Renaissance and Baroque Eras: Art Comparison

Renaissance and Baroque Eras: Art Comparison Comparing the Eras of the Renaissance and Baroque Since the beginning of time Art has been used as a form of expression. With each historical art era came new advances and techniques. Each era was influenced by the unique characteristics, style and social conditions of its time. Although each era bought forth new forms and unique styles of art many historical art periods were influenced by an earlier period of history. The following essay will describe and explain the characteristics, style and influences of the Renaissance and Baroque eras as individual periods. It will also analyze painting from each period and explain the similarities and differences of both paintings; it will also discuss the relationship between the two eras. A look at the Renaissance The Renaissance era is known as the period of transition into modern day. The term Renaissance originated from the French language meaning rebirth, which precisely describes the period of the Renaissance. The Renaissance began in Italy and quickly spread across Europe between the 14th and 17th century. During this period Europe experienced large social, intellectual and economic changes. Europes ability to surface from the stagnated economy of the Middle Age had large effects on the period. Possibly the most significant and popular advancements made were in the cultural, social and political institutions. The progression into Individualism during the Renaissance made way for major advancements. This progression removed the traditional values of the Church and allowed individuals the freedom to explore the human mind, body and their surroundings. The issue of religion had a significant effect on the Renaissance era. With the Catholic Church tangled up in controversy over power, corrup tion, simony, nepotism and the Popes fathering of illegitimate children, many followers turned away from the Church and embraced a new reformed version of their beliefs causing a decrease power level for the Church. The increase of literacy also affected the Catholic Church, as believers learned more they realized that the Church was preaching only what they favored to the followers. Possibly the most significant religious event during the Renaissance history, was the Protestant Reformation, which was founded by Martin Luther in Germany. The new found views towards religion had major effects on society and their way of thought. Freedom from the Church allowed individuals to explore freely which resulted in a completely new way of life in all fields. (The Renaissance,n.d.) The Renaissance era allowed art to develop and mature far beyond the traditional and conventional religious subject matter to replicate human emotion and realism in art. While religion remained the main influence during the renaissance the origination and recognition of human form, expression and scientific study became very active influences in the arts. Painting and sculpting techniques developed greatly during the Renaissance. Artists began using new techniques such as linear perspective, laws of portion, balance and physical presence. The key distinctiveness that characterized Renaissance art includes an adoration and praise of the human figure and nature, realistic linear perspective and prominence on the association of light and shadow. Most of the best known artists and masterpieces were produced during the Renaissance period. During the Renaissance era famous artists such as Masaccio, Michelangelo, Raphael and Leonardo da Vinci created unique and untraditional techniques neve r used before. (The Renaissance,n.d.) A look at the Baroque period The term Baroque originates from the Portuguese language meaning irregular pearl. The era was dubbed the name to imply strangeness and irregularity. The baroque style began roughly at the end of the 16th century and lasted until the mid 17th century. The Baroque style first developed out of the Catholic spectacle and poise associated with the Counter-Reformation. Later, as the technique expanded north, it quickly became famous at royal courts, where it represented the rising rule of the new monarchies. The religious differences which begun during the Renaissance with the Reformation and Counter Reformation continue well into the 17th century. The religious conflict among the two groups influenced art greatly in this era. As a result of the Catholic Churchs Counter-Reformation, amazing churches were built, decorated and furnished to the extreme. Consequently, the demand for unique extraordinary religious themed artwork was great. As the economy flourished many European capitals began to raise, therefore the increase for architecture and decoration was high. (Guisepi, n.d.) Art during the Baroque period produced a sensation of progression, dynamic and apprehension. The technique of powerfully using distinction of light and shadow and a never-ending quantity of space is famous during this era. The presence of passionate spirituality and realism were also vastly utilized. Artists were famous for showing an individuals personalities, passion, emotions and thought merely through their facial expressions. Baroque art was a form of exaggerated Renaissance style art. Baroque painters utilized the fundaments of art distinctively from prior eras. In paintings lines were typically smooth and gentle; the color scheme consisted mainly of a single tone. The difference between shade and little was an essential technique. Time was particularly important to painters during the Baroque era. Artists viewed time as an assessable object. They believed time fades lies away leaving truth and justifies good over evil. The use of time would be a recurring theme throughout the Baroque era. Similar to the Renaissance, the Baroque artists ornamented the interior of grand buildings such as chapels and palaces. Along with art, the Baroque style surpassed the modern form of sculpture. Baroque sculptures were full of uniqueness, expression, and action. The sculptures of this period also expressed a passionate emotional bliss and creativity. (Guisepi, n.d.) Analysis Both the Renaissance and the Baroque eras created several of the most famous artistic works produced in the Western world. While the two eras illustrate distinctive distinction in work style and theme, nonetheless they reveal many characteristics in common. To better understand the similarities of the eras a comparison of two works of art from the two different periods is helpful. The two paintings that will be analyzed and compared are Leonard da Vincis Mona Lisa and Peter Paul Rubens The Straw Hat. Analysis of the Mona Lisa The woman portrayed in the Mona Lisa painting is known as La Gioconda or the Smiling One. The structure of the Mona Lisa forms a pyramid