History of Light Gauge Steel

History of Light Gauge Steel History and Development of Light Gauge Steel Within the Construction Industry At the end of World War Two, many countries, including the United Kingdom, Japan, France and Germany were suffering from an acute housing shortage. It was at this time that the use of light gauge steel was introduced into the construction industry by using it as a cladding system within the building of steel framed pre-fab houses. These pre-fabs were poorly designed with little insulation causing cold bridging and ultimately condensation and dampness within the interior of the buildings. This has led to many of these buildings being demolished and traditional brick homes constructed in their place. Despite this, with improved insulation, light gauge steel has continued to be used as an infill structure on multi storey buildings built from hot rolled steel or concrete frames. Commercial and retail buildings in particular continued to benefit from its diverse capabilities, using it as a cladding system which can be formed into many different shapes. In the USA, since 1990 over 20% of a ll affordable homes are now built using this method and it is still growing year on year (Koones, 2006). However, in the UK, we are not using advances in technology as we should be, meaning the buildings that we construct are responsible for almost half of our carbon emissions, half of our water consumption, around a third of our landfill waste and a quarter of all raw materials used in the UK (Smith R A, et al. 2003). This means that the UKs sustainable development targets cannot be met without a fundamental change to the way in which buildings are constructed. The national targets for greenhouse gas emission reductions and the drive for buildings that generate zero carbon in operation present a huge challenge to the building industry (Corus. Sustainable Steel Construction). These drivers have forced the industry to radically change the way in which it constructs its buildings developing other forms of construction to comply with new building regulations and sustainability issues. Advances in technology have led to improved building designs enabling many of the problems that were associated with light gauge steel in previous buildings to be overcome. Other forms of construction have also evolved, most of which are now capable of being manufactured in a factory and shipped to the site ready for assembly. These are known as Modern Methods of Construction (MMC) and their use has been encouraged by Government and the Building Research Establishment (BRE) due to their impact on the environment and benefits to the end user. In 2006, the MMC market split was: Â £414 million for volumetric (based on manufacturers selling price), 52,797 timber frame units (houses and commercial), Â £61 million for light gauge steel frame (which equates to around 6,100 units), 750 SIPS units (estimate) (BRE 2nd March 09). Today the properties of light gauge steel are being utilised, not only as a cladding system but as a complete building product, replacing bricks and blocks with thin studs of steel fixed together to form non-load bearing or load bearing walls. The studs that are used are formed by folding the strips of galvanised, light gauge steel into the required shape, of which there are many. The most common shape being C sections which are usually formed for use within walls. These vary in size from 40 225 mm and between 0.56 3.2mm in diameter depending on whether or not they are to be used in exterior, interior, load bearing or non-load bearing elements of the building. The steel used is galvanized, providing it with a protective coating for internal applications and has a standard coating of G275 (275 grams/m2). As it is only suitable for interior applications then the entire light gauge steel structure has to be enclosed within a protective covering. This is referred to as the envelope or a warm frame structure and is formed using insulation and a protective vapour barrier. The warm frame structure enables the building to have excellent thermal properties, surpassing the minimum U-Value levels of the Building Regulations 2000. Within the UK the design code for light gauge steel is BS9590 part 5; European design code is Eurocode 3 part 1.3 these are intended to be set of technical rules for the design of buildings using this method of construction. Light gauge steel has the best strength to weight ratio over any other building material and these high strength to weight ratios equate to six tonnes of steel achieving the same performance as 120 tonnes of concrete (SCI, 2007) and as a consequence of its light weight, dependant on ground conditions, less substantial foundations, even the use of prefabricated ground beams assembled to form the foundations may be suitable. Its light weight also inevitably means fewer deliveries to site, in turn causing less disruption to the local community. There are a number of ways in which the elements of a light gauge steel building can be constructed, one of which has taken its name from timber framed buildings where each element of the building is cut to length and fixed together on site. This is referred to as stick building and is a very labour intensive method which, along with a carpenter for timber