Advantages and Disadvantages of Globalization for Business Essay

Advantages and Disadvantages of Globalization for Business - Essay Example The researcher states that globalization can be defined as the incorporation of national economies into the world market. Integration is achieved through international direct investment, trade migration, cash flow and the advancement and spread of technology. Markets, where it is prevalent and specifically widespread, are financial markets such as credit and money markets, insurance markets and capital markets. Commodity markets, for example, gold, oil, coffee, and tin. Product markets, for example, consumer electronics and motor vehicle. Globalization in relation to business can be described as the process allowing investment and financial markets to carry out business internationally mainly as a result of deregulation and better communications. It is evident that the current world is closely networked together. However, it is easy to lose focus just how rapid and systematically globalization is occurring and how many business organizations are being run. Drucker noted that globaliz ation is not an economic phenomenon but psychological. He noted that all of the advanced western principles and approaches are taken as the norm by many nations. The view took shape for Drucker in 2001 when an old student from Taiwan working in China paid him a visit. Drucker asked him â€Å"what is the most important thing that has happened in China the last three to five years?† the former student paused for a while and answered that the Chinese at that time considered purchasing a vehicle is a need not a luxury. The exact situation is same in Russia where business analysts anticipate the country surpassing Germany and becoming the biggest car market in Europe. However, taking advantage of such opportunities need a specific set of expertise. For instance, there is no need in strategizing the activities of the forever more intricate network of world suppliers, extracting profit on every deal.

Stem Cell Research Paper Example | Topics and Well Written Essays - 2000 words - 1

Stem Cell - Research Paper Example The consent of donation of human stem cells includes difficult dilemmas in the process of derivation. The most important ethical issues related to delivery of stem cells are Informed and voluntary consent, Creation of embryos for research purposes, destruction of embryos, benefits and risks of experimental intervention, medical risks of oocyte retrieval and protecting women infertility treatment. Despite of tremendous promise of HESC research it has faced enormous opposition because harvesting of HESC destroys human embryo. The derivation of HESC requires the removal of the uttermost layer also known as the trophoblast. The development of the process is facing heated opposition because it involves an unethical stand against the killing of innocent human embryos. This research paper deals with the responses that arise from the thesis question. Human stem cell research has a great effect on the advancement of medical technology against deadly diseases. There are mainly two type of stem cells derived from human body; embryonic stem cells and adult stem cells. Embryonic stem cells are isolated from blastocysts found in its inner cell mass. On the other hand adult stem cells are found in human body tissues. The production of adult stem cells has been very helpful in the past few years because it has helped in treatments like transplantation of bone marrows. There are several other uses of stem cells that have helped in proper evolution of medical technology in the world. Earlier stem cells were obtained by killing human embryos. There were several controversies related to the harvesting process of stem cells. Human embryos are part of human beings that is formed as a result of reproduction process. The harvesting process of stem cells hence was regarded as an unethical stand. In the present circumstances stem cell research is widely used for treatment of a number of diseases. The treatment of diseases like diabetes,

Childrens exposure to TV violence

Childrens exposure to TV violence Long periods of TV exposure to violence can create aggressive behavior in children. In many cases children of different ages are exposed to TV programs that arent suitable for their age groups. Many of these programs contain high volume of violence and children are exposed to them for an excessive amount of time without parental supervision. This can be a factor in building a hostile behavior in a child. Not all TV programming is intended for all audiences. More children are watching programs that are not intended for their ages. There is an excess of violence, sex, and adult topics in TV programs. Children are more exposed to these topics with a click of a remote control device. It is very easy for a child to watch these types of programs because they are easily available at different hours of the day. A parent may think that during the early hours of the day television programs may be directed toward children but this may not always be the case. Ratings have been implemented in order for parents to keep control of the television programs their children watch. Programs are identified by ratings issued by The National Association of Broadcasters, the National Cable Television Association, and the Motion Picture Association of America. These ratings are known as â€Å"TV Parental Guidelines.† These ratings can identify violent programming. They appear within the first 15 minutes of a TV program except for news, sports, and some cable channels. The Federal Communications Commission (2009) states â€Å"The ratings are as follows: TV-Y Directed for children within the ages of two to six TV-Y7 Directed for children of seven years of age and older TV-Y7-FV Directed for the same age group as the previous rating but with the difference that it may contain fantasy violence. TV-G Suitable for all ages but not necessarily a childrens show. TV-PG Parental guidance is suggested and may not be suitable for young children. TV-14 Suggests that the show may not be suitable for children under the age of 14. TV-MA Directed specifically for adult viewing and children under the age of 17 are recommended not to view this program.