The Reason of Enlightenment Essay Example for Free

The Reason of Enlightenment Essay Society today is in a paradox. Everything is infected with sameness and repetition. Every sensual experience of the individual is subjected to standardization. Acceptance is the key in success as the capitalist mode of production continually influences behaviour of the individual as well as society as a whole. The capitalist mode of production becomes a powerful tool in manipulating the masses as well as affecting the creative process of human consciousness. What matters for most cultural industries is not the creativity of products or mere understanding but rather a passive acceptance and monetary return. Society is the subject of the industry as it continually addresses the consumer’s concerns rather than society dictating the flow of the industry. Because of the industry’s ‘customized’ goods, society has no room for imagination, creativity, and understanding since these products already fit the ideal description. The culture industry also delimits the aesthetic aspect of human nature as the arts are also subjected to production and return of profit. The essence of art and creativity is lost and also become mere products of the industry. In Theodore Adorno and Max Horkheimer’s Dialectics of Enlightenment, the thinkers present a Social Critical Theory of the contemporary society and the adverse ideologies brought about by science, empiricism, and reason, all of which are products of the age of enlightenment. The Development of Critical Theory It is essential to mention the development of Social Critical Theory in lieu of the viewpoint that Adorno and Horkheimer used in their attempt to criticise the false notions brought about by the change in culture and the industry. Social Critical Theory has its roots from the Marxist ideologies that openly criticises the capitalism ideology (Ray 1993: ix). Marxism suggests that there is an imbalance with the structural social class as it is marginally separated by two polar opposites in society: the abusive bourgeoisie, and the proletariat or the working class. Marxist doctrine states that man’s essence is himself, and labour, which is the power to create, is merely an extension. At the presence of labour and society, man becomes a necessity or a commodity. If a poor man who has no material wealth, becomes a mere commodity at the presence of labour and exchanges the only thing he has – his essence. Man becomes for sale, while the rich get richer as they continue to capitalize on the plight of the poor man’s essence. From the Marxist doctrines, this social theory eventually separated into two – the revisionist and orthodox Marxist ideologies which retain the ideals of Marxism but differ in method. Marxist revisionist proposes a bloody revolution for the complete eradication of social classes (Ray 1992). Critical theory attempts to dig deeper into other existing binaries of ideologies and subvert them in such a way that the meta-narratives becomes petite. The rise of the Frankfurt school slightly deviated from the idea of criticising social norms but instead focused on the idea of the Enlightenment which paved the way for the development of science and technology. Frankfurt school thinkers such as Adorno and Horkheimer tackled the idea of the Enlightenment as a false notion in the development of society. The Frankfurt school of thought argues that essence and originality are lost as consumers are placidly fed with the same objects that satisfy them temporarily. The mass-produced products and ideas are transforming society into technocracy and docility – that society’s happiness is based on mass happiness rather than individual and subjective satisfaction. Science and technology ultimately enshrines efficiency and affectivity that dominate political governance so that we see a society ruled by technocrats. The industry forms culture rather than culture forming the industry. Critical Theory plays a significant part on the idea of how society aims to live life everyday. Critical theory also provides an opportunity to criticise fallacious social norms and allows the chance for discourse (Ray 1992). Adorno and Horkheimer In view of Adorno and Horkheimer’s The Dialectics of Enlightenment, the authors offer a clear and definitive implication of the 18th century Enlightenment movement and how it suppressed society in terms of ideologies and production. Enlightenment is understood as the advance of thought that aims to liberate human beings from â€Å"fear and installing them as Masters† (Adorno 1997: 1). This concept also shares similar ideas with Immanuel Kant’s summation of the Enlightenment during the 18th century. â€Å"Dare to Think! † was the banner of reason during those time (Ray 1992: 5). Reason should be used in order to individuate man, to dispel myth, to rid of fear of intellectual docility, and to provide the ability to know. Reason became the main weapon for this intellectual movement, as it attempted to break away from the mystical, dogmatic, and mythological foundations of knowledge. Adorno argues that the Enlightenment’s program was â€Å"to dispel myths, to overthrow fantasy with knowledge† (1997: 1). The formation