NOTES Geography * Mesopotamia means the land between the rivers in Greek. (rivers = Tigris and Euphrates) * It is located in western Asia. * It is also known as the world’s earliest urban civilizations. (arose around: 3500 bc) * Mesopotamia, known as “the cradle of civilization”, was the centre of Sumerian, Babylonian, Assyrian, and Chaldean civilizations. * The area now forms most of modern Iraq, south-eastern Turkey, and eastern Syria. * The natural wealth of Mesopotamia has always attracted people from poorer neighbouring regions, and its history is one of continuous migration and invasion. The growth of date palms in the south provides a rich supply of food, fibre, wood, and fodder. Mesopotamia Revolution * About ten thousand years ago, the people of this area began the agricultural revolution. * Instead of hunting and gathering their food, they tamed animals, beginning with the sheep. * They lived in houses built from mud-brick, grouped in villages where they take care of their crops. * They built granaries (store house for grains) to store their grain, and they began developing a token system to record trade and accounts. http://it. stlawu. du/~dmelvill/mesomath/history. html Rivers: Tigris and Euphrates * The Tigris and Euphrates lie about 400 km (250 mi) apart as they flow south out of Turkey; the Euphrates runs for 1,300 km (800 mi), and the Tigris for 885 km (550 mi) before they join, reaching the Persian Gulf as the Shatt Al Arab. * Rainfall is low in most of the region, but when irrigated (watered) by canals the fertile soil results heavy crops. * Both rivers have fish, and the southern marshes contain wildfowl. Microsoft ® Encarta ® 2009. © 1993-2008 Microsoft Corporation. All rights reserved.
Gods, Goddesses, Demons and Monsters * The people of Mesopotamia believed that their world was controlled by gods and goddesses, demons and monsters. * There were hundreds of gods who were responsible for everything in the world, from rivers and trees to making bread and pottery. * Each city was protected by its own special god or goddess and their family. Large temples were built in the centre of the city for these gods to live in. Priests looked after the gods with special rituals. There were also smaller temples throughout the city where ordinary people could make offerings. Demons were created by the gods with human bodies and animal or bird heads. They could be either evil or good. Monsters were a mixture of animals and birds. http://www. mesopotamia. co. uk/gods/home_set. html Role of Women * Most girls were trained from childhood for the traditional roles of wife, mother, and housekeeper. * They learned how to grind grain, how to cook and make beverages, especially beer, and how to spin and weave cloth for clothing. * If a woman worked outside of her home, her job usually grew out of her household tasks. She might sell the beer she brewed, or even become a tavern keeper. tavern = bar) * Childcare roles led women to become midwives and also to create medicines that prevented pregnancy or produced abortions.
* Soon after puberty, a young girl was considered ready for marriage. The families of the future bride and groom arranged marriages. * Ceremonies have been described where the future husband poured perfume on the head of the bride. He also gave her family money and other presents. * Once a woman was engaged, she was considered part of her fiance’s family. If her husband-to-be died before the wedding, she was then married to one of his brothers or another male relative. ttp://mesopotamia. lib. uchicago. edu/mesopotamialife/article. php? theme=Role of Women Government * The Laws of Hammurabi are the longest and best organized of the law collections that survive from ancient Mesopotamia. King Hammurabi, who ruled from 1792-1750 B. C. * It had the laws inscribed on stone pillar which he placed in various temples throughout his kingdom. The pillar from which this cast was made stands almost seven-and-a-half feet tall. At the top of the pillar, King Hammurabi stands before the sun god Shamash, the Mesopotamian god of justice, who is seated on his throne. Sumerian laws were not written down, but people knew what they were and they knew what could happen to you if you broke the law. The Sumerian laws clearly said how you had to behave and what your punishment would be if you did not behave correctly.