shape, her folded arms and hands serving as the bottom base, her shoulders and arms forming the sides and her head as the peak all connecting to form a pyramid. The support on which her left arm lays is hardly noticeable, extending to a vanishing armrest. Leonard da Vincis keen Renaissance period infatuation with features and detail is enthusiastically obvious in the painting. The smallest details such as the creases in her gown, the superior use of detail of the background, and the structure of her hair are accurately and thoroughly painted. The painting looks as though it was submersed in a smoky haze which was created by da Vincis expert ability to gradual blend one area of color into another without a sharp outline. This technique allows the viewer to recognize the shadows and light of both the image and background. The paintings lighting is sub missive, however extremely natural. The use of natural and realistic highlighting and shadowing characterize the shape, features and expression of Mona Lisa. Unlike her face, her dark tone clothing easily blends into the softly lit setting behind her, merging the work of art in the classical Renaissance manner. Regardless of the proficiently blended colors, the features of the scenery behind Mona Lisa are obviously noticeable, another distinctive technique of the Renaissance. The utilization of linear perspective is delicately understated due to the absents of individually positioned lines, but nonetheless are still present and noticeable, as the observer stares back into the scenery the vanishing point can easily be located behind the head of the figure. The stream flowing behind her, the distant mountains, the path and canal near the center of the painting are distinctive features of the painting regardless of the haze and create addition interest to the entire painting. ( da Vinc i, 1605) Analysis of The Straw Hat The subject of Peter Paul Rubens The Straw Hat is Susanna Fourment. In the painting Fourments stand is positioned to formed a pyramid structure. Resembling the structure of the Mona Lisa her folded arms also serve as a base, her shoulders and arms as the sides and her head as the peak all corresponding to form a pyramid like shape. The hat on her head is placed casually with a minor slant, which creates a line that cuts the peak of the pyramid. Her flared skirt which is slightly noticeably under her folded arms creates the sense of a second, shorter pyramid that is concealed under the first. In his painting, Rubens demonstrates the classic Baroque freestyle brushstrokes. This technique is noticeably observed in the features of Fouments dress and hat. Her laced cuff and the feathers in her hat are visibly identifiable; however their finer details are buried by the graceful flowing brushstrokes, which is a typical technique of the Baroque era. Rubens employed the classic Baroque method of strongly contrasting shadows and lights to highlight and focus on features in his painting. To create a naturalistic light in the painting the lighting was focus directly on Fourment. Rubens use of strong bold colors for Fourments clothes along with the contrast of color and texture among fabric and skin allow her to stand out and clearly portray her as the focal point of the painting. The backdrop of this painting is merely a mistily illustrated group of clouds with a hint of blue sky scarcely peeping through. As a result, the background of The Straw Hat painting is utterly inferior to the focal point of the piece. Without distinctive images in the backdrop to supply an allusion point, the use of linear perspective is unseen. ( Rubens, 1625) Similarities in both paintings Both artists treat the similar themed topic according to the technique of their particular periods. Both paintings illustrate a young lady in nearly identical poses, both bodies are positioned at a 75 degree angle with the head somewhat turned back in the direction of the observer. Both women have their hands carefully positioned under the bust in front of them. Both woman gaze towards the right of the viewer neither one stares directly towards the viewer. Both women display a slight content grin on their faces. Another similarity among the paintings is observed in the background of both painting. Both paintings create mysterious and foggy sceneries behind the woman. In addition Rubens composition resembles the Mona Lisa so much that many questioned if Ruben intentionally setup his painting that way. Differences of the paintings In the Mona Lisa painting da Vinci uses precise and magnificent technique in the details of the background; the eras passion for details is enthusiastically noticeable. On the other hand, the background of The Straw Hat demands no attention. During the Baroque era artist primarily focused on the main subject matter. Another difference in the paintings is the use of linear perspective, in the Mona Lisa da Vinici creates a clear vanishing point in the background of his painting, unlike Rubenss painting were he pays no attention to the background scenery and only focuses on the main subject. Another distinction in the paintings is the color scheme, in the Mona Lisa deep dark colors are blended smoothly with the background and the sfumato technique is used perfectly to bring focus to the details of both the image and background, in The Straw Hat bold daring color tones are used to make the image stand out, also instead of the sfumato technique Rubens uses the traditional Baroque techniqu e of combining strongly differing lights and shadows to focus on and emphasize the features in his painting. Relationship and connection of both historical eras Although both eras are unique in different respects, yet the eras share similarities and also continuing relationship. The Baroque era is said to have been generated at the end of the Renaissance era, which progressed to a dramatic, illuminate, energetic sophisticated form of art. The techniques of the Baroque art era united the sophisticated techniques and magnificent advances of the Renaissance along with the emotion, intensity and drama of the high Renaissance with the Baroque style of mixing the basic fundaments of the naturalist and classicist manners that are characterized by magnificence, energy and emotional enthusiasm. Many art scholars consider the Baroque style a representation and continuation of the Renaissance era. Similar characteristics of both eras include the use of light and color, focus on realism and idealism, strong perspective effects, religious themes and nude portraits. ( Myers, n.d.) To conclude the Renaissance and Baroque eras generated several of the most celebrated artist as well as masterpieces of all time. Although both eras share many similarities each era has its own unique characteristics and is unique in its own way.