frames, requires several years of training. This is similar to traditional construction but instead replacing the bricks and mortar with light gauge steel, a good method for one off buildings but it also prevents the benefits gained by off site manufacture to be achieved. The opposite to stick building is the volumetric system. This is the most factory based form of construction and involves the delivery on site of, usually, a complete room fully fitted out with all fixtures and fittings. This minimises on site installation work and only requires the individual pods to be fixed together increasing the rate of construction of the bu ilding. This form of construction is very good for buildings where a repeated style of room is required such as student accommodation blocks or a hospital. When the design of a building is more complex then the cost of producing individual pods significantly rises. The factory based fabrication of the pods ensures a high standard of workmanship with a precision of +0 to -2mm tolerance being achievable and also minimises the traffic, waste, labour, and time spent constructing the buildings resulting in savings for the developer whilst minimising the impact on the environment. The open panel method is another design used with light gauge steel structures. It involves the assembly of the walls, floor or roof within a factory based environment and delivered to the site when needed. All insulation, services, cladding and internal finishes are then fitted on site. The direct factory based savings for the open panel method is reduced due to the fact that the superstructure of a building only amounts to about 15% of the total construction costs. Any savings made using the system would be modest but the reduced time spent on site related to the use of this method would be where the savings would be made. The closed panel method also involves the production of the elements of the building within a factory but will also have the insulation and vapour barrier fixed to it. The services, internal finishes, doors, windows etc may also be in place and the different elements of the building would only require fixing together on site which is usually achieved, as in other methods, by welding, riveting, screwing or crimping. Costs of MMC have been muted as a barrier to the progression of their use and the Barker Review of Housing Supplies (2004) stated that At the present time, traditional brick and block methods of construction remain cheaper, in many cases, than modern methods of construction, including off-site manufacture (OSM). Only four years later a 2008 BRE report (SmartLIFE Lessons Learned), published its findings on a pilot project in the Fenland district of Cambridgeshire. It found that light gauge steel construction was in fact, cheaper than the traditional method of brick and block and also that of other MMC used, including timber framed and insulated concrete formwork. According to the SmartLIFE report the advantage of an ongoing partnership and understanding between the light gauge steel manufacturer and the main contractor was a factor in the methods cost effectiveness. The SmartLIFE project was undertaken to find the best ways the UK can deliver a greater volume of sustainable, affordab le and high quality homes in less time, using both traditional and innovative methods of construction. In comparison to other MMC, light gauge steels long roof and floor span capabilities also add to its diversity. Rooms can be changed around within the building by simply moving interior walls which do not require demolition as opposed to other methods. They can also be disassembled and reused or recycled unlike, for example, insulated concrete formwork walls. Whilst there are benefits to using light gauge steel there are also disadvantages including the metals thermal conductivity. Unlike a timber framed building, heat can quickly conduct across a metal stud and with many studs in a wall this can reduce the temperature within a room ensuring the u value of the wall is reduced. To rectify this additional exterior insulation is required at extra cost to the developer. There are also fears about corrosion problems. If the building is not kept within its warm envelope then deterioration of the metal could be a problem. A counter argument is that timber rots far easier and quicker than me tal and timber can also be a food source for a variety of animals. The electric conduciveness of the frame also means that extra work is needed to ensure the wiring does not come into contact with the frame. In modular and closed panel construction this would be undertaken in factory conditions and would be easily overcome but with on site installation it inevitably means further responsibility falls on to the sub-contractor electrician. Perhaps the most serious of its disadvantages is the thermal conductivity of the metal frame and its ability to cause the structure to collapse. To tackle this problem the fixing of two layers of gypsum plasterboard at staggered joints gives the metal frame a fire resistant time suitable to exceed the minimum fire safety requirements of Part B (Fire Safety) of the Building Regulations 2000. The acoustic performance of light gauge steel has also been questioned but the necessary double layer of plasterboard also takes