of reason was a complete deviation from the rebirth of philosophical explorations of the Renaissance, which gave emphasis on the use of classical philosophy from Plato, Aristotle, and such. Enlightenment and reason were the foremost tenets of the movement and arguably countered the use of myth and mysticism as the basis of human knowledge. Reason led to the development of empiricism and science, the systematized thought of acquiring knowledge through observation, experimentation and synthesis. Knowledge, acquired through such methods, establishes man as the master of nature. However, Adorno states that this knowledge is abused by man himself as â€Å"knowledge, which is power, knows no limits, either in its enslavement of creation or in its deference to worldly masters† (1997: 2). Technology is the essence of such knowledge as it aims to manipulate concept into method and exploitation. To Adorno, technology does not provide concepts, ideas, or the simple joy of understanding, but rather suppresses the individual to docility. Further, Adorno explains the nature of Enlightenment as a movement dispelling the myths of old. As observed from the pre-Platonic and classical philosophers themselves, they were the ones who pioneered the use of reason or logos as the truthful method of acquiring knowledge rather than basing on mythological narration. As the development of reason became the foundation of science, man discarded meaning to be replaced by formula, causal rules, and probability. The obsession on the use of empirical basis as a method of acquiring universal truths led to the false formation of an industry that not only caters to the need of its consumers but also subjects them into docile and content buyers that guarantee success through monetary return (Ray 1992). The Culture industry, in essence, is the product of the false notion of Enlightenment and reason. Everything has to be proven in order to be verifiable and accepted. Laws, beliefs, and thinking are systematized; they are now bound to the governing laws of reason and empirical knowledge. Though the movement still has its positive effects on development, and the start of a radical change in thinking has definitely brought about breakthroughs in modern science and technology, it also has an adverse effect on society. Adorno suggests: â€Å"For culture now impresses the same stamp on everything† (1997: 120). This widespread movement also relates to the culture industry, where everything loses its individuality for the sake of standardization and acceptance in return for economic benefits of the industry. The whole world is passed through the filter of the culture industry. Everything is affected by such change. The formation of the industry in our context has becoming the mould in which culture is formed and trimmed. Things that had once an aesthetic value lose their real sheen and become mere cliches. Today, our actions fall under what we know as popular and will serve the general purpose of the culture industry: mass producing in order for the economy to function properly (Adorno, 1992: 8). The standardization of things that are produced in order to serve the general interest of the public is quite ironic. The public, which is supposed to be the providers in the economy, become the subjects of the industry itself. In turn, the industry is the big shot boss that makes use of every need of the employee in order to bloom. Society is then the false blood that gives life to the industry, which continues to exploit every aspect of our need, in order to grow and develop an unbreakable barrier in which our supposed-to-be powerful freedom may never break. By continuing to patronize what the industry keeps on producing, it then forms consciousness of popularity — the general idea that the mass accepts. â€Å"It is claimed that standards were based in the first place on consumer’s needs, and for that reason were accepted with so little resistance† (Adorno 1997: 100). The cycle continuous; from fashion trends, food, lifestyle, music, and the arts, these modes of expressions has fallen to this false notion of culture. It loses its identity to become a standard among the people that once used to uphold its individual essence. â€Å"The familiar experience of the moviegoer, who perceives the street outside as a continuation of the film he has just left, because the film seeks strictly to reproduce the world of everyday perception has become the guideline for production† (Adorno 1997: 99). What the people want to see is the continuation of the reality he lives in but only decreased to a lighter note as a means of escape from the hustle and bustle of the corporate world. Entertainment has become a means of escape. The only escape from the work process in the factory and office is through entertainment. Amusement then becomes boring, since to be amusing, it must cost no effort to think. The spectator must need no thoughts of his own. Amusement is then a mindless reel of farce that acts as a distraction from reality. It has no real meaning because the spectator does not need meaning in order to be distracted from the pressure of everyday work (Adorno 1997: ). The same goes with films. â€Å"Film denies its audience