site stats


Best Paper Awards 2017

Best Research Paper

Dr. Chin Ming Stephen Lim
King's College London, Singapore

Best Student Paper

Ms. Shiao Ying Sharon Chu
The Chinese University of Hong Kong  

Best Paper Awards 2016

Best Research Paper

Prof. Sreekala M Nair
Sree Sankaracharya University of Sanskrit

Dr. Kin-Ling Tang
The Education University of Hong Kong

Best Student Paper

Mr. Mohammad Aatir Khan
Institute of Business Administration, Karachi

Best Paper Awards 2015

Best Research Paper

Dr. Declan Patrick
Liverpool Hope University

Dr. Joze Diaz Rodriguez
Massey University
New Zealand

 Indexed By

Crossref logo

and others

Selected Paper Submissions for Oral Presentation at CCS 2017 (as at 22 May 2017)

“Sometimes legends make reality, and become more useful than facts”; “Reality is a question of perspective; the further you get from the past the more concrete and plausible it seems…tiny details assume grotesque proportions. The illusion dissolves, or rather, it becomes clear that the illusion itself is reality.” (Salman Rushdie, Midnight’s Children, 57; 229) Although the narrator of Salman Rushdie’s Midnight’s Children (1981) makes us believe that it is the tropical heat that gnaws “at the mind’s divisions between fantasy and reality” (MC 231) the novel is also a reaction to what it perceives as postcolonial India’s “renunciation of deities” (MC 187). One of its main purposes is to re-enchant a secularized India through a set of mythological paradigms. Rushdie’s novel shares this approach to historical representation specifically with Grass’s The Tin Drum (1959), by which it has been directly influenced and with which it has been compared multiple times (Cf. Merivale, Herd, Bader, Gopal, Couto). The parallels between these two authors are legion. Grass’s novel about Nazi and post-war Germany no doubt inspired Rushdie to write about a divided country, Pakistan’s East and West wings held together by religion and the memory of ethnic cleansing in the East wing to prevent Pakistan from falling apart. While Grass uses the image of onions to release tears and memory among post-war Germans, Rushdie uses chutney to bring tears to his characters’ eyes, the tears of memory. While Saleem Sinai’s amnesia is caused by a spittoon hitting the back of his head, Oskar’s growth is induced by a stone thrown by his son Kurt and hitting him on the back of his head; the subsequent transformation of both characters is then directly linked to the question of coming to terms 2 with the past of Germany and India. While Grass juxtaposes Germans and Poles, one of Rushdie’s central themes is the relationship between Muslims and Hindus. The works of both writers display a high degree of intertextuality and heterogeneity and both have provoked strong reactions from the people who do not agree with their subversive ideology and are repulsed by these texts’ images of blasphemy. Arguably though, conservative reactions to Grass’s The Tin Drum fade in comparison with the fatwa Khomeini placed on the Indian author after the publication of The Satanic Verses in 1989.
The independent steganography approach to architecture is defined not only by the improvement of erasure coding, but also by the practical need for access points. After years of unproven research into checksums [7, 15], we prove the simulation of massive multiplayer online roleplaying games [25, 16, 8, 9, 3]. We propose a heuristic for online algorithms, which we call Malpais.
Art criticism is not easy. It is often an uncomfortable undertaking that requires (if it is to be done well) an enormous range of knowledge and a focused, neutral sense of judgment. In suggesting that it requires enormous knowledge I am of course tacitly endorsing the idea of the ‘expert’ who knows all about past art, and thus all about past artistic standards, and who can therefore be relied on to tell the rest of us how and why a work is good, when we are not able to experience it on our own. The idea of a critic as one who stands between a work of art and the receiver of that work, and mediates the relationship, is problematic for many reasons. Not the least of which is being consistent and fair-minded in a way that requires careful introspection as well as a certain depth of philosophizing. Then there is the word-smithing of the critic themselves. While reviewing the efforts of others to have any credibility at all, the critical writer must develop his or her own artistic skills. Even so, discussing Art can quickly become a shouting match and whoever is the loudest wins? Of course a shouting match can be the result whether or not a third party critic is involved. However, perhaps we can agree a critic is just full of hot air until they’ve added something artistic of their own to the discussion. . Which brings one to ask, what of critics who are artists themselves? A critic who is also an artist in the relevant discipline can spin on their criticism in a way that is informed by their personal artistic taste, and can be seen as a failing in the notion of an objective and unbiased fellow artist. One might go so far as to suggest that these ‘artistic’ critics, if not all critics, routinely infiltrate and confiscate works of art and pigeon-hole them into categories that line up with the critic’s preferences and further his agenda. So what is