the level of acoustic performance past the necessary requirements outlined in Part E (Resistance to the passage of sound) of the Building Regulations 2000. The high embodied energy of light gauge steel is also a disadvantage to people who have no knowledge of its reusability and recyclability. To calculate the embodied energy within construction components the World Steel Association uses the system expansion method of lifecycle assessment, which is the preferred approach of the International Organisation for Standardization (ISO) 14040 series of environmental standards. Although it is high in proportion to other MMC it is its ability of indefinite re-use and recycling without its qualities ever decreasing which differentiates it from all other methods of construction. Unlike traditional forms of construction light gauge steel benefits from low waste, adaptability, off site manufacture, re-usability, recyclability and resource efficiency making it one of the most sustainable building methods available within the UK. The buildings that can be produced by this method are light, open and very adaptable meaning old buildings would not have to be demolished when they are deemed unsuitable. The interiors would be simply rearranged to meet the end users requirements thus prolonging the life span of the building. Light gauge steel can and does exceed the requirements of todays low level building requirements and in conjunction with other methods of construction its benefits are also widened to medium and high rise buildings. However, a number of barriers will have to be overcome if light gauge steel is to become a prominent method of construction. Consumer confidence and the stigma of pre-fab buildings will have to be improved upon which can only be achieved by educating the consumer on the benefits of light gauge steel, including its whole life cycle properties. Finally financial aspects will have to be challenged including mortgage lenders and insurers who will essentially become a part of the education system. Their own education in the use of light gauge steel will enable them to encourage the use of and be involved in the progression of Modern Methods of Construction. Bibliography AMA Research Ltd, Current Practices and Future Potential in Modern Methods of Construction, waste and resources action programme. (2007) Barker K, Review of Housing Supply, Delivering Stability: Securing Our Future Housing Needs. Final Report and Recommendations, (2004), HM Treasury. BRE, Assessing the Sustainability of Prefabricated Construction Techniques: Building Research Establishment, (2003) BRE, Designing Quality Buildings, HIS BRE Press, (2007) CABE. Design and Modern Methods of Construction: Commission for the Built Environment, (2004) Communities and Local Government, Code for Sustainable Homes, Technical Guide, Department for Communities and Local Government, (2009) Corus BCSA. Sustainable Steel Construction, Building a sustainable future, (date unknown) Corus. Start Building With Fnished Rooms, Modular Building System, (2006). Currie D M, The use of Light- Gauge Cold Formed Steelwork in Construction, developments in research and design, Bre report, IHS BRE Press, (1989) Davison B Owens G, Steel Designers Manual, Blackwell publishing, Sixth Edition, The Steel Construction Institute, (2003) Dye A et al, Environmental Construction Handbook, RIBA, (2008) GRUBB P J et al, Light Steel Framing in Residential Construction, SCI Publication P301, (date unknown) GVA Grimley, Cities, Commerce Carbon: The Role of Property, (2009) Koones, S. (2006), Steel Frames Enter the Mainstream, Free Press, Smart Home Owner, May/June 2006. ODPM, Sustainable Communities: Building for the Future, Office of the Deputy Prime Minister, (2003) Perkins M Z, The Utilization of Light Gauge Steel In Residetial Construction In The State Of Utah, Thesis, (2009) Ross Keith et al, A Guide to Modern Methods of Construction, NHBC Foundation, HIS BRE Press, (2006) ROSS Keith, Modern Methods of House Construction. Building Research Establishment, (2005) Sir John Egan. Rethinking Construction, Report of the Construction Task Force, Office of the Deputy Prime Minister. (1998) Sir John Egan, Egan Review of Skills for Sustainable Communities: Office of the Deputy Prime Minister, (2004) SmartLIFE Lessons Learned, (2008), HIS BRE Press. BRE Report BR500 Smith R A, et al, The Construction Industry Mass Balance: resource use, wastes and emissions, Viridis Report VR4 (Revised), 2003, ISSN 1478-0143 Steel Construction Sector Sustainability Committee. Sustainable Steel Construction Building a Better Future. (2001) The Steel Construction Institute, Handbook of Structural Steelwork, 4th Edition, The British Constructional Steelwork Association Limited, (2007) TRADA, Manual for the Design of Timber Building Structures to EuroCode 5, (2007) Modern Methods of Construction, Evolution or Revolution? BURA, (2005) Unknown author, http://www.hm-treasury.gov.uk/ (2009), Her Majestys Treasury, accessed 9th December 2009. Unknown author, http://www.planningportal.gov.uk/england/public/ (2009), HMSO, accessed 9th December 2009 Unknown author, http://www.communities.gov.uk/corporate/, (2009), accessed 3rd December 2009 Unknown Author, http://www.hexaport.com/ (2009), Hexaport International, accessed 7th December 2009 Unknown author, http://www.bre.co.uk/ (2000 2009), The Building Research Establishment Trust, accessed 9th December 2009 Unknown author, http://www.azobuild.com/ (2009), AZoM.com Pty Ltd, accessed 8th December 2009