any dimension in which the mind might roam freely in imagination† (Adorno 1997: 100). Movies present an alternate reality as a means of escape from the business of the industry. Man, tired from work, resorts to amusement and film to produce a necessitated concept of another reality. That it presents the ideal world inside the theatre and the moviegoer is presented with reality after the film is finished. Thus, films in our context today serve as a basis of lifestyle. From the alternate reality presented by the movies, human behaviour is influenced through an unconscious effort of influence. The industry, apart from the standardized goods and ideologies, also feed the only retribution of man from the pressure of material capitalism. Ideas and concepts are also manipulated to standardization. Thus, placidity is not also applied in the individual’s actions but also to the natural system of consciousness and thought. The ultimate purpose then is for benefit and popularity rather than the art of making a movie. That is why the formation of indie (independent) films attempts to break from such typical notions of Hollywood movies in order to preserve the real essence of movie-making. However, in comparison to major blockbuster films, indie films never achieved the same level of popularity and income even though the indie directors and producers never intended for their movie to be even recognized. That is because such actions are against what is generally accepted and popular. The Madness of Music As a student of music himself, Adorno characterizes the notions brought about the effect of the culture industry with regard the arts, especially on music. He characterizes popular music from serious music. Music is defined as the arrangement and accordance to its form and arrangement. To Adorno, classical music is considered as serious music, for it strictly follows the laws from which they are based and made. The rigidity in the discipline makes the composition itself bound to the parameters of perfection; hence, music is a masterpiece. It follows time signature, tempo, harmony, tone construction, etc. that when such composition is first heard, it is appreciated as a whole and even more appreciated when the parts are examined specifically. On the other hand, the distinction between serious music and popular music lies within its formative structure. Popular music, based on the culture industry’s precepts, capitalizes on standardization. Pop music is predictable upon close observation. Its predictability lies with its musical structure. At first, it may fool the listener of its catchy and creative theme, but, contrary to serious music when parts are examined specifically, its harmonics are built on simple and almost simplistic tone structure that it cannot be left alone without the other. The essence of the music is lost as it lacks the qualities of a ‘serious’ music that may have otherwise refined its colour (Adorno 1997: 104). In our present context, the rise of the music industry has become the ambition for most music artists today. Songs are composed in order to gain widespread popularity, especially among the youth. If we are to look closely at each band’s composition and harmony of their songs, it has rather simple arrangement of chords and repetition of melody from the start up until the beginning. The flimsy form of the music is compensated by the loud execution and performance of their songs and electrifying guitar solos in order to cover up the repetition. It lacks creativity and limits the music to only a few chords. Plus, such simplicity is also the key of some rock bands of not ‘making it’ or not enduring an imprint of legacy from their music. They only enjoy a brief period of popularity that does not leave a lasting impression on the target audience they wish to capture. Standardization extends from the most general features to the most specific ones. Pop music is refined to suit the untrained ear of the masses. It is also mass-produced in order for the artist and the recording company to achieve its benefits. In order for people to like it, music is arranged which is appealing to the public, for music, the same with art, cannot be reproduced without any guarantee of economic remuneration. Novelty and creative are not emphasized since novelty cannot be applied to what is already standard and generally accepted by the people. It is also a form of entertainment and escape; simplified and catchy so as to serve a distraction rather than stimulating oneself in Symphonies or Sonatas (Adorno 1997: 101). Ultimately, for Adorno, the main point of the critique is focused on the development of the individual’s creative tendencies – especially on the arts. According to Witkin, Adorno did not give a blatant connotation that to appreciate art means sophistication in the individual’s part but rather the use of the arts as perpetuated in the industry. â€Å"However, it was not skill or talent that mattered to him, here, but the interests it served and the use to which it was put† (Witkin 2003: 2). As the age of Enlightenment ushered in the development of science, the process of acquiring knowledge developed from a mystical and contextual approach to an