it then that society wants the critic to do with and for the work of art, and with and for whoever attends to the criticism itself? And why do these things need doing, and what is lost if these things do not get done? So, clearly, finding something of value or even coherent in the world of art that anyone will give credence to or pay attention to is a thankless task. And yet at the heart of any golden age of theatre we find the bobbing heads of critics dodging the arrows and slings of indignant artists who believe their efforts are above reproach and the pedestals they have placed themselves upon should be considered sacred ground and remain inviolate from the slanderous slavering of any pompous self-absorbed or vindictive critic. In taking such a stance creators deny themselves the clarion call of the critic who makes observations and asks insightful questions. Without a doubt critics do far more than offended or flatter artists.
In this paper, the author contends that the notion of a ‘welfare state’ cannot be regarded as a meaningful concept, unless it is thought of as an ideological construction. Important elements in that construction are traced back to T. R. Malthus, whom this author holds to be the decisive figure in the build-up of the paradigm of bourgeois social science dominating up to the present day. “Welfare” politics are analysed as a reflection of the accumulation of capital, and severe criticism is made of concepts like “commodification” and “de-commodification”, as they are being commonly used in “welfare theory”.
The historical feature films and TV series has earned the predominant popularity in China since the 1990s. Instead of looking at this history boom as a temporary and random cultural consumption phenomenon, this article deals with it as the audience's collective response to the social transformation and stabilization and serious reflection on the diversification and reconstruction of the values in China today. I demonstrate that underlying the contemporary audience's enthusiasm for the historical stories on screen is the traditional understanding of the role of history and a long-lasting meta-historical and utilitarian view of history. More importantly, I discuss how the films and TV series on the historical themes reinterprets Confucianism, rewrites the revolutionary narrative, and introduces the liberalism.
In the midst of the Japanese occupation in the Philippines were human atrocities existed, the Filipinos are not spared from the natural calamities like earthquakes, typhoons, floods and epidemics. These factors add to the hardships and sufferings of the Filipinos. The Japanese period is always stereotyped in the Philippine history as the most violent colonizers, the risk and danger always comes with the human factor but we must also consider that risk and danger are not isolated on human action; these can also be brought by natural factors. This study will focus on the narratives and historical accounts on the natural calamities during that time 1942-1945 and the corresponding action taken by the colonizers in managing these calamities especially in propagating their political cultural propaganda.
Since 2000, the production of Turkish television series is in constant development. These series that have indisputably a great success at a local level are also exported abroad (Balkans, Middle East, Latin America, China, Pakistan, Bangladesh etc.). Among the Balkan countries, Greece has become a great consumer of Turkish television series. The themes of these series are not original. They remind the practically standardized themes of the classic “soap-operas” or of the “telenovelas” of the Hispanic speaking world of the period 1990 – 2000. These themes are of course adapted to the Turkish lifestyle. This lifestyle, is influenced by conservative values quite traditional and different from the western lifestyle. A dominant theme of these series concerns relational problems of daily life. Our research theme concerns the different interpretations by various publics (especially “feminine” publics) in Greece such as Greeks, ethnic minorities, having different socioeconomic and political backgrounds. How do women interpret the representations projected by these series? Given the fact that the representations projected by these series reflect the dominant values of the patriarchate it is interesting to examine how different publics (women with different origins, ideologies and socioeconomic level) interpret these meanings.
Tricyclic antidepressants are frontline treatments for depression worldwide but can have many serious side effects. The safety and efficacy of these drugs may be affected by both drug-drug and drug-gene interactions. The objective of the present study was to investigate the community prevalence of predicted drug and gene interactions for tricyclic anti-depressant drugs in a cohort of older Australians from the Hunter Community Study. Participants were genotyped using Affymetrix Kaiser Axiom arrays or imputation from HapMap 2 and 1000 Genome reference panels. Of 57 participants on tricyclic antidepressants, 47 (83%) were co-prescribed at least one potential interacting drug, with on average 2.5 possible interactions per participant. Genotype data were available for 32 of the 57 participants taking tricyclic antidepressant drugs. Of these 32, 22% had clinically actionable genotypes predicted to increase the likelihood of adverse effects. A change of tricyclic antidepressant dose would be recommended for patients with these genotypes under current international pharmacogenomic guidelines. The findings of this study suggest that over 1 in 5 patients on tricyclic antidepressants may be at increased risk of adverse reactions involving drug-gene interactions that may justify dose reduction and emphasize the potential value of considering the pharmacogenomics of tricyclic anti-depressants in conjunction with drug interaction analyses.