† Programs like Sesame Street are rated TV-Y and are directed to an audience from the ages of two to six years of age. This program in particular teaches learning skills to children while it entertains in an appropriate manner. When parents let their children watch programs with this rating, they can feel secure that their children will not be exposed to any violent, sexual or adult topics. Children watch TV programs for a large period of time. The Keiser Family Foundation (2006) stated â€Å"More than four in ten (43%) children under 2 years old watch TV every day and nearly one in five (18%) watch videos or DVDs every day.† What this tells us is that most of these children dont incur in any outside activities and their main source of entertainment comes from television and video games. Children under the age of 2 watch television on a daily basis. This is a very early start for children to get accustomed to a television set. The following table represents the amount of hours children spend watching television, playing video games and using computers. (Amy B. Jordan, PhDa, James C. Hersey, PhDb, Judith A. McDivitt, PhDc Carrie D. Heitzler, MPHc , 2006). Children between the ages of nine and ten are at the highest level of television watching, while children between the ages of six to 7 years are at the lowest level. This table also shows that while children become older, they also include playing video games and using computers in addition to watching television. The amount of hours spent in front of a screen increases with age. Video games and computers also contain violence. The American Academy of Pediatrics (2006) stated â€Å"Pediatricians recommend to parents that they limit childrens total media time (with entertainment media) to no more than one to two hours of quality programming per day and to remove television sets from childrens bedrooms.† With this amount of limited TV violence, children will be less prone to being affected by the aggressiveness and hostility shown in these types of programs. Children who are continuously exposed to TV violence at an early age may create a hostile behavior that will progress into their adulthood. â€Å"Aggressive behavior in the early childhood years has been repeatedly linked to violence in later youth and adolescence.† (Dimitri A. Christakis, MD, MPH, Frederick J. Zimmerman, PhD, 2007) The way to address this issue is mainly with the interaction of the parents. A child looks up to the parents for guidance and they are the primary source of mentoring. Parents need to be involved in the lives of their children. It is important that they provide love and affection, along with communication and guidance. They need to spend time with their children in activities that will promote good behavior while creating a bond. Alternative activities should be fomented to substitute the use of television. Parents need to set the example in providing healthier activities to share with their children. The American Academy of Pediatrics (2009) stated â€Å"Parents are powerful role models. If you want your child to read more, that is what you should do. If you would like him to go outdoors for some physical activity, invite him to do so as part of an enjoyable family exercise program.† Parents should foment other activities like sports, music, and literature. It is a good idea to promote activities that can be beneficial physically and mentally. There are many types of programs that children can enjoy while interacting with other children of the same age. Parents on a limited budget can look for free activities sponsored by their community. They can sign their children in a reading class at the library or a childrens sports team at their local community center. The main focus on this is to limit the time children will spend watching violence on television versus participating in other activities that are more beneficial to them. Also, the hours a child spends watching television and the type of programs they watch should be controlled by the parents. In fact, devices like a V-chip have been created to monitor and block the programs children watch. This device allows parents to block programming they dont want their children to watch. This is measured by the rating issued by The National Association of Broadcasters, the National Cable Television Association, and the Motion Picture Association of America. Programs with ratings of MA will be blocked by this gadget. This is a very useful took because it permits parents to schedule ahead of time the programs their kids can watch and will provide them with a sense of relief that their children cant watch inappropriate programming. The website for the Federal Communications Commission (2009) has information regarding this V-chip and explains how to use this device. The website for them is http://www.fcc.gov/. It is extremely important for a parent to explain to children that the violence they see on television is not acceptable behavior and should not be imitated. A parent can inform their children that the majority of the violence they see on television and the reaction to this violence is seen by society as negative behavior. Parents need to encourage a sociable behavior in their children at an early age. While violence is an issue that affects society, children should be taught that this is not acceptable behavior. Nevertheless, if a child has already developed an aggressive behavior other measures should be put into action. Parents may want to seek the services of a professional such as a school Counselor or a Psychologist, to help deal with the hostility. In addition, the involvement of all family members may be helpful in trying to control this type of behavior. It is a family issue when there is an aggressive child in the house because this behavior could eventually affect everyone in that house. Finally, it is very important to say that not all television programming is unacceptable, or that it will affect the behavior of a child. Some programs are educational and will foment acceptable behavior in children. Violent TV programming will foment aggressive behavior in children and should be avoided. Children need entertainment in their lives but parents need to substitute television with activities that can stimulate them physically and mentally. Exposure to television should be reduced to a minimum and parents need to be more involved in the lives of their children. After these measures are taken, parents should see improvements on their childrens behavior.