* Babylonian Laws are the laws that were later written down by the ancient Babylonians were, for the most part, laws first created by the ancient Sumerians. http://oi. uchicago. edu/OI/MUS/ED/TRC/MESO/law. html Economy * Trade and commerce developed in Mesopotamia because the farmers learned how to irrigate their land. They could now grow more food than they could eat. They used the surplus to trade for goods and services. Ur, a city-state in Sumer, was a major center for commerce and trade. Temples were the chief employer and location for commercial activity. * Money wasn’t used to trade goods and services back then. The Mesopotamians used the barter system. * They developed a writing system to keep track of buying and selling. Scribes kept accurate records of business transactions by writing on clay tablets. * The system of trade developed from people’s need. People in the mountains needed wheat and barley. Mountain people could give timber, limestone, gold, silver, and copper. Flax was grown in the river valley and then woven into cloth. Linen garments were worn by priests and holy men. Wool and wool cloth was also important for trade. Wood was used for ships and furniture. http://ablemedia. com/ctcweb/showcase/dlottmesopotamia3. html http://answers. yahoo. com/question/index? qid=20100727133641AAm9jXl Innovation * Sumerians have been said to have invented some very important tools, including the wheel, sail, and plow. They were one of the first to use bronze at the start of the Bronze Age. They also had a unique writing system where they recorded scientific records. ttp://wiki. answers. com/Q/What_are_the_innovations_of_ancient_mesopotamia
* The most important invention made by the Mesopotamians was the invention of writing by the Sumerians. With the invention of writing came the first recorded laws called Hammurabi’s Code as well as the first major piece of literature called the Epic Tale of Gilgamesh. * Although archeologists don’t know for sure who invented the wheel, the oldest wheel discovered was found in Mesopotamia. It is likely the Sumer first used the wheel in making pottery in 3500BC and then used it for their chariots in around 3200 BC. Astronomy : Using their advanced math, the Mesopotamian astronomers were able to follow the movements of the stars, planets, and the Moon. One major achievement was the ability to predict the movements of several planets. This took logic, mathematics, and a scientific process. By studying the phases of the Moon, the Mesopotamians created the first calendar. It had 12 lunar months. * The Babylonians made several advances in medicine. They used logic and recorded medical history to be able to diagnose and treat illness with creams and pills. http://www. ducksters. com/history/mesopotamia/science_and_technology. php
Price Elasticity And Indirect Taxes – Eco Hl (Ib)
Economics HL- IB Price elasticity and indirect taxes Q. Using at least one diagram, explain why knowledge of price elasticity of demand is necessary for a government when they are considering increasing indirect taxes on certain products. (16th May 2011, Economics- Paper 2(HL), Time Zone 2) The government needs to understand price elasticity of demand when setting the price of the commodities and services it provides for the community (like public transport price).
It also needs to be able to predict the effect of changes in the level of any indirect taxes like sales tax and excise duties that is imposed on goods like alcohol and tobacco. These taxes raise the price of the affected goods and the government should be able to determine the responsiveness of demand in order to accurately estimate the amount of revenue they will raise. The purpose of a tax is to collect revenue and its effect is to raise the price of a good so the more inelastic the demand curve, the smaller the resulting change in quantity demanded of the good when the tax is raised.
The government creates excise taxes (taxes levied on alcohol, cigarettes, etc. ) to shift the market supply curve of a commodity being taxed to the left. Both the consumer and producer should absorb part of the tax incidence i. e. the distribution of the tax burden between consumers and producers. If the consumer pays a higher price, the produce sees a drop in the sales and revenues. In addition, as elasticity decreases a greater proportion of the tax burden is passed on to the consumer and less is incurred by the producer.
The elasticity of the product determines the consumer’s willingness to pay the higher price resulting from the shift of the tax burden For goods with a relatively inelastic demand, the reduction in demand caused by a tax is minor, and the greater burden of the tax will fall on the consumer. The government prefers to tax goods with an inelastic demand as there will be little decrease in demand by consumers when the price of the goods increase, maximizing tax revenues due to less shift in supply.