Today major aspects of Cold War ideology are being recycled to interpret the election of Donald Trump and the rise of European political parties long associated with the ultra- right to a level of influence that they have not had since the defeat of the Fascist Axis powers in WWII. The major point of my presentation to this conference is that the use of these concepts which have played a central role in U.S. political culture are ahistorical and in effect provide a kind of intellectual cover for politicians like Trump in the U. S. and Le Pen in France, as they did for various military junta regimes and former appeasers of and collaborators with German Fascism and Japanese Imperialism both before during WW II and especial-ly after WWII, when they were institutionalized in U.S. political culture.
The paper is devoted to the dynamics of street names and its analogy between political turns and ideological changes in a selected area. The urbanonymic system of the historical center of Slovak town Nitra and its other chosen suburbs (depending on their status, prominence and weight in a demographic expansion of the conglomerate) were the subject of the previous detailed semantic and motivational analysis. This research had been carried out to define tendencies of the local toponymic nomination, which are presented in the following paper. It is primarily focused on the 19th and 20th centuries, when ideological alterations in public administration constituted the driving force of the city toponymy. In addition to military conflicts and another phenomenon of global importance, this period brought other distinctive milestones for the Central European area. These have influenced the social and political development of the region, and they are incorporated in the urbanonymic system, too. Besides that, analyzed inventory of the street names reflects local history, Christian tradition, citizens; therefore, it involves fundamental features of patriotism..
By scrutinizing how human and non-human entities interact with an algorithmic system, this paper captures the interpretive and typological notions of networks. My analysis of materiality, reversibility, and inter-subjectivity highlights the discursive functions of algorithms in the knowledge-based social media network. The underlying theoretical foundation is based on a stable link between Actor-Network Theory (ANT) and cultural materialism theory. I consider how such algorithms create new forms of materiality and processes of reversibility, and hence enact particular kinds of inter-subjectivity. In a qualitative study, I interviewed 3 staff and 18 participants of Zhihu (a Chinese knowledge-based social media network) about their encounters with two types of algorithms and how they make meaning from contextual-based data they had created and shared. This article also suggests an avenue to connect qualitative and quantitative research methods to study the relationship between culture and structure in digitized networks.
The terms gifted or gifted and talented are bestowed students who display a variety of characteristics, including high performance capabilities in an intellectual, creative or artistic area (Clark, 2008). Although certain characteristics can be generalized some gifted students may not possess the same characteristics as other gifted individuals and they may not appear to have the same observable differences. Depending on how their giftedness previously has been dealt with, they even ma y appear quite “ungifted”. Many gifted students resist routine and exhibit nonconformist behavior. Others may withdraw, and passively be doing a minimum of what i s required. These students may have developed an undesirable behavior due to lack of challenges in school being more or less arrested in their intellectual develo pment (Clark, 2008; Nissen, Baltzer, & Kyed, 2007). Therefore, it is important to identify these students as early as possible in order to secure a positive schoo ling experience.The concept of universal norms directly relates to the different systems of beliefs and values a plurality of actors belong to. Considering universal norms as fundamental elements of different legal systems, cultures, and societies, requires to develop an appropriate level of analysis to understand to what extent, and according to what specific features, it is possible for different systems to create a common understanding around these norms, here identified with the grundnorm, as the element that guarantees the unity of a normative and legal system. Within this context, language games, as conceived by the late Ludwig Wittgenstein, can provide the researcher with an operative and analytical framework to assess how these systems can actually cooperate, and the modalities at the basis of it. This framework evidence how it is possible to create common understanding around the universal norms, leading to the establishment of a specific intersubjectivity among different actors while, at the same time, determining the inner relativism of these universal norms.