Privatization of Social Services Essay -- Public Policy Management

The Benefits of Privatization of Social Services Contracting out is the process through which public organizations contract with private sector organizations to provide services normally provided by public agencies. It is a form of privatization, which is defined as any shift of activity or functions from the state to the private sector, more specifically, the shift of production of goods or services from public to private. (Starr, 5) Privatization reduces the role of government and increases the role of private sector agencies. However, public agencies maintain ultimate control over the provision of services and they control government funding. In an effort to reduce costs, enhance efficiency or improve services, many states have started privatizing or contracting out many of their social service programs. The Personal Responsibility and Work Opportunity Reconciliation Act of 1996 greatly influenced agencies to explore contracting out as a means of delivering services. Privatization is not a new concept for social services, however, the Personal Responsibility and Work Opportunity Reconciliation Act gives states more flexibility to administer TANF and other related services. (Yates, 1) The County of Los Angeles, Department of Public Social Services is one such organization that is seeking to provide effective, efficient services while meeting the mandates of welfare reform regulations. CalWORKS (California Work Opportunity and Responsibility to Kids) GAIN Division (Greater Avenues for Independence) is responsible for providing Welfare-to-Work services to Temporary Aid for Needy Families (TANF) (formerly known as AFDC) recipients. Welfare reform time limits have made it necessary for the organization to becom... ...wn Author. "The Growing Cost of Contracting Out". Internet http://www.afge.org/SWAMP/factsheet2.htm Nelson, F. Howard. "Analyzing the Cost of Contracting Out". Internet http://www.aft.org/research/reports/private/contmanu.htm Nightingale, Demetra Smith and Pinus, Nancy. "Privatization of Public Social Services: A Background Paper". 1997. Internet http://www.urban.org/pubman/privatiz.html Starr, Paul. "The Meaning of Privatization". Internet http://www.princeton.edu/~starr/meaning.html United States Government Accounting Office. "Social Service Privatization". Internet GAO/HEHS-98-6, October 1997. Yates, Jessica. "Managing the Contracting Out Process for Results in Welfare Reform". Internet http://www.welfareinfo.org/contractissue.htm Yates, Jessica. "Privatization and Welfare Reform". Internet http://www.welfareinfo.org/jessica.htm.

Analysis of “The School of Athens” by Raphael Essay

Raphael, the youngest of the three great artists who defined the Italian High Renaissance, was born in the small yet artistically significant Central Italian city of Urbino. It seems that Raphael attained his natural gift of creativity from his father who was a poet and a painter. Orphaned at an early age, Raphael was sent to be an apprentice to the distinguished painter Perugino, and by the tender age of twenty-one had flourished into an impeccable artist with talent surpassing that of his mentor. Over the course of the next four years, Raphael lived and worked in Florence alongside Leonardo DaVinci and Michelangelo. Raphael could not escape the imminent influence of these two legendary artists. By 1508, Raphael’s reputation had already been established and at the age of twenty-five he was summoned by Pope Julius II to decorate the walls of the papal apartments in the Vatican Palace, which happened to be just steps away from where Michelangelo’s Sistine Ceiling was in progress. This commission allowed for the creation of the world-renowned fresco titled, The School of Athens. This work is revered as one of Raphael’s greatest achievements and possibly the greatest achievement of the High Renaissance period. This commission would bring Raphael deserved recognition and notoriety and ultimately led to him becoming the leading painter in all of Rome. The School of Athens is a painting of world-renowned stature because of its impeccable harmony, which was characteristic of Raphael’s work. In order to understand the influence of this piece one must recognize Raphael’s overall achievement here: he successfully created a scene of nearly sixty figures, each individual and alive, that yet combines in a design that is harmonious, clear, and befitting the classic importance and dignity of its subject. Harmony is created in part by the use of contrasting elements. Most obvious of these elements would be the differing philosophical ideas of the two principal characters, Plato and Aristotle. Plato is shown pointing upward suggesting his emphasis on the existence of a spiritual realm beyond the physical world. The gesture is a reference to, â€Å"Plato’s interest in the world of ideas, a meta-world that exists beyond our comprehension of reality† (Crenshaw 126). On the other hand, Aristotle gestures his hand downward stressing his belief that the physical world is the basis of all