empirical and experiential process. Ironically, enlightenment meant that the individual is self-aware of his or her own actions and liberated of fear from the human consciousness. However, as science led the way to the development of newer systems of thought, it produced the development of media (film, music, print) that became ‘standard’ products of consumption. To Adorno and Horkheimer, society becomes placid consumers to these forms; music becomes ‘popular’ and depends on record-breaking sales in order to sell. Films present an alternative to reality, distracting the individual from the bustle of the industry as a means of escape, and print/visual media becomes accessible to all. What the culture industry produces consequently influences behaviour. Standardization in the culture industry meant that the process of invention and innovation is in lieu with the needs of society. What society wants, the industry produces. Freedom, according to the Dialectics of Enlightenment, is sacrificed, as consumers are ‘tamed’ into cooperation. Thus, the industry thrives on income and profit, without any thought or conscience. For the industry, it does not matter for the products to be morally or ethically acceptable as long as the consumer accepts it and benefits the industry in turn. Contemporary Critique The pioneering efforts of Adorno and Horkheimer in the critique of the culture industry gave rise to the formation of contemporary theories on the said subject. On the subject of the culture industry’s critique, David Hesmondhalgh provides a technical explanation of the processes the culture industry undergoes. His arguments retain the critique presented by Adorno but focus more on the shift changes and patterns of continuity in the cultural industries. Hesmondhalgh presents a different viewpoint on Adorno’s subject, as he attempts to bridge the cultural industry as a main distributor of information as well as an unconscious influence over society. Today, cultural industries have changed radically. â€Å"The largest companies no longer specialise in a particular cultural industry such as film, publishing, television, or recording; they now operate across a number of different cultural industries† (Hesmondhalgh 2002: 1). The scope of the cultural industry is not anymore specified into one criterion of the arts; rather, through the development of technology and information systems, the industry now focuses on print, media, and information through the internet, publications, etc. However, contrary to Adorno’s viewpoint, the cultural industries and the goods that it produces, according Hesmondhalgh, are â€Å"complex, ambivalent, and contested† (2002: 3). He argues that the text and information disseminated by the industry do not adhere to the doctrine of capitalism or structured domination. In addition, Hesmondhalgh also differs from the arguments presented by Adorno that the culture industry subjects consumers into passivity, wherein there is no room for the imagination to play. Adorno gives importance to the deeper aesthetic appreciation of art, which he differentiated into ‘serious’ and ‘popular’. For Hesmondhalgh however, there is still creativity in the cultural industry: â€Å"The invention and/or performances of stories, songs, images, poems, jokes, and so on, in no matter what technological form, involves a particular type of creativity – the manipulation of symbols for the purposes of entertainment, information and perhaps even, enlightenment† (2002: 4). Further, he separates art into symbolic creativity and artists into symbol creators and these different kinds of artists reflect the extremities of society in which they live in (2002: 4) Paradoxical Ideology In the Dialectics of Enlightenment, society has this unanswered and unnoticed threat growing in the background. The industry and the generally ‘popular’ things are becoming the basis of everyday life. Adorno and Horkheimer suggest that popular culture is like a â€Å"factory producing standardized cultural goods to manipulate the masses into passivity; the easy pleasures available through consumption of popular culture make people docile and content, no matter how difficult their economic circumstances† (Adorno 1997: n. p. ). The different viewpoints presented by contemporary thinkers support the arguments presented by Adorno, contradict them, or simply expound the different ideologies and applying it into a more modern perspective. Hesmondhalgh especially notes the cultural industry’s motivation in cultivating imagination and creativity for there is still creativity through innovation of new ideas and symbols even though they ultimately influence society in the end. However, the main idea still exists — that the culture industry is a by-product of the Enlightenment and the capitalist mode of production. Hesmondhalgh’s arguments still present the ideas of capitalist multinational corporations that manipulate symbols in order to disseminate such into society. His use of the term ‘symbols’, instead of ‘art’, necessarily perpetuates his notion on manipulation of ideas. Art is essentially the expression of human nature, but in the culture industry, essence does not exist. Thus, Hesmondhalgh’s arguments