How Mary Shelley Influences the Readers Reaction to the Creature :: Mary Shelley Frankenstein Essays

How Mary Shelley Influences the Readers Reaction to the Creature When Mary Shelley wrote Frankenstein in 1816, it was the birth of a new genre – the creation of a being, sci-fi at its earliest. Frankenstein’s creature, the concept way ahead of its time but a terrifying thought to its first audiences. In the following pages I will be discussing how Mary Shelley influences the readers reaction to the creature, I will be viewing the context of her writing, the way she portrays her view of what it means to be human, the anticipation of the creature’s coming to life, and the language Walton and Frankenstein use to describe the creature. In Walton’s first letter, after he sees the creature, he describes it as ‘the shape of a man†¦ but of apparently gigantic stature’ At first Walton doesn’t know what he saw but thinks the creature is a local and the crew is intrigued that there, out in the ice deserts, man has strayed. Through Waltons enquiring nature, Shelley encourages curiosity in the reader, and Waltons encounter with the creature ‘excites our unqualified wonder’. When Frankenstein first describes the creature, he describes it not as a mother would her newborn baby, but with horror and disgust, he describes its waking moments and its appearance, with and abhorrent attitude, and as soon as the creature awoke, Frankenstein, with a mixture of fright and disgust ran to his bedroom. When Shelley first describes the creatures coming to life, it gives the reader a feeling of both anticipation and anxiety, the detailed and emotive language of the description draws the reader in and captures their imagination. Frankenstein’s first description of the creature, â€Å"†¦ His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was a lustrous black and flowing, †¦ but these luxuriance’s only formed a more horrid contrast with his watery eyes that seemed almost of the same colour as the dun white socket in which they were set† The adjectives Shelley uses to describe the creature are visual allowing the reader to visualise the creature as Shelley portrays. The use of rich, textural language animates the creature in the readers mind, such as ‘his yellow skin scarcely covered the work of muscles and arteries beneath’, and ‘his hair was of lustrous black, and flowing’. Shelley’s use of the words â€Å"horrible contrast† give the reader the opinion that the creature is too ‘horrible’ and thus Shelley imposes an opinion on the reader. Before the creature awakes, Shelley has already created an anticipation in the readers, when Frankenstein goes grave hunting and when he is first up in his room where he assembles the creature,

Photoshop Cs5