knowledge and understanding. Plato carries the Timaeus, one of his dialogues that explains his belief in the reality of a world of ideal forms which exists beyond the material universe. Aristotle is shown holding his famous Niomachian Ethics that illustrates his belief that knowledge is only gained through empirical observation and experience of the material world. The two figures are further differentiated by their sense of movement and their age. Plato appears to be an older gentleman who seems to be moving with an air of patience and grace while Aristotle is a younger man who se ems to be moving forward with a greater sense of urgency and energy. The picture is then divided neatly in half, the idealists or â€Å"thinkers who concerned themselves with ideas and abstract concepts† (Crenshaw 126) are on the left side with Plato. To the left of Plato in a dark green robe, Socrates can be seen engaging in an argument amongst a circle of his disciples enumerating points on his fingers, â€Å"in a classic visualization of the Socratic argumentation technique† (Crenshaw 126). Socrates was an influential and revolutionary Grecian philosopher whose work was meant to show how argument, debate, and discussion could help man to understand and resolve difficult issues. Although the notion that this figure is indeed Socrates has been widely accepted for generations, a new idea has recently emerged among art historians. These historians speculate that Socrates is actually the figure shown sprawled about on the steps directly in front of Plato and Aristotle. Some interesting theories support their argument. The first point they make states that, â€Å"compared to most of Raphael’s figures who are rather richly dressed, this man, with his simple, bare-shouldered himation, gives the impression of far more modest tastes. He also seems to have come from an earlier era† (Bell 641). These obvious features accurately describe Socrates. Another important point to note would be the placement of this figure. One cannot deny that the figure is in a place of specific significance and attention. Our eye is drawn first to the central figures, Plato and Aristotle, and secondly to the figure lying on the steps in front of them. The new identification of Socrates suggested here, â€Å"places the three most important philosophers in the center of the School of Athens, where they are depicted without any intervening figures between them† (Bell 641). This strategic placement allows for a natural emphasis on the three most influential philosophers of all time. This new identification becomes problematic when one considers the fact that for most of history, this figure on the steps has been identified as Diogenes the Cynic. Diogenes’ philosophy encouraged men to live a life of simplicity and to reje ct all forms of luxury. He sought to expose the falsity of most conventional standards set by society. While Diogenes was a philosopher of significant stature he does not measure up to the over arching influence of the famed Socrates. This figure has been widely accepted as Diogenes because of his apparent demeanor and clothing. The figure is shown in what some refer to as rags, which supports the argument that this character is Diogenes. Another element that supports this man being Diogenes is the way the character interacts with the philosophers around him. He appears to be withdrawn from the rest of the group, which was characteristic of Diogenes, who was considered by most to be an individual who lived on the fringes of society. Although this figure could possibly be Diogenes, I conclude that the new identification suggesting that this figure is actually Socrates proves more convincing. If the figure on the steps is Socrates, where is Diogenes? Some art historians have theorized that Diogenes is the man standing alone under the statue of the God Minerva. No other philosopher appears so unkempt and disheveled, almost shunned by his fellow Athenians. Adding further evidence to this theory, â€Å"it would be appropriate to portray Diogenes as a very old man, dressed in only a simple red-brown cloak, which, according to Laertius, he wore everywhere† (Bell 643). In my opinion, I would argue that this new identification is indeed more valid than the previously accepted version. The fact that not all of these figures have been correctly identified or even identified at all, keep art historians interested in the work. Perhaps Raphael intentionally left the identities of these two figures unexplained to spark the viewer’s curiosity. In the lower left foreground Pythagoras is shown â€Å"illustrating his musical theorem† (Crenshaw 126) to a group of his students. Shown leaning on a block in the foreground is the pre-Socratic philosopher Heraclitus, who claimed that understanding is realized through introspection. Heraclitus seems to be lost in thought and appears to be uninterested in interacting with the other figur es surrounding him. This figure is thought to be a portrait of Michelangelo therefore portraying him as a man of little social capability. Raphael is possibly also contrasting himself to Michelangelo suggesting that Michelangelo is a man of quiet introspection while he is a sociable man who is well liked by all. The realists or Aristotelians are on the right side with Aristotle. Further