necessarily imply that symbolism is still creativity, although on a much lower scale. Capitalist companies, especially in modern scenarios, not only manipulate art but also communication and the media. For Hesmondhalgh, the control of the cultural industries over text and information are more pronounced than ever (2002: 7) Thus, the cultural industry’s shift change of scope has greatly differed from Adorno’s time, yet still maintains the capitalist coercive nature. What remains is that society’s needs are still catered by the culture industry. Furthermore, it is claimed that standards produced by the culture industry are based on consumers needs, and that is why accepted with little or no resistance at all. â€Å"The result is the circle of manipulation and retroactive need in which the unity of the system grows ever stronger. No mention is made of the fact that the basis on which technology acquires power over society is the power of those whose economic holds over society is greatest. A technological rationale is the rationale of domination itself. It is the coercive nature of society alienated from itself† (Adorno 1997: 121). The capitalist structure still maintains its firm hold over society as it influences behaviour through catering specific needs of its consumers while transcending a different level of consumerism. The essence of human expression is lost through standardization of art, music, film, and such. Society becomes docile, leaving no room for imagination, and the culture industry grows because of this ignorance. References Adorno, T. and Horkheimer, M. (1997) Dialectic of Enlightenment. London: Verso. Curran, J. (1979) Mass Communication and Society. Beverly Hills, California: Sage. Garnham, N. (1990) Capitalism and Communication: Global Culture and the Economics of Information. London: Sage Publications Garnham, N. (2000) Emancipation, the Media, and Modernity: Arguments About the Media and Social Theory Oxford: Oxford University Press. Hesmondhalgh, D. (2002) The Cultural Industries London: Sage. Martin-Barbero, J. (1993) Communication, Culture and Hegemony: From the Media to Mediations. London: SAGE Publications. McGuigan, J. (1996) Culture and the Public Sphere. London: Routledge. Miege, B. (1989) The Capitalization of Cultural Production. New York: International. Ray, L. (1993). Rethinking Critical Theory : Emancipation in the Age of Global Social Movements. London: Sage. Witkin, R. (2003) Adorno on Popular Culture. London: Routledge.

And Then There Were None :: And Then There Were None

And Then There Were None I recently read a mystery book by the name of "And Then There Were None" by Agatha Christie. I read this book because I have read other books by Agatha Christie that were pretty well written. Ten people are invited to an island, called "Indian Island", by letters that were signed by people they had met before. When they got to the island, they found out that their host, U.N.Owen, had not arrived yet. At dinner, they heard a voice, accusing each of them of a murder, which they were all guilty of. After one of them is killed, according to the first verse of a poem that is framed above each of their beds called "Ten Little Indians", they figure out that the murderer is one of them! As more people are killed off, one by one, the group narrows the suspect list down, until only one is left alive but she figured that she would never get off the islan anyway, and she hung herself from the ceiling by putting a noose around her neck and kicking the chair away on which she was standing, but she was not the killer. One of the mysteries to this book was, of course, who killed all of the innocent people. Another mystery was that every time another person was killed a little indian figure would disappear from the edges of a serving plate. One more mystery was that every murder followed, in order, the famous poem "Ten Little Indians", which reads: Ten little Indian boys went out to dine; One chocked his self and then there were nine. Nine Indian boys sat up very late; One overslept himself then there were eight. Eight Indian boys traveling in Devon; One said he'd stay there then there were seven. Seven Indian boys chopping up sticks; One chopped himself in halves then there were six. Six Indian boys playing with a hive; A bumble-bee stung one then there were five. Five Indian boys going in for law; One got in Chancery then there were four. Four Indian boys going out to sea; A red herring swallowed one then there were three. Three Indian boys walking in the zoo;

Ignorance to the Truth Essay