This paper argues that the Chinese concept of ‘face’, or mianzi, is the driver of exchange amongst the living at Singaporean-Chinese funerals. Using two ethnographic examples on Singaporean-Chinese funerals, this paper demonstrates the catalyst effect of mianzi that spurs the exchange of cash gifts in red and white envelopes amongst the living at funerals. Through discussing existing theoretical conceptualisations of reciprocity, this paper realises mianzi as one of the many drivers that spur exchanges at Singaporean-Chinese funerals. The use of different drivers depends on the context; an exchange that is to be performed between the living and the dead would necessitate a driver that is distinct from an exchange that is performed amongst the living. Mianzi drives exchanges amongst the living as it can maintain, retain, and augment one’s social prestige. Following Sahlins (2008), this paper concludes that reciprocity occurs as a continuum of forms, with each form operating upon a distinct driver.
In nineteenth century Iran, the general belief was that Islam banned portraying people, especially their faces, but pictures from that era exist nowadays because one person fell in love with the medium: the country’s most powerful man, Naser al-Din, the Shah. (who ruled Iran during the Gajar dynasty from 1848 to 1895). It is still unclear how photography found its way to Iran. There is a narrative by Yaya Zoka that suggests that the emperor of Russia and the ruler of England both brought a camera to Persia as a generous gift to Mohammad Shah, Naser al-Din’s father, three years after its invention in Europe.1 This seemed to have been a strategy to catch the king’s attention in an attempt to dominate the country and influence Persian culture and traditions.2 We can question here why both these important colonial powers considered the camera as a gift to Persia. Ali Behdad pointed out that the history and the development of photography was entangled with Europe’s colonial interest in the Middle East and their oriental vision towards it.3 The camera was most possibly introduced there with the purpose of collecting information about the region in a strategy to colonize it.4 This gift could have been part of a devised plan by the colonial powers with the aim to have the local population collect images and unknowingly document their country. This would not only produce unbiased and equitable images but it would also compile oriental stereotypical imagery of the country, which would later provide grounds for justifying the colonization of the country.
Despite of the recognition of indigenous Indian art all over the world, National Gallery of Modern Art (NGMA) ,Delhi, has failed to host a single show dedicated to contemporary indigenous artist and art in the post-Independence times. The failure of NGMA (or other governmental bodies) to recognize contemporary indigenous art as ‘Modern & Contemporary’, shunts it into merely a ‘Crafts Museum’ still adhering to the language of primitivism and exoticism. Through the case in study of prominent indigenous artist Jangarh Singh Shyam, this paper attempts to question the exclusion of indigenous art from the premises of dominant institutions in post-colonial India and the underlying aesthetic assumption of the Indian art museums which still frame and categorize all indigenous works through primitivist and neo-colonial Western concepts of artistic value. Specifically, by engaging with the post-colonial theory of hybridity this paper attempts to analyze how to sustain the cultural difference and engage in neo-native expressions in order to contest marginality and invisibility of indigenous art within the prime institutions of India.
There are plenty of legitimate reasons to worry about the U.S. use of combat drones in places like Pakistan which are outside areas of conventional armed conflict – are they permissible under international law? Are they effective in degrading the capabilities of terror organizations and suppressing terror attacks? But the persistent tendency of critics to rely on manifest and deliberate distortions, and to build on one another’s misinformation to concoct a spurious narrative, suggests something about such critics as well – that is, a surprising reluctance to engage in the hard and necessary questions about whether this program can be justified or not based on the most accurate available information. This paper identifies and illustrates the five most prevalent means of distorting drone casualty data with the hope of better informing a serious debate over the justifiability of drone strikes outside conventional areas of armed conflict.