For example, the government imposes taxes on alcohol but its demand, which is dependent on habits than on price, makes it inelastic rather than elastic. For goods with a relatively elastic demand, the reduction in demand caused by a tax is significant and the greater burden of the tax will fall on the producer. If products with high elasticity are greatly affected by taxes enforced by the government, total revenue of these products will decrease due to out of proportion drop in sales and affect the market greatly.
Hence higher taxes on elastic products are therefore undesirable. Yet, taxes like luxury taxes imposed on elastic goods are often less effective in raising substantial revenues, but they help to display a sense of fairness to the taxpayer. For example, a monopoly supplier of any business services like rail or transport tolls can charge higher prices in peak periods and low prices in off-peak periods because the price elasticity of demand is inelastic in peak periods compared to off-peak periods.
This means that they can use the price discrimination strategy to maximize revenue. Conclusion If demand is price elastic, decreasing the price benefits the producer as: * Fall in price causes a rise in total revenue * Rise in price causes a fall in total revenue If demand is price inelastic, then increasing the price benefits the producers more: * Rise in price causes a rise in total revenue * Fall in price causes a fall in total revenue
Hence the government should put taxes on consumers when the demand is inelastic compared to the supply while the tax should be put on the producers when the supply is more inelastic to maximize total revenue and cause as less economic loss to consumers and producers in the form of deadweight loss. Sources: * welkerswikinomics. wetpaint. com * www. socyberty. com * www. tutor2u. net * www. acceleratedstudynotes. com * www. nointrigue. com * http://spot. colorado. edu/~kaplan/econ2010/section4/section4-main. html
Untalented Djs And The Rise Of Rave Culture
Electronic dance music, more commonly known as EDM, has recently become a powerful industry in mainstream-entertainment. EDM features DJs playing prerecorded mixes, and famous DJs like Tiesto and Skrillex are paid millions of dollars each year for performances. Despite this popularity, many musicians refuse to affiliate their careers with DJs, arguing DJing requires no musical talent. Ed Montano, a musical history professor at Macquarie University, believes DJs are unfairly exploiting the music industry for money and self-proclaimed fame via technologically produced music.
However, University of London professor Bill Crow claims EDM is an innovative and creative example of music evolution that should be embraced in the music industry. Despite Crow’s optimism, Deadmau5’s astonishing success as a DJ proves his argument most credible. He claims DJing is not meant to showcase musicality, and admits EDM performances merely consist of pressing ‘play. ’ He argues that sharp studio skills result in success. Each of these arguments fails to develop reasons why DJs are so popular – it has nothing to do with musicality or studio production.
The success of mainstream EDM DJs is mostly due to the recent rise in rave culture among teenagers and young adults, along with the captivating atmosphere of these dance events. Imagine a haven with no judgment, racism, violence, or sexism – just happiness and equality. This foundational aspect inspired the motto of the rave scene, “PLUR,” which stands for Peace, Love, Unity, and Respect (Lenda). The common theme among ravers avoids violence and “spread[s] the love” to help others find their inner peace (Lenda). Raves began in London as part of a late 1950s youth movement.
The culture developed hippie elements in the 60s with the popularity of the Beatles (Derbyshire). Raves continue evolving with the decades, and are currently viewed as mainstream entertainment in the United States. One of the most famous raves in the US today is the Electric Daisy Carnival, an annual summer tradition since 1997 (David and Marv). These surreal dance parties are considered a part of the “post-modernist mainstream cultural wave,” and rigorously focus on electronic dance, techno, and house music (Hutson).
The high-status association of EDM with mainstream society is a contributing element to the popularity rise in both the dance music and raves. The term ‘rave’ derives from the French word ‘resver,’ meaning to dream or wander, explaining the mystical and trancelike ambience of raves (Online Etymology Dictionary). Spiritual healing expert Scott Hutson describes raves as “spatial escapes” in which you connect with those around you and find your inner-spirit. Ravers find tranquility with “personal issues and deal with religious rapture” while in attendance (Reynolds).