Often in tragic literature, authors infuse characters with a tragic flaw such as hubris. One work that explores an exuberant amount of pride is Oedipus Rex by Sophocles. In this play, Thebes is stricken with a plague and Oedipus, the King, will sacrifice anyone to save it. In the process of finding a solution, Oedipus realizes that he fulfills the prophecies that say he will kill his father and marry his mother. In the play, Sophocles shows Oedipus’ hubris by using irony. Characterization is also used to enhance the effects of pride on Oedipus’ ability to see logistically. Both characterization and irony play an important role in supporting the theme that excessive pride is a bad thing because it prevents people from viewing life with logic and leads to their downfalls. In the drama, Oedipus Rex, readers analyze the theme by looking at Oedipus’ tragic flaw. Sophocles describes how Oedipus changes from being a powerful and majestic king to being â€Å"the world’s outcast† (Sophocles 66). For instance, Oedipus’ hubris is shown from the beginning of the play when he steps down from the altar. He addresses the people of Thebes to discuss the deadly plague that has come to Thebes. Oedipus explains that he hears the â€Å"sound of prayer and lamentation† and that he himself â€Å"who bears the famous name,† has come to listen to his people (Sophocles 4). Oedipus shows how prideful he is when he refers to himself as being famous amongst the people of Thebes. Also, the fact that he comes forth when he hears prayers, indicates that he views himself as an equivalence to the gods because he defeated the Sphinx. Oedipus’ boasting relates to the theme because it foreshadows his tragic fate that he will kill his father and marry his mother as destined by the gods. Oedipus’ pride continues throughout the play when the messenger announces the death of King Polybos of Corinth. Specifically, Oedipus thinks that he is the son of King Polybos and that he escapes his prophecies by leaving Corinth long ago. Oedipus explains that he â€Å"never touches [Polybos],† so he will not â€Å"give heed to the birds that jangle above [Pythian’s] head† (Sophocles 50). Oedipus fails to realize that Polybos is not his real father, which relates to the theme of hubris. The overwhelming sense of pride in himself is what makes him blind to what is real. To support the theme of Oedipus Rex, Sophocles uses dramatic irony throughout the play. Creon tells Oedipus that the murderer of King Laois must die in order for Thebes to recuperate from the plague. Oedipus shows concern for the well-being of the city but also for himself. He says that he will â€Å"avenge the city and the city’s god† (Sophocles 9). He further exclaims that â€Å"for [his] own sake, [he will] get rid of evil† because the murderer of King Laois might â€Å"decide at any moment to kill [him]† (Sophocles 9). Although Oedipus shows true concern for Thebes, his pride propels him to state that he will get rid of the murderer for his own benefits. The dramatic irony is that Oedipus is unable to realize that he will not benefit because he will ultimately have to be punished. Oedipus’ misconception connects to the theme because Oedipus fails to see that he is the murderer of King Laois. Dramatic irony is also shown after Iocaste realizes that Oedipus’ prophecies have come true and Oedipus refuses to give up his search for the truth of his birthplace. Oedipus says that he â€Å"is a child of Luck; [and that he] cannot be dishonored† (Sophocles 58). The irony is that the audience knows Oedipus’ tragic fate, yet Oedipus believes he is a child of luck. The irony relates to the theme because his pride blinds him to see the reality that he has fulfilled his prophecies. The overall use of dramatic irony enhances the theme of pride preventing a person from seeing things logistically. In addition to irony, Sophocles uses characterization throughout the play to enhance the theme. For instance, Tiresias, a blind prophet reveals Oedipus’ fate and Oedipus refuses to believe it. When Tiresias accuses Oedipus of weaving his own doom, Oedipus objects by exclaiming that he saves Thebes by defeating the Sphinx. He says that Tiresias’ magic â€Å"or the gods, for the matter† are useless (Sophocles 22). Oedipus is indirectly characterized as very self-centered and haughty. Oedipus’ ego relates to theme because he is so cocky that he does not perceive what Tiresias is saying. Instead, he reminds everyone of the time that he defeats the Sphinx. Oedipus gloats on past victories without dealing with present problems involving Thebes. Along with being self-centered, Sophocles characterizes Oedipus by incorporating epithets into the chorus’ lines. Oedipus summons the shepherd in search of primary proof of the murdering of King Laois. The chorus explicitly calls Oedipus a â€Å"tyrant [who is a] child of Pride† and that his â€Å"haughtiness and high hand of disdain/ Tempt and outrage God’s holy law† (Sophocles 46). Oedipus is indirectly characterized as a tyrant. The chorus denounces their King, which relates to the theme because Oedipus’ pride leads him to be â€Å"caught up in a net of pain† (Sophocles 46). By using characterization, the author shows the reader how Oedipus’ pride leads to his downfall. Hubris often leads to a tragic fall and causes people to become oblivious to the real world. Sophocles creates dramatic irony in the play Oedipus Rex to enhance the plot. The use of dramatic irony highlights how blind Oedipus is to his fate. It shows how Oedipus’ life changes from being a majestic King to an egocentric man who has given up all hope. Oedipus Rex leads the reader into analyzing his or her own life. People should be proud of their achievements as long as they avoid becoming insolent. A healthy dose of pride always does a person well, but an exuberant amount of it, makes him or her ignorant to the truth.