ADOBE ® PHOTOSHOP ® CS5 2010/5/5  © 2010 Adobe Systems Incorporated and its licensors. All rights reserved. Using Adobe ® Photoshop ® CS5 for Windows ® and Mac OS ® This user guide is protected under copyright law, furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in the informational content contained in this guide.This user guide is licensed for use under the terms of the Creative Commons Attribution Non-Commercial 3. 0 License. This License allows users to copy, distribute, and transmit the user guide for noncommercial purposes only so long as (1) proper attribution to Adobe is given as the owner of the user guide; and (2) any reuse or distribution of the user guide contains a notice that use of the user guide is governed by these terms. 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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 â€Å" † â€Å" † . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Adobe 3 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 4 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Kuler 5 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 6 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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282 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 2010/5/5 PHOTOSHOP CS5 v . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 11 : . . 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. . . . 318 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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. . . . . . . . . . . . . . . . . . . . . . . . . 396 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375 Photoshop Photoshop Web 2010/5/5 PHOTOSHOP CS5 vi 16 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410 (Photoshop Extended) (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415 Photoshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420 (Photoshop Extended) (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424 (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438 17 3D 3D : 3D Photoshop Extended . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463 (Photoshop Extended) 3D (Photoshop Extended) 3D 18 : (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483 (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469 DICOM (Photoshop Extended) (Photoshop Extended) Photoshop MATLAB (Photoshop Extended) (Photoshop Extended) 19 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498 20 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 504 Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515 TWAIN 21 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516 2010/5/5 1 1 : 8 â€Å" † 185 â€Å" † 274 † 132 â€Å" † â€Å" HDR Pro 61 â€Å" HDR† 109 â€Å" HDR HDR † HDR 249 † 259 â€Å" † â€Å" 150 â€Å" † 138 † 3D 2D 3D 3D â€Å" † (Photoshop Extended)† 448 â€Å"3D Adobe Ray Tracer (Photoshop