Rich culture Essay

Japan is known for its rich culture. Among its many customs and traditions, music is considered to be one of the most essential parts of its culture. The Japanese’ passion for music, particularly traditional folk song music, continues to be a part of their daily lives. Despite the fact that their musical culture has gone through evolution as a result of change in lifestyles and mass media development, they still look at music as an important part of their heritage. For the Japanese, folk music is a medium through which they are able to express their inner feelings, ideas and thoughts. It is also through these songs that they are able to relate their experiences in life and the many ways that they deal with them. These songs depict their daily ways of living such as farming, fishing, mining, and even religious events, to mention a few. To date, traditional folk songs still exist in the different provinces in Japan. It is common among the older generations and sung mostly for recreational purposes. Harich-Schneider believes that because of the influences brought about by Western music and global modernization, Japan’s traditional folk songs are no longer as popular as it was in the ancient times. Over the years, fans and professional folk song singers have decreased. However, the tradition is sustained not only in art music but in the rich variety of folk traditions all over Japan (E. Harich-Schneider: 1973). Just like the Japanese, music plays a vital role in the American culture particularly in the lives of Native Americans. Their music also depicts their regional traditions and customs, history as well as the education of tribes in North America. Rooted in the folk music of many countries such as Ireland, England, Africa, and Scotland, their folk songs introduced the birth of American folk dances such as the buck dance and square dance. Although still dependent on each of North America region’s tradition, their folk songs have developed and taken numerous regional styles especially in the kind of instruments used. Each region still maintains some of the more popular folk songs despite the differences in repertoire and style. Contrary to the perception that traditional folk songs are now unpopular among the Americans, they are actually still alive and well in many parts of the country. Musicians and bands all over the nation are putting great efforts to continue the folk songs tradition. One of these includes the establishment of folk music schools that provide instruction in old-time music. In California, there are summer camps for children and adults as well as families that offer many different concepts of folk music instruction. These programs, which are also available in other US states, saw an increase in people wanting to learn folk music. It can be noted that the Americans are committed to keep this unique tradition alive. Despite the thousands of songs and tunes that have evolved over the years, American folk musicians still heavily rely on this tradition and learn new folk songs. As has been the tradition, folk song writers aim to engage the listeners and evoke their emotions just like how the older counterparts did many years ago. The American traditional folk songs will continue to evolve for as long as there is music. Because it is the sound of the people, it will go on telling tales of their daily lives, the challenges they faced as well as the history of their struggle and triumph in the country, albeit in a more modern fashion. Hence, it can be stated that while both Japan and America put value in their traditions, the latter seems to enjoy folk songs more as they have implemented ways to keep this custom alive not only for the benefit of today’s generation but for the future, as well. On the Taiko drummers, it is indeed an artistic demonstration of superb blending of stick work during performances. Exhilarating energy and amazing speed during Taiko drumming is required. Similarly, percussion instruments such as drums and flutes also occupy an important role in the music of Native Americans. Like the Taiko drums, Native American drums are also huge and played by a group of individuals. The action required when playing these drums is high and often requires great strength. References: E. Harich-Schneider, A History of Japanese Music (1973). http://www. ctmsfolkmusic. org/about/programs/MusicInSchools. asp Japan is known for its rich culture. Among its many customs and traditions, music is considered to be one of the most essential parts of its culture. The Japanese’ passion for music, particularly traditional folk song music, continues to be a part of their daily lives. Despite the fact that their musical culture has gone through evolution as a result of change in lifestyles and mass media development, they still look at music as an important part of their heritage. For the Japanese, folk music is a medium through which they are able to express their inner feelings, ideas and thoughts. It is also through these songs that they are able to relate their experiences in life and the many ways that they deal with them. These songs depict their daily ways of living such as farming, fishing, mining, and even religious events, to mention a few. To date, traditional folk songs still exist in the different provinces in Japan. It is common among the older generations and sung mostly for recreational purposes. Harich-Schneider believes that because of the influences brought about by Western