emphasizing their realist ideals the right side of the painting is shown under the statue of Minerva, the goddess of wisdom and the sense of sight (Crenshaw 126). Shown in the lower left foreground is Euclid, the Greek mathematician, and his four students absorbed in their mathematical demonstration. Euclid is remembered as the â€Å"Father of Geometry†. He also researched and closely observed optics and perspective (Janes 57). Euclid resembles the influential architect Bramante, who was a friend of Raphael. Zoroaster and Ptolemy are shown facing opposite one another directly above Euclid. Zoroaster, a philosopher of ancient Persia, shown here holding a celestial globe is discussing with Ptolemy, the Greek geographer who believed that the earth was the center of the universe, holds a terrestrial globe (Janes 57). Directly above Ptolemy and Zoroaster is a figure standing alone wrapped up in his cloak and his thoughts. This figure is the lawgiver Solon. Tucked into the right corner of the composition is Raphael’s teacher Perugino. By placing Perugino in the composition, Raphael is showing his deep respect for his mentor and thanking him for sharing his knowledge. The figure next to Sodoma is actually a self-portrait of Raphael himself. By placing himself along with other artists in the scene, â€Å"Raphael asserts that art is, in fact, an intellectual enterprise — a form of study and enquiry, n ot merely a manual activity† (Crenshaw 126). It is also no coincidence that Raphael places himself on the Aristotelian side, among philosophers who work from observation. The School of Athens is considered to be one of the most important achievements of the High Renaissance. This work exemplifies the High Renaissance in the graceful movements and gestures of the figures. All the figures appear to be moving and actively interacting with one another. The figures are also very large in scale and fully idealized in form. The fact that this gathering is completely idealized is also characteristic of the High Renaissance. The philosophers come from a wide range of times and places who could not have possibly met or interacted with one another. The composition displays the gathering under an architectural framework that is reminiscent of the Italian Renaissance architect Bramante’s plan for the New St. Peters. During the early 16th century, architecture was inspired by the grandiosity and monumentality of ancient Roman building s such as the Coliseum in Rome. The main architectural element portrayed in the fresco is executed in the classic Doric style, characterized by simplicity and minimalism of decoration. The architectural framework also creates a sense of symmetry and special depth. All of the elements stated above combine to make this work a masterpiece of the High Renaissance. The School of Athens is undoubtedly a work of art that will continue to be viewed as an outstanding achievement of the High Renaissance, and the most impeccable work produced by the famous Raphael. Art historians will continue to research the work and perhaps uncover the philosophers depicted whose identities have yet to be revealed. The legacy of this pià ©ce de rà ©sistance lives on.

Identity And Self Concept Is Dependent Upon Social...

Identity or self-concept is dependent upon social interactions and experiences. However, identity is also very much dependent upon the agency of one’s self-representation. Ranging from the clothing an individual selects, to vocabulary, to behaviors while interacting, people exhibit a version of their personality they want to be perceived by. The impression one embodies eventually becomes their self-understanding. It is then by interactions among family, friend networks, coworkers or classmates people come to know who they are and who they are not (Billington, 58). Due to responses received by the experience and interpellation pertaining to the emitted self-representation validates one’s identity. However, identity is an unfixed discourse constantly evolving. Depending on context, a person may alter their self-concept. Around family a person may be more open and expressive, yet in a professional setting more reserved and meek. Often a forgotten identity-altering factor i s age. As people grow older, their identities change according to social interactions and the experiences connoted with age. Interestingly, despite society’s shared commonality of the aging process, each maturing experience and progression of identity is individualized. Therefore, this ideology can be explained by the concept of life course. Aging is a reality many people dislike to face. The notion of becoming older frightens many; nevertheless it is inevitable biological existence. While the aging processShow MoreRelatedIdentity Management, Concepts, And Definitions1734 Words   |  7 Pages(1) The Topic: Identity Management, Concepts, and Definitions What is Identity Management? In sociological terms it is communication strategy which is goal-oriented. It operates on both the conscious and subconscious level; communicators attempt to control the impressions of other people about themselves. This is achieved by governing and effecting various impressions designed to control social interactions. It is the outward facing or presenting self, in which one manipulates theirRead