An important trademark of raves is the feeling of harmonization (Gibson). Sensitive proportions of music, lights, and dancing are the key elements to the rave scene. Their synchronization consumes the crowd with a sense of togetherness to spark excitement. The signature-style electronic music, however, is the most enduring aspect, as DJs use uniquely powerful tones to drive the excitement and make the experience more enjoyable. Without the electronic music the hierarchy would be disturbed; the sacred structure is a crucial component in the rise of rave culture and popularity of DJs.
Perhaps one of the most important aspects to emphasize about the rave scene is the drug-centric culture. It’s no secret that club drugs including LSD, ketamine, marijuana, DMT, and MDMA fuel a majority of these events (Downing 336). MDMA, aka ecstasy, is the most prevalent drug at raves. A study done by Dr. Roxanne Dryden-Edwards in 2001 found nearly 90% of ravers admitted to using MDMA at least once at a rave within the last year. Ecstasy releases high amounts of serotonin and dopamine into the brain, causing psychoactive effects that generate a dreamlike state of mind.
Serotonin is involved with controlling sleep, memory, appetite, anxiety, mood, emotions, and perceptions (Grinspoon and Bakalar). It suppresses negative emotions and amplifies happy emotions, supplying a “mental and physical euphoria” (Greer 323). Those who have rolled (the term used when under the influence of MDMA) agree it’s a very spiritual drug, and some studies have even proved it to increase introspect and insightfulness (Grinspoon and Bakalar). This drug particularly caters to the state of awe raves strive to create, making MDMA the most common rave drug.
It’s known to provide a sort of utopia for the user through an experience out of touch with regular life. Mainstream society increases exposure to EDM, stirring memories (or creating curiosity) of the blissful, “E-lectrifying” theme experienced during these unbelievable galas (Reynolds). This starts a cyclical desire to listen to EDM between raves to satisfy the longing for temporary elation, another component further explaining the popularity of DJs. Medical specialist George Greer calls MDMA a “psychedelic amphetamine” due to the balance of physical and mental effects (326).
Increased amounts of dopamine “stimulate locomotor activity” to provide the energy needed for hours of dancing, a primary factor for the parties (Greer 329). Dopamine amplifies concrete senses like hearing, vision, and touch to the point that colors and music become “neurologically intoxicating” (Greer 328). Typically, raves are packed with a plethora of people, dancing freely to loud electronic music while watching a laser light show. The touching and heat from dancing heighten sexual tension throughout the crowd, spawning intimacy and exhilaration.
These arouse sensations of “feeling the music” in both literal (the bass vibrations) and emotional (lyrical) senses (“The Art of Rolling”). EDM indulges the hunger these “addictive feelings” produce as the brain pursues the pleasurable stimulus provided by the rush of dopamine. Ultimately, EDM DJs have achieved more popularity through the raves’ association with drug culture and the desire to relive the passion brought on by MDMA. The atmosphere of raves, in part due to the ecstasy use, is another main feature promoting DJs.
Raves feature one DJ who reigns “master of the ravers” (Borrego). DJs rarely speak to the audience and keep a continuous flow of electronic dance songs, mixing in excerpts of pop songs to further engage the young audience. The lengthy build-ups and explosive beats control the emotions of the crowd. The music quickly becomes the rollers main concentration, making he or she build up to a “peak” with the music (Out of Sight Out of Mind). Songs are specifically composed to include a considerable amount of bass to send pounding vibrations throughout the venue.
The vibrations are heightened by the drugs and form a tangible bond between the audience and the music, which ravers view as “prophecy,” interpreting the beat and lyrics in a spiritual manner (“The Art of Rolling”). DJs strategically incorporate repetitive verses to connect more easily with the audience, who’s another state of mind. The cyclical lyrics usually have open-ended meanings meant to provoke thought and reflection within the audience. They infer concepts bigger than individualism, generating a strong sense of community and intimacy (Marsh 416).