The success of both terrorists and counterterrorist agencies depend in large part on the psychological impact they produce on their various audiences and correspondingly on the narratives that they propagate more or less successfully about their campaigns – their means, goals, and accomplishments. Yet the balance of critical attention today seems mainly focused on the effectiveness of specific attacks and countermeasures, and how they impact the capabilities of terrorist organizations and the policies of the states whose citizens are attacked. This panel shifts the focus to the rival narratives that terrorists and counterterrorists weave around their ongoing struggles, and the means by which these stories are promoted and contested. It focuses in particular on the ideological narrative propagated by ISIS as exemplary of effective terrorist propaganda, and the justification of the U.S. counterterrorism campaigns around the world as the most intense, sustained and wide-ranging attempt to date to aggressively confront, suppress and even destroy the sources of terrorist threats. The panel explores not only the form and content of these narratives, but also how they are propagated through both conventional and new social media, and perhaps most importantly how they are and can be contested.
In a rare commentary on the drone campaign, in May of 2009, former CIA Director Leon Panetta claimed of the Agency’s Predator/Reaper drone campaign in Pakistan “Very frankly, it's the only game in town in terms of confronting or trying to disrupt the al Qaeda leadership.”1 Those who argue for the benefits of the air-borne assassination campaign agree and offer a simple, unassailable argument for its benefits: it is killing large numbers of Taliban/Al Qaeda leaders and foot soldiers, disrupting their military and terrorist operations, and sowing fear and dissension among the enemy. This saves civilian lives since it is hard for the terrorists to plan mass casualty attacks when they themselves are being terrorized. The strikes are the ultimate form of deterrence and are saving countless civilians from those terrorists who are planning future terrorism against the West, Pakistan and Afghanistan. One US official called the drone strikes “the purest form of self-defense.”2 An example of this being the drone strike on June 3, 2011 which preemptively killed Ilyas Kashmiri, a Pakistani terrorist mastermind who had just been assigned the task of carrying out an assassination attempt on President Obama.3 In conventional military terms this would be described as “suppression fire” which is meant to kill the enemy or keep him pinned down and thus unable to fight.
This paper explores how Mainland Chinese immigrant women professionals negotiate their identity and subjectivities in the country of settlement. Drawing on theories on transnational migration, and identity and subjectivities, and basing the analysis on the women’s narratives, this paper explores the following questions: In what ways has the processes of transnational migration transformed the women’s relationships with their husbands, and in turn the ways in which these women see themselves and negotiate their identities? How have their struggles in Canada shaped their sense of self, as well as affected the gender and power relations with their husbands
basic natural instincts of man as the animal. In Eileen Chang's prose, she often talks about her views on the various western and Chinese cuisines. In the novel, Eileen Chang not only describes the appetite of the characters, but also cleverly combines appetite and sexual desire, suggested that the love between men and women, sexual relations from the plot in the diet, eating patterns , diet custom, food color, smell, taste and so on of narratives. The characters described in the novel are sometimes metaphorical to the attitude of eating and the way of dealing with love. The interaction in the plot of the normal diet reflects the relationship between men and women; The description of food in the novel is sometimes a metaphor for the situation and psychology in the relationship between men and women.Description of diet is also including the taste, smell, various senses such as vision, touch, and certain types of food in the special situation has a symbolic significance.Using"diet" the to write"men and women" is one of the important skills of Eileen Chang by which the novels to show character, psychological activity, roles' the relationship and story connotation.
Participating in the 32nd Sao Paulo Biennale, Incerteza Viva, I built a traditional Brazilian bamboo hut inside the Biennale Pavilion. Inside the hut, I gave Finnish traditional healing sessions to members of the audience. I based the healing sessions partly on ancient oral traditions in Finland. I also made paintings during the sessions, which I titled “Diagrams”.
This paper deals with the collective memory of East Asia which triggers an history dispute between the states. The politics of memory in East Asia has been diversified depending on its spatiotemporal variability. As part of the transition, the deterritorialization (or reterritorialization) of remembrance appears in the post-Cold War era of East Asia. The paper tries to find a clue to solve the regional conflicts by focusing on this phenomenon. Thus, this argument investigates the cultural memory of East Asia mainly regarding two aspects – the time and location of recollection. At first, this paper divides into the three times – the Japanese colonial period, the Cold War, and the post-Cold War – and concentrates on some critical junctures in each period. Simultaneously, the discussion focuses on three cities – Jeju, Nanjing (or Nanking), and Okinawa belonging to three major states in East Asia – South Korea, China, and Japan. These cities represent the location where the reterritorialized memory is embedded in local culture. This study, eventually, aims to observe a partial dissolution of “state-centralism” in historical issues of East Asia through the critical reconstitution of collective memory as a democratization of memory.