MoreThe Sojourner And What We Talking About When We Talk About Love By Carson Mccullers And Raymond Carver1291 Words   |  6 Pagesindividual’s sense of self in respect to how one defines their relationships with others. Examining the relationships of the characters in these stories, as well as their interactions amongst each other, is paramount to understanding their sense of self, and this is best achieved by applying the concepts of Role Identity and Identity Salience Hierarchy. Role identity theory, in addition to identity salience hierarchy, are concepts that explain human behavior in a social setting. Role identity theory surmisesRead MoreInteraction Is The Basis Of Social Understanding Essay1565 Words   |  7 Pagesultimately lead Gallagher to the conclusion that interaction, not observation, is the basis of social understanding. Quoting De Jaegher, he defines interaction as â€Å"a mutually engaged co-regulated coupling between at least two autonomous agents where the co-regulation and the coupling mutually affect each other, constituting a self-sustaining organization in the domain of relational dynamics† (Gallagher 2012, 3392). According to this definition, interaction constitutes, not just causes, intersubjectiveRead MoreWho Are Indigenous Australi Identity?1619 Words   |  7 Pagesdictionary definition of ‘identity’ focuses on notions of individuality and self (Collins English Dictionary, n.d.), yet any elaboration of an ind ividual’s sense of self, will inevitably become relational, including details such as parents, siblings and where one is born. This expands into a social setting whereby an association with community and wider society become components contributing to self-definition, and then further again, including elements of cultural identity in forming traditions andRead MoreWhat Is Identity? Who Defines Such, And How Is It Constructed?1570 Words   |  7 PagesWhat is identity? Who defines such, and how is it constructed? The Oxford English dictionary, describes identity as â€Å"being who, or what a person is, and the characteristics determining who, or what that person is.† But, identity is much more complex than its dictionary definition. Although the word â€Å"identity† is used correctly in everyday discourse, its meaning is not captured by the definition. Identity has a double sense, it can refer to one’s self, a personal identity; but at the same timeRead MoreThe Sociological Concepts Of Globalization And Migration, Performativity And Patriarchal Ideology Essay1651 Words   |  7 Pagesgreatly influenced my identity. Of course, being a part of a minority group in a country, being a part of a non-nuclear family and being a not very feminine girl means that I have been subject to multiple types of discrimination and can be frowned upon. They are all elements that I am made up of but each concept is a mould which society determines that I do not fit into. They are also social constructs that need to be ‘performed’; they are born from socialization and interaction thus, susceptible toRead MoreThe Realm Of Sociology, By George Herbert Mead1466 Words   |  6 Pagesstudy of social behavior is deeply explored. Social life, social change, social causes and consequences are what makes us all human. Psychologically and so ciologically, we are all different. Each individual has different characteristics and personalities. Society has its way of organizing people who share the same similarities typically by their cultural (or ethnic) identities, gender identities, class identities, and so forth. According to George Herbert Mead’s classic text, Mind Self and SocietyRead MoreConsumption Is Driven By Individualisation1441 Words   |  6 Pagesthem to exhibit certain desirable abstract concepts such as wealth, status and capital (Baudrillard and Levin, 1981). Moreover, Consumption can be understood as the interplay between objects and the social meanings behind them that come together to define an individual’s identity, social connections and daily routine (Miller, 1987). Consumer Culture then, refers to a society in which individuals engage in consumption as the main form of social interaction and coordination, so much so that individualsRead MoreHow Gender Role Socialization Effects Girls More Specifically, Depending On The Teenage Girls Developmental Level1280 Words   |  6 Pagesdecisions which, when coupled with their lack of self-knowledge, cause identity crises. Not secure in themselves, teenagers must make decisions concerning how they will act, with who they will associate with, and what life decisions they will choose. Ultimately, the progression by which they determine their identity must inevitability be one of trial and error. In the book Reviving Ophelia, clinical psychologist Dr. Mary Pipher discusses the social and cultural pressures faced by today s adolescentRead MoreIntersex Narratives1493 Words   |  6 Pages Intersex Narratives: A Critical Analysis of the Social Construction of Sexuality Victoria Fulton 06322084 GNDS 215 TA: Aarzoo Singh October 15th, 2013 A binary model of sex is a seemingly universal truism for many, despite â€Å"human and animal biology calling this distinction into question† (Karkazis 2008:31). This example and belief of two distinct sexes is a concept that is quite obvious and natural to most individuals, which