An excellent example lies in the popular EDM track, “In My Mind (Axwell Mix). ” It has numerous crescendos and builds framing the only verse: “In my mind, in my head, this is where we all came from. The dreams we have, the love we share, this is what we’re waiting for” (In My Mind). These simple lyrics reflect the heart and unity of rave culture. Mixing meaningful lyrics with upbeat rhythms induce happy, inspirational vibes, which successfully engage the mainstream sector and spread the fame of DJs. Another alluring aspect of raves is the lighting, which is determined by the music.
The light shows supply fascinating visual effects to animate the trance-like state. They’re composed of numerous LED lights, laser lights, strobe lights, and occasionally glow sticks (Hutson). These lights create a psychedelically mystical atmosphere with bright neon colors and “trippy patterns” that change and intensify with the music (Gibson 22). The psychoactive effects of the drugs and the nature of the show itself give the illusion of a continuum of light. When under the influence of ecstasy or other club drugs, your pupils dilate and your vision is slowed or blurred.
These effects combine with the fast-changing lights, smearing the trails together and intensifying each light beam (“The Art of Rolling”). The visual aspect synchronizes with the aural and palpable facets to help push the popularity of EDM. The shows provide captivating visual images to complement the music, and many rave-goers cherish the reminder of the trippy sensation, another aspect supporting DJs in the music industry. Raves focus on reveling in intimacy and connection, an unworldly journey controlled by the DJ. Despite their role, DJs are often overlooked when the audience is caught up in the excitement of the atmosphere.
Critics condemning DJs for a lack of musicality fail to see the root of their success: connecting with the audience. Successful DJs understand the expectations of a rave; they’re experts in appealing to the rolling crowd and creating a temporary paradise. It’s important to recognize that while EDM may not require a significant amount of talent, the music itself is not the sole factor responsible for it’s mainstream success. The current popularity of the rave scene has made DJing one of the trendiest professions in the music industry.
They may simply be pushing buttons, but the DJs strategically layer other sensory aspects to add appeal, consequently making their music a favorite genre in youth today. Word Count: 1,546 Works Cited Anderson, Tammy L. “Understanding the Alteration and Decline of a Music Scene: Observations from Rave Culture. ” Sociological Forum 24. 2 (2009): n. pag. JSTOR. Web. 24 Apr. 2013. “The Art of Rolling. ” The DEA. N. p. , n. d. Web. 25 Apr. 2013. Borrego, Nancy. “Rave Party Culture. ” Dr. Leanna Wolfe. Ed. Leanna Wolfe. N. p. , n. d. Web. 24 Apr. 2013. Crow, Bill. Musical Creativity and the New Technology. ” Music Education Research 8. 1 (2006): 121-30. Abstract. Taylor and Francis Online. Web. 24 Apr. 2013. David and Marv. “The History of Electric Daisy Carnival. ” How to EDC. N. p. , n. d. Web. 29 Apr. 2013. Derbyshire, Delia. “Unit Delta Plus. ” Delia Derbyshire: Electronic Music Pioneer. N. p. , n. d. Web. 29 Apr. 2013. Downing, Joseph. “The Psychological and Physiological Effects of MDMA on Normal Volunteers. ” Journal of Psychoactive Drugs 18. 4 (1986): 335-40. Wikipedia. Web. 25 Apr. 2013. Dryden-Edwards, Roxanne, MD. Club Drugs. ” E Medicine Health. N. p. , n. d. Web. 24 Apr. 2013. Gibson, Chris. “Subversive Sites: Rave Culture, Spatial Politics and the Internet in Sydney, Australia. ” Area 31. 1 (1999): 19-33. Abstract. Wiley Online Library. Web. 29 Apr. 2013. Greer, George. “Subjective Reports of MDMA in a Clinical Setting. ” Journal of Psychoactive Drugs 18. 4 (1986): 319-27. Wikipedia. Web. 25 Apr. 2013. Grinspoon, Lester, and James B. Bakalar. “Can Drugs Be Used to Enhance the Psychotherapeutic Process? ” American Journal of Psychotherapy XL. 3 (1986): n. pag. The Psychedelic Library.
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