Extended)† â€Å" 3D 463 â€Å" 3D (Photoshop Extended)† 452 â€Å" â€Å"3D † CS Review CS Review Adobe Brid ge CS5 Adobe Bridge Mini Bridge RAW ISO Camera Raw Web Mini Bridge Photoshop Camera Raw 2010/5/5 PHOTOSHOP CS5 2 †¢ †¢ †¢ †¢ †¢ †¢ †¢ †¢ Windows Mac OS 127 136 269 129 223 â€Å" â€Å" â€Å" â€Å" â€Å" † 205 â€Å" † † † † 188 â€Å" † 379 GPU â€Å" † â€Å" â€Å" 64 Mac OS † 124 â€Å" † † 79 64 Windows 10% 43 â€Å" † 2010/5/5 3 2 : Adobe ® Creative Suite ® 5 A B C D E G F H A. Illustrator â€Å" † B. C. D. E. â€Å" † F. â€Å" † G. â€Å" † H. †¢ Windows â€Å" † Mac †¢ †¢ â€Å" â€Å" † † â€Å" † Illustrator â€Å" † Adobe Flash ® Adobe Dreamweaver ® Adobe Photoshop ® Adobe Fireworks ® â€Å" † 2010/5/5 PHOTOSHOP CS5 4 †¢ †¢ † †¢ Dreamweaver Flash â€Å"CSS † Illustrator â€Å" † Adobe Photoshop ® â€Å" Mac â€Å" â₠¬ >â€Å" Dreamweaver for Mac Adobe Illustrator ® † Flash Mac †¢ †¢ Illustrator Adobe InCopy ® Adobe InDesign ® Photoshop Fireworks Tab Illustrator InCopy InDesign Photoshop Shift+Tab â€Å" † â€Å" (Windows ®) Fireworks † (Mac OS ®) F4 â€Å" † Illustrator â€Å" † †¢Flash Dreamweaver ? Photoshop † â€Å" † â€Å" (Illustrator) ? â€Å" † â€Å" † â€Å" † â€Å" † InCopy Fireworks Flash InDesign ? â€Å" † â€Å" Fireworks Photoshop † 2010/5/5 PHOTOSHOP CS5 5 â€Å" â€Å" †¢ †¢ † † â€Å" † †>â€Å" â€Å" â€Å" † † â€Å" † â€Å" † â€Å" † † â€Å" † † â€Å" † † â€Å" † â€Å" kb405298 †>â€Å" † â€Å" Photoshop †>â€Å" Dreamweaver (Windows) Dreamweaver †¢ †¢ â€Å" † â€Å" â€Å" †>à ¢â‚¬Å" †>â€Å" â€Å" † † â€Å" †¢ † â€Å" † â€Å" † †¢ †¢ †¢ â€Å" † 2010/5/5 PHOTOSHOP CS5 6 â€Å" † †¢ †¢ A B C â€Å" † â€Å" † A. B. C. Ctrl (Windows) Command (Mac OS) Esc †¢ †¢ (Windows) â€Å" † Control (Mac) â€Å" † â€Å" † †¢ 2010/5/5 PHOTOSHOP CS5 7 †¢ †¢ †¢ †¢ †¢ †¢ †¢ †¢ Photoshop â€Å" † 2010/5/5 PHOTOSHOP CS5 8 †¢ †¢ †¢ †¢ â€Å" †¢ †¢ † â€Å" † â€Å" † 1 †¢ (Illustrator) †¢ â€Å" †>â€Å" †>â€Å" InCopy †>â€Å" â€Å" †>â€Å" â€Å" †>â€Å" † † †>â€Å" † Photoshop InDesign â€Å" †¢ (Dreamweaver) †¢ (Flash) 2010/5/5 PHOTOSHOP CS5 9 †¢ (Fireworks) 2 3 â€Å" † Photoshop InDesign â€Å" † InDesign Phot oshop ? Photoshop †¢ †¢ †¢ â€Å" Photoshop InDesign â€Å" †>â€Å" â€Å" InCopy †>â€Å" †>â€Å" † â€Å" † †>â€Å" † † â€Å" † Fireworks †¢ (Illustrator) â€Å" † â€Å" † Photoshop InDesign 1 Dreamweaver 2 â€Å" InCopy â€Å" † †>â€Å" †>â€Å" [ ]† Photoshop InDesign (Photoshop) Photoshop †¢ †¢ â€Å" Photoshop †>â€Å" †>â€Å" â€Å" † † â€Å" † ? â€Å" † â€Å" † 2010/5/5 PHOTOSHOP CS5 10 ? †¢ †¢ †¢ †¢ †¢ †¢ (Windows) †¢ A B Enter (Windows) Return (Mac OS) FOX C IT D E A. B. C. D. E. 11 â€Å" † â€Å" Enter 10% A B † â€Å" Esc † Shift A. B. â€Å" † â€Å" † â€Å" † â€Å" † 2010/5/5 PHOTOSHOP CS5 11 Shift 0 / A B â€Å" † A. B. ? Alt (Windows) Option (Mac OS) 1 2 3 â₠¬ ¢ †¢ †¢ 4 â€Å" † â€Å" â€Å" † † â€Å" â€Å" † † â€Å" â€Å" â€Å" â€Å" † † † â€Å" † † â€Å" (Mac OS) † 2010/5/5 PHOTOSHOP CS5 12 1 2 :â€Å" † â€Å" † â€Å" † 1 2 (Windows) Control (Mac OS) 1 †¢ †¢ 2 3 â€Å" â€Å" â€Å" â€Å" †>â€Å" †>â€Å" † †>â€Å" † â€Å" † † â€Å" † † 4 5 †¢ †¢ †¢ 6 †¢ â€Å" â€Å" † † â€Å" † â€Å" â€Å"Photoshop † â€Å" â€Å" â€Å" † † † â€Å" † †¢ † â€Å" † 7 â€Å" † 2010/5/5 PHOTOSHOP CS5 13 â€Å" † 1 †¢ †¢ 2 3 â€Å" â€Å" â€Å" â€Å" †>â€Å" †>â€Å" † †>â€Å" † â€Å" † † â€Å" † † ? †¢ †¢ â€Å" Ctrl (Windows) Command  " † (Mac OS) †>â€Å" †>â€Å" † ? â€Å" † â€Å" † Photoshop / â€Å" † â€Å" † Adobe Online 2010/5/5 PHOTOSHOP CS5 14 A (V)* A (E) (E) (E) (U) (A) (A) (U) (U) (U) (U) (U) G 3D (M) (M) B C (L) (L) (L) E (O) (O) (O) E (B) (B) (B) (B) W) (W) B (C) (C) (C) C (I) (I) (I) (I) (I)†  D (J) (J) (J) (J) (S) (S) * & 3D (K)†  (K)†  (K)†  (K)†  (K)†  (N)†  (N)†  (N)†  (N)†  (N)†  (H) 3D 3D 3D D (Y) (Y) (G) (G) F (P) (P) 3D 3D 3D 3D 3D 3D F G (R) (Z) (T) (T) (T) (T) †  Extended 3 â€Å" † 2010/5/5 PHOTOSHOP CS5 15 â€Å" † 2010/5/5 PHOTOSHOP CS5 16 2010/5/5 PHOTOSHOP CS5 17 ( Extended) Photoshop 2010/5/5 PHOTOSHOP CS5 18 3D Photoshop Extended 3D x 3D z 3D x y 3D 3D 3D x y 3D z 3D x y 3D 3D ? †¢ †¢ â€Å" † V Photoshop 2010/5/5 PHOTOSHOP CS5 19 A D B C E F A. â€Å" † B. C. D. E. F. Shift Shift 1 2 â€Å" â€Å" †>â€Å" Shift †>â€Å" †(Windows) † â€Å"Photoshop†>â€Å" †>â€Å" †(Mac OS) I 1 2 â€Å" †>â€Å" â€Å" † †(Windows) † †>â€Å" †(Mac OS) â€Å" †>â€Å" † â€Å"Photoshop†>â€Å" 50% 100% 3 â€Å" † † â€Å" â€Å" † Caps Lock 2010/5/5 PHOTOSHOP CS5 20 OpenGL ? 44 Alt â€Å" OpenGL GPU † Control + Option (Mac OS) (Windows) — â€Å" †>â€Å" † A B A. B. â€Å" † â€Å" (Windows) † Photoshop Control (Mac OS) â€Å" â€Å" † A † â€Å" † â€Å" â€Å" † †>â€Å" † â€Å" † B C â€Å" † â€Å" † â€Å" â€Å" † † A. B. C. 1 2 †¢ â€Å" † 2010/5/5 PHOTOSHOP CS5 21 †¢ 3 †¢ †¢ 4 â€Å" †>â€Å" † â€Å" † â€Å" â€Å" † † â€Å" † ? â€Å" † â€Å" †Å" † â€Å" † â€Å" † † â€Å" † 11 â€Å" † 34 â€Å" † ? †¢ â€Å" â€Å" † 50% † â€Å" â€Å" † † â€Å" †>â€Å" † â€Å" â€Å" â€Å" †>â€Å" †>â€Å" †>â€Å" †>â€Å" † †>â€Å" † † †¢ †¢ â€Å" † ? †¢ †¢ OpenGL â€Å" †>â€Å" †(Mac OS) â€Å" † †>â€Å" †>â€Å" †(Windows) â€Å"Photoshop†>â€Å" 2010/5/5 PHOTOSHOP CS5 22 †¢ â€Å" † â€Å" † OpenGL Multi-Touch MacBook 1 †¢ †¢ †¢ 2 â€Å" â€Å" † † † â€Å" † www. adobe. com/go/lrvid4001_ps_cn â€Å" † â€Å" † â€Å" † â€Å" 5:10 † (Mac OS) Multi-Touch 1 2 MacBook † (Mac OS) † â€Å"Photoshop†>â€Å" â€Å" † â€Å" †>â€Å" â€Å" ? â⠂¬  â€Å" † †¢ †¢ †¢ â€Å" † â€Å" †>â€Å" â€Å" † † â€Å" † Ctrl (Windows) Command (Mac OS) 2010/5/5 PHOTOSHOP CS5 23 †¢ â€Å" † â€Å" † A B C D E F G A. B. C. D. â€Å" † E. â€Å" † F. G. â€Å" † â€Å" † 3200% 1 Multi-Touch MacBook 1 â€Å" †>â€Å" OpenGL †>â€Å" † †(Windows) OpenGL â€Å"Photoshop†>â€Å" â€Å" OpenGL †>â€Å" † †(Mac OS) â€Å"GPU † â€Å" 2 â€Å" † 24 â€Å" † ? †¢ â€Å" Alt † â€Å" Option † (Mac OS) â€Å" † â€Å" † (Windows) † †¢ †¢ â€Å" †>â€Å" † â€Å" â€Å" †>â€Å" † OpenGL ? â€Å" † â€Å" † †¢ Alt (Windows) Option (Mac OS) 2010/5/5 PHOTOSHOP CS5 24 †¢ â€Å" † 1 2 Photoshop 1 H â€Å" † †¢ †¢ 2 H ?

