words   |  4 Pages Voltaire was a talented, assertive, and controversial French writer from the eighteenth century enlightenment period. He was born in 1694 to a wealthy family in Paris, and given the name Francois-Marie Arouet. During the early years of his life Voltaire endured many hardships. For instance, his mother passed away when he was seven leaving only his father and older brother to raise him. Unfortunately, this added insult to injury as Voltaire despised both his father and brother. 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This first edition was quite a cumbersome read and so in 1980 Leonard Tancock retranslated the book to English from a previous French edition. Just a few years prior to the release of Letters on England, Voltaire had been imprisoned by France and