FSKM Students in Industrial Training - Free Essay Example

Sample details Pages: 4 Words: 1190 Downloads: 6 Date added: 2017/06/26 Category Education Essay Type Research paper Did you like this example? CHAPTER 1 INTRODUCTION This chapter provides the overview of this research project. The project problem statement, objectives of research, the scope of the project and significance of the project are clearly discussed in this chapter. 1.1Background of Research Industrial training is a program that refers to the placement of students in the industry to gain experience in the employment world. Industrial Training or in very simple terms à ¢Ã¢â€š ¬Ã‹Å"à ¢Ã¢â€š ¬Ã‹Å"internshipà ¢Ã¢â€š ¬Ã¢â€ž ¢Ãƒ ¢Ã¢â€š ¬Ã¢â€ž ¢ is a à ¢Ã¢â€š ¬Ã‹Å"à ¢Ã¢â€š ¬Ã‹Å"bridgeà ¢Ã¢â€š ¬Ã¢â€ž ¢Ãƒ ¢Ã¢â€š ¬Ã¢â€ž ¢ from classroom to workplace. It is an opportunity to test skills, interests and career choices in real work situations while obtaining an edge on à ¢Ã¢â€š ¬Ã‹Å"à ¢Ã¢â€š ¬Ã‹Å"inexperiencedà ¢Ã¢â€š ¬Ã¢â€ž ¢Ãƒ ¢Ã¢â€š ¬Ã¢â€ž ¢ job market competitors (Neuman, 1999). Industrial Training is a compulsory course and an important component for all degree programs in Faculty of Computer Science and Mathematics in Universiti Teknologi Mara (UiTM). Since it was offered, thousands of students enrolled the course yearly. Diagram 1.0 show the statistic for two semester of student that enrolled for industrial training, 196 students in Mac-Jun 2014 and 155 students in September-January 2015 are enrolled for this course. It is undeniable fact that industrial training is very important in accessing the ability of the student, particularly with respect to the variance in training practices and attitudes across national cultures (Abderrahman Hassi, Giovanna Storti, 2011). Figure 1.0 Statistic of FSKM Students Enrol in Industrial Training Previously, in 2000 to 2011, our faculty has à ¢Ã¢â€š ¬Ã…“Sistem Latihan Praktikà ¢Ã¢â€š ¬Ã‚  which is developed by Prof Madya Dr Adnan Ahmad. It is used to handle all the industrial training process from the beginning until the end of the process for diploma students. The studentà ¢Ã¢â€š ¬Ã¢â€ž ¢s entire document from every course which is CS110, CS111 and CS112 in UiTM branches is stored in this system and it can assign a supervisor to evaluate a student. In 2012, this system is not being used anymore after changes of the coordinator and the diploma students in UiTM Shah Alam are transferred to branches. The current practice of conducting an industrial training process is done by semi-computer. Students have to submit their application form to the HEA after being approved by the industry training coordinator, after that the application will be sent to the company. The company will give a confirmation letter to the student and the industrial training coordinator if they accept the student. For industrial training coordinator, he/she has to manage every document needed. Until now the same way was used to manage the document. For example the coordinator has to type every studentà ¢Ã¢â€š ¬Ã¢â€ž ¢s information from the application form into Microsoft Excel. From the analysis that has bee n made in the current system, few problems were identified, such as the current practice faces a problem of difficult to manage because heavily using the paper. Thus, the Industrial Training System (ITS) is new systems that will be developed based on the problems and others requirements needed. ITS will be developed using PHP as a server and MySQL as the database. The best feature of both PHP and MySQL is they work with any major operating system and many of the minor ones. Therefore, the faculty wants to develop its own an automated system that will replace the current practice used by FSKM UiTM Shah Alam. This study attempted to develop a proper system that focuses on industrial training processes which are applying for placement and confirmation of placement. As current system only supports a few functions, end users need to use the manual method. For example, the data about students are keys in Microsoft Excel and bring all documents for Industry Training Requirement and wait ing answer from them if accepted or not. ITS can help the faculty to manage all information about their students in Industrial Training placement. Thus, this is win-win situation for students and supervisor because it eases the students and supervisor and reduces workload. 