celebrate the “DNA” of the place? In the 20th century UK, Arts and Culture were often seen as separate from other aspects of urbanism. There were polarised positions that either insisted on “art for arts’ sake” or treated the arts and artists instrumentally; perceived as useful for tackling issues and problems in socio-economic disadvantage areas. Post-industrial cities continue to suffer from this perpetuated disconnect between culture and urban regeneration, leading to homogenization of urban design and the proliferation of “non-places” made of housing and retail developments that could be seen as being located anywhere. This paper explores the potential of cultural planning as an applied methodology in the post-industrial urban landscape in order to understand how meanings can be generated and disseminated from the social, political and economic spheres into cultural sphere in building alternative futures. Three examples of waterfront heritage zones case studies in Europe will be examined: Govan in Glasgow, Scotland with a long history of shipbuilding spread over 17 yards along the River Clyde to now one working ship yard remaining, Gdansk (Poland), the home of the Solidarity movement that impacted so hugely on the politics of the Eastern Block, whose few remaining shipyards are operational, some building luxury yachts, and Gothenburg in Sweden which is undergoing a master-planning process that seems to ignore its shipbuilding heritage altogether.
Here are three presentations regarding the Armenian history and culture. Those are: 1. Cultural Policy in Armenia: legislation and laws on culture and cultural rights (Haykuhi Muradyan, Ph.D. student at Cultural Studies, Yerevan State University), 2. From the Prehistory of Georgian-Armenian Diocese (Lilit Melikyan, Ph.D. student at the Department of Diaspora Studies), 3. Demographic Changes in Yerevan Khanate in the 1724-1800s (Vahagn Hakobyan, Ph.D. student at Institute of Oriental Studies of National Academy of Sciences of Armenia).
The term ‘nurse’ evokes different reactions in different cultures despite the fact that they all probably begin with an image of a person who handles socially less desirable things such as the bedpan. The term ‘nurse’ derived from its Latin source which means nursing people back to health, also has a wider reference, especially in Western societies of nurturing, caring, comforting, the laying on of hands, and other maternal types of behavior, in short mothering. 1 The development of professional nursing organizations followed a similar pattern in several Western European countries, some former colonial territories, and in North America, though at different speeds. In many cases, the campaign for state regulation of nursing was part of a wider campaign for women’s suffrage and for improving the education and social conditions of women. The international culture of this movement was signaled in the foundation of the International Council Of Nurses in 1899, which was dedicated to improving the professional standards of nursing.
In 1917 the importation of Indian indentured labour to the Caribbean was terminated. The system itself was brought to a complete halt three years later, in 1920. This set the stage for a new dynamic for those Indians who had opted to make the Caribbean their new home; especially since they were now unfettered by the rules, regulations and restrictions of the system of Indian indenture. Within this new context, Indians would eventually engage, both consciously and unconsciously, the phenomenon of cultural nationalism. This paper argues that the phenomenon of cultural nationalism, for those Indians who migrated to Trinidad and their descendants, was anything but one dimensional. In the development and transformation of the Indo-Trinidadadian community, elements of various assignations of cultural nationalism, including diaspora nationalism, religious nationalism, ethnic nationalism and civic nationalism, were all emergent in a substantially complex and intricately interwoven way. More specifically, the paper seeks to examine the phenomenon of cultural nationalism as it unfolded within and for the Hindu community in Trinidad, and to elaborate on how it worked in tandem with and, simultaneously, reflected the multifaceted and checkered journey from the period of Indian indenture to the present time..
This paper examines the unique predicament of mixed race Okinawans and argues that their situation requires radical contextualisation (Grossberg) in order to be properly examined. The US-centric discourses of much global mixed race studies work need to be reconsidered in order to account for the complexities of the Okinawan case. I also argue that mixed Okinawans offer us ways to rethink and adapt national and cultural identities, thus offering the starting point for conceptualising change in the region.