Failure Of Socialization Essay

Socialization is the process through which one learns his or her culture and how to live within it. Failure in socialization therefore means that one does not learn his or her culture and ultimately how to live within it. This is a source of problems of all nature and scope. Socialization imparts an individual with moral norms, motives, values, attitudes, language, symbols, and social roles. These are crucial aspects to any individual’s life and they represent all key fields that guide one’s entire life. The failure of a convenient and effective socialization process could therefore lead to a whole host of problems and complications to the subject in question. Socialization agents are responsible for an individual’s self concept, emotions, behavior, and attitudes. (Chinoy 1961) There are equally important agents responsible for socialization or failure of socialization of an individual. These agents include the family, education, peer groups, the media, religion, work place and the state. The family is arguably the most important agent of socialization and is usually responsible in determining one’s career goals and religion. Failure of socialization at the family level could have the most severe effects to an individual and the course of his life. (Clausen 1968) Failure of Socialization Fetus socialization Recent study has suggested that the socialization process starts at the womb as opposed to earlier when socialization was thought to begin when a child is conceived. This therefore means that failure of socialization (if it occurs) starts at the mother’s womb. Doctors earlier believed that the process that a fertilized egg follows until it becomes a baby had a definite genetic path. This however has been proved not to be true. Doctors now believe that fetal development is a complicated affair between the genes of the baby and the information relayed to it by the mother. The mother transmits signals to the fetus and the fetus chooses one path over another. This multiplicity of choices leads to long time changes to the baby’s body organs as well as to the level of brain sensitivity. (Warren 2009) Although this kind of research is at its earlier stages, there is substantial evidence to prove that indeed the interactions of the fetus within the first nine months have major effects on life after birth. A baby’s days in the womb and the nature of his experiences influences his emotional and physical make up for the rest of his years. For instance, if the mother is stressed and anxious during her pregnancy maybe because of financial constraints or a troubled marriage, the stress hormone cortisol may reach the baby (fetus). The fetus develops fewer brain receptors to sense cortisol presence because it does not need many. Having fewer receptors does however change an individual’s ability to cope in life at a later stage. When hormone cortisol reaches a certain point in the bloodstream, the system ceases producing the hormone and everything returns to normal. The problem is that, people with fewer receptors do not sense the right time to stop hormone cortisol production. High levels of the hormone in the body create a wear and tear in the body. It also makes it difficult for a person to handle strong emotions without withdrawing or lashing out. The inability to handle strong emotions may result to the person getting depressed or much stressed. In a study that targeted women in England, those who had high levels of anxiety during pregnancy gave birth to children with twice the rate of behavioral and emotional problems at the age of ten. (Chamberlain 2009) Robert Harris, a convicted murderer executed in the State of California gas chambers, was born almost three months early when his father kicked his mother brutally in the abdomen. Harris would be subjected through many other violent experiences by his parents, violence he later on turned on innocent people. When Harris was twenty five years old, he shot dead two teenagers, laughed at them as he calmly ate some hamburgers they had bought for lunch. Recent research has suggested that criminals have poorly functioning brains. Research has also suggested that there is substantial evidence to justify labeling violent and criminal behavior as a disorder resulting from impairment of the prefrontal area as well as other dysfunctions and brain injuries. For instance, a study conducted on juveniles on death row found a consistent pattern of paranoid misconception, neurological impairment, and low intelligence quotient among these juveniles. These brain based origins of violence start when the child is still in the womb of his mother. Having an impaired brain means that one would have a more difficulty life, more frustration, and little self control. This gives rise to misery, violent and criminal behavior and even death. (Chamberlain 2009) Attachment Attachment is the reciprocal process through which emotional connection is developed between an infant and a caregiver. It is a binding psychological and emotional tie that an individual forms and that lasts over a period of time. Infants develop attachment to their main care givers especially mothers, fathers, day care workers, grandparents, and other siblings. Reciprocal socialization is a bidirectional socialization process. For instance, children interact with their parent and their parents give them feedback. A mother-infant interaction is at times symbolized as a dialogue in which subsequent actions of the both parties are closely coordinated. The mother and the infant can match each other’s actions, as in when they both engage in mutual smiles. The parent also serves to support a child’s efforts therefore allowing the child to be more skillful. This is all part of the attachment process. According to attachment theorists, attachment is necessary if a child is to have a normal social and emotional development. A secure relationship with adult caregivers is necessary for the survival and healthy development of a child. Attachment influences an infant’s physical, psychological and cognitive development. It is also the basis for a child’s development of either trust or mistrust. Attachment is imperative to a child’s development because it shapes how a child learns, relates to the world, forms, and maintains relationship throughout his entire life. It is necessary for infants to stay near familiar people because this brings safety advantages to their early adaptation environment. Secure attachment takes place when an infant experiences constant care and gets emotional essentials from a caregiver. When the process of attachment is disrupted, the infant may fail to develop a secure base needed for a healthy survival and development. Factors which impair or harm a healthy or a secure attachment include;  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Multiple caretakers.  