1.2Problem Statement(s) Based on the interview with Puan Hanizah, HEA staff that is responsible with the previous à ¢Ã¢â€š ¬Ã…“Sistem Latihan Praktikà ¢Ã¢â€š ¬Ã‚  said that the system is totally lost after the faculty change its personal computer (PC). The faculty also did not make a backup of the system. PM Dr Adnan Ahmad has not built a new system because all UiTM branches want to develop by their own, thus they can handle by themselves. Therefore, currently there is no proper system to handle industrial training process in Faculty of Computer Science and Mathematics in UiTM Shah Alam. For example all the information and the latest new about industrial training for Computer Science course are uploa d and announces at Facebook which is organize by Puan Wan Nur Amalina, Industrial Training Coordinator. According to Puan Norizan, Industrial Training Officer, students need to take the BLI-01, BLI-02, BL1-03 form at their office then submit to the Industrial Training Coordinator to complete their applying process. This process is not really efficient. Besides, the current practice of storing industrials training information of students and company is done semi-computer based where is heavily using the paper and because of that it seem difficult to manage all the information. The problems about the paper based are the possibility of missing the form, difficult to organize and many more. Furthermore, the data about students from all the form needed will be key in Microsoft Excel by Industrial Training Coordinator and this will lead to redundancy and inconsistency of data. This problem is occurring because Industrial Training Coordinator need to open many tabs in Microsoft Excel to type details needed for every student, for example, students personal details, placement details and the response form for industrial training placement in the current industrial training system. 1.3 Project Objective The development of Industrial Training System (ITS) is a best solution to solve the problems faced by faculty that using current semi-computer system. Besides overcoming all the problems of the current system, these are the objectives that are wished to be accomplished from the system. This study attempted to: 1. To identify the requirement of the industrial training system. 2. To analyze the requirement of the industrial training system. 3. To validate the requirement through prototyping 1.4 Project Scope Industrial training processes have four steps that are applying of placement, confirmation of placement, assigning of visiting lecturers and lastly evaluation of students. This project focuses on making a requirement analysis for developin g a system for FSKM final year students for applying and confirmation of placement. This is because à ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦ This system will be developed to solve the problems faces by traditional Industrial Training Management System. 1.5 Project Significance Upon completing this study, it highlights a significance of the study as follow: The Industrial Training System is the proposed system for future researcher and designer to use as a basis to develop a complete system. Significant to the 1.6 Expected Outcome The artefacts will be used by future researchers to complete the system 1.7 Summary As a conclusion, this chapter discuss the background, problem statement, objective, scope, significant and expected outcome of the research. This is the first chapter which is the initial phase in research which provide the understanding to carry out the project. This chapter justified that making a requirement an alysis of developing Industrial Training System has its significance for stakeholder, future research and designer. The next chapter is the Literature Review which discusses about the terminology used in this research. Don’t waste time! Our writers will create an original "FSKM Students in Industrial Training" essay for you Create order