Through The Phoenix Project, Xu Bing dealt with the problem of global city. With the use of ‘irony’, the phoenix, a Chinese mythological animal, was reborn. The irony was expressed through the materials, subject materials and Placeness etc. This method have made Xu Bing's sense of subject further strengthen.
The Baul cult is an inseparable part of the Lokayata (folk) culture of Bengal. They form a very colourful community and wander from place to place carrying with them their mystic philosophy, hidden under the cover of mellifluous songs. These spiritual bards of rural Bengal though lead a simple life of mendicant singers, always show respect to values like humanity and love for mankind, irrespective of caste, creed and religion.
Trends have warped and evolved tremendously in the last decade and a half with the way that information is found and spread. This research project seeks to examine the manner in which trends manifest in the modern day lives of college millennials. At minimum, this body of work is a revision of ideas that have become a sort of crutch in the field, giving new insight into standards about the spread of ideas. In particular, noting how their social development has and continues to be affected by the increasing prominence of social media, and dependency on the internet. In doing so, this project challenges established work in the field from the late nineties and aughts, notably Malcolm Gladwell’s The Tipping Point proposing alternative or updated viewpoints more relevant to how trends are born, spread and stick. Research will predominantly be qualitative (featuring ethnographic and survey research methods), starting from the year 2012 (but referencing some years prior), with a focus on gathering data through real-life observations and case studies as well as interviews with individuals or organizations who embody aspects of the developments of this research. It is significant in its real world applications, where this knowledge could be implemented to collaborate with or establish oneself as a tastemaker, identify movements that have the potential to develop into trends and react accordingly to their goals. As Mark J. Penn and E. Kinney Zalesne note, trends impact almost every aspect of daily life (391) and having a better understanding of them allows the average person to be more aware of the forces that have influence in their lives. Keywords-trends; trendsetting
contemporary landscape of urban regeneration. Can place making and socio-economic development incorporate cultural resources in ways that are more than tokenistic, but actually capture and celebrate the “DNA” of the place? In the 20th century UK, Arts and Culture were often seen as separate from other aspects of urbanism. There were polarised positions that either insisted on “art for arts’ sake” or treated the arts and artists instrumentally; perceived as useful for tackling issues and problems in socio-economic disadvantage areas. Post-industrial cities continue to suffer from this perpetuated disconnect between culture and urban regeneration, leading to homogenization of urban design and the proliferation of “non-places” made of housing and retail developments that could be seen as being located anywhere. This paper explores the potential of cultural planning as an applied methodology in the post-industrial urban landscape as an access to understanding how meaning can be generated and disseminated from the cultural sphere into the social, political and economic spheres in pursuit of building alternative futures. Three examples of waterfront heritage zones case studies in Europe will be examined: Govan in Glasgow, Scotland with a long history of shipbuilding spread over 17 yards along the River Clyde which now has one working ship yard remaining, Gdansk (Poland), the home of the Solidarity movement that impacted so hugely on the politics of the Eastern Block, whose few remaining shipyards are operational, (some building luxury yachts), and Gothenburg in Sweden which is undergoing a masterplanning process that seems to ignore its shipbuilding heritage altogether.
Generational groups view romantic love differently in many societies of the world. Whereas the old generation sees it as a threat to traditional family and social structures, the young generation sees it as the source of happiness. The elderly, especially among the Africans, believes that the purpose of marriage is procreation. They consider marriage as a legal unification of man and woman, and that it unifies two families. Modern youth are against this belief, as they perceive African culture as an instrument used to abuse their rights; for example, it denies them the freedom to choose spouses [15]. The young generation views romantic love as a basis for marriage. They therefore resist the traditional perception of the institution of marriage, the action regarded by the old generation as a radical opposition to conventional social structures. This paper seeks to highlight the clash between the old and young generations that results from their perception of romantic love, as reflected in the Tshivenḓa novel, A si ene.

Singapore Attractions

Global Science and Technology Forum - GSTF reserves the right at its sole discretion to postpone or change the venue,
date and/or time of the conference without prior notice before early bird registration deadline.