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Hospitalization.  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Painful medical processes.  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Inadequate prenatal care.  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Prenatal drug and alcohol abuse.  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Neurological problems. (Moss 2008) Poor attachment causes the child to have inner feelings of insecurity, intense anger, and self hate. Below are some common causes of attachment problems: Sudden separation of the infant from the main caregiver either through removal, death, illness etc. Abuse (physical, emotional or sexual) by an adult. Infant pain or medical condition that a caregiver cannot alleviate. A depressed caregiver. Inadequate or inconsistent attention and care. Neglect. Separation is a physical as well as an emotional experience for an infant and can take place either before birth or after birth. Separation is usually accompanied by violence from the child. The connection between a baby and the mother during gestation is total and holistic. Attachment demands that a child be constantly and consistently taken care of by one person. A baby has his own mechanism of knowing whether he is taken care of or is being rejected and neglected. (Johnson 1961) In a study conducted in Sweden, Finland, and Czechoslovakia for more than thirty years, mothers were denied abortion and compelled to give birth and raise their children. As the children grew older, they demonstrated a greater risk for not only social but also psychiatric problems compared to stable subjects. Majority of those unwanted children turned out to be delinquents and had a three times higher chance of being in the criminal register.   Research has shown that children who never had a consistent close relationship with anyone (attachment) lack conscience even when they grow up. They have a probability of becoming psychopathic killers because they have no affectionate emotions. Because of going through an early life unattached, they lack empathy, guilt, and trust and can even kill without caring. Psychologist Andrew Feldmar observed four teenagers who were repeatedly trying to commit suicide at the same time each year. When he did research on those four cases, he realized that their mothers had attempted abortion at the same time of the year that those adolescents were attempting suicide. (Carlie 2002) Any traumatic separation of the infant from the mother or the primary caregiver due to illness, injury, or any other traumatic cause follows the child throughout his life until it is dealt with in the proper manner. Until this traumatic separation is confronted and dealt with, there is a possibility of detrimental psychosis to occur which will impact the person negatively. Such detrimental impact can be manifested in several ways such as troubled relationships, and trouble with authority in general. Individuals who lack proper socialization during attachment have a higher risk of finding themselves in prisons. (Moss 2008) Children who have experienced problematic attachment exhibit some observable behaviors. These behaviors include; When children with problematic attachment develop into adulthood, they become unable to engage in reciprocal relationships. They feign charm and are superficially engaging. They also show indiscriminate affection to strangers unintentionally. They rarely have direct eye contact with whomever they are communicating with. They are poor in forming lasting peer relationships and have a low esteem. They can be very demanding at times. Children who have experienced problematic attachment have poor cause and effect thinking. They have a.  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   It is difficult for them to learn from mistakes. b.  Ã‚  Ã‚  Ã‚  Ã‚   They experience learning problems. c.  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   They have poor control of impulses. They have an emotionally disturbed development. For instance they; a.  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Have abnormal speech patterns b.  Ã‚  Ã‚  Ã‚  Ã‚   Have abnormal eating behavior. (Moss 2008) They have puerile fear, anxiety, aggression, and rage. Their conscience develops poorly. They may become chronic liars, thieves, and generally cruel to other people for no reason. They may become destructive to themselves as well as others without caring much about their actions and behavior. They may also destroy property maliciously. A negative attachment cycle. The child is likely to have difficulties fitting in the family because; a.  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   He engages in negative behavior that cannot escape the parents’ and siblings’ notice. b.  Ã‚  Ã‚  Ã‚  Ã‚   Due to the nature, extent, and consistency of negative behavior the parents are constantly engaged in quarrels with the child hence aggravating the situation. c.  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The distance and the connection between the parent and the child is severed There is a direct correlation between the effects of failure of socialization in attachment and antisocial personality disorder. Failure of socialization during attachment not only causes relationship failure throughout a person’s life but also produces criminals. (Moss 2008) Anti-social personality disorder Antisocial personality disorder is a persistent pattern of disregard and violation of other people’s rights that begin in early years (childhood or adolescence) and continues into adulthood. For a person to be categorized as having this condition, he must have attained the age of eighteen and must have a history of conduct disorder. Individuals with this type of condition are sometimes labeled as psychopaths or sociopaths. This condition is characterized with general lack of conscience and a weak capability to control aggressive urges and defer gratification. It does not necessarily lead to criminal and violent behavior in itself but rather individuals with this condition are more prone to violent and criminal behavior. Individuals with antisocial personality disorder differ in their control abilities and general desires. Some researchers though indicate that these labels are not synonymous with the antisocial personality disorder. As indicated earlier, the socialization process is responsible for imparting an individual with moral norms, motives, values, attitudes, language, symbols, and social roles.