music and global modernization, Japan’s traditional folk songs are no longer as popular as it was in the ancient times. Over the years, fans and professional folk song singers have decreased. However, the tradition is sustained not only in art music but in the rich variety of folk traditions all over Japan (E. Harich-Schneider: 1973). Just like the Japanese, music plays a vital role in the American culture particularly in the lives of Native Americans. Their music also depicts their regional traditions and customs, history as well as the education of tribes in North America. Rooted in the folk music of many countries such as Ireland, England, Africa, and Scotland, their folk songs introduced the birth of American folk dances such as the buck dance and square dance. Although still dependent on each of North America region’s tradition, their folk songs have developed and taken numerous regional styles especially in the kind of instruments used. Each region still maintains some of the more popular folk songs despite the differences in repertoire and style. Contrary to the perception that traditional folk songs are now unpopular among the Americans, they are actually still alive and well in many parts of the country. Musicians and bands all over the nation are putting great efforts to continue the folk songs tradition. One of these includes the establishment of folk music schools that provide instruction in old-time music. In California, there are summer camps for children and adults as well as families that offer many different concepts of folk music instruction. These programs, which are also available in other US states, saw an increase in people wanting to learn folk music. It can be noted that the Americans are committed to keep this unique tradition alive. Despite the thousands of songs and tunes that have evolved over the years, American folk musicians still heavily rely on this tradition and learn new folk songs. As has been the tradition, folk song writers aim to engage the listeners and evoke their emotions just like how the older counterparts did many years ago. The American traditional folk songs will continue to evolve for as long as there is music. Because it is the sound of the people, it will go on telling tales of their daily lives, the challenges they faced as well as the history of their struggle and triumph in the country, albeit in a more modern fashion. Hence, it can be stated that while both Japan and America put value in their traditions, the latter seems to enjoy folk songs more as they have implemented ways to keep this custom alive not only for the benefit of today’s generation but for the future, as well. On the Taiko drummers, it is indeed an artistic demonstration of superb blending of stick work during performances. Exhilarating energy and amazing speed during Taiko drumming is required. Similarly, percussion instruments such as drums and flutes also occupy an important role in the music of Native Americans. Like the Taiko drums, Native American drums are also huge and played by a group of individuals. The action required when playing these drums is high and often requires great strength. References: E. Harich-Schneider, A History of Japanese Music (1973). http://www. ctmsfolkmusic. org/about/programs/MusicInSchools. asp

Digital Fortress Chapter 76-80

Chapter 76 Outside the Seville airport terminal, a taxi sat idle, the meter running. The passenger in the wire-rim glasses gazed through the plate-glass windows of the well-lit terminal. He knew he'd arrived in time. He could see a blond girl. She was helping David Becker to a chair. Becker was apparently in pain. He does not yet know pain, the passenger thought. The girl pulled a small object from her pocket and held it out. Becker held it up and studied it in the light. Then he slipped it on his finger. He pulled a stack of bills from his pocket and paid the girl. They talked a few minutes longer, and then the girl hugged him. She waved, shouldered her duffel, and headed off across the concourse. At last, the man in the taxi thought. At last. Chapter 77 Strathmore stepped out of his office onto the landing with his gun leveled. Susan trailed close behind, wondering if Hale was still in Node 3. The light from Strathmore's monitor behind them threw eerie shadows of their bodies out across the grated platform. Susan inched closer to the commander. As they moved away from the door, the light faded, and they were plunged into darkness. The only light on the Crypto floor came from the stars above and the faint haze from behind the shattered Node 3 window. Strathmore inched forward, looking for the place where the narrow staircase began. Switching the Berretta to his left hand, he groped for the banister with his right. He figured he was probably just as bad a shot with his left, and he needed his right for support. Falling down this particular set of stairs could cripple someone for life, and Strathmore's dreams for his retirement did not involve a wheelchair. Susan, blinded by the blackness of the Crypto dome, descended with a hand on Strathmore's shoulder. Even at the distance of two feet, she could not see the commander's outline. As she stepped onto each metal tread, she shuffled her toes forward looking for the edge. Susan began having second thoughts about risking a visit to Node 3 to get Hale's pass-key. The commander insisted Hale wouldn't have the guts to touch them, but Susan wasn't so sure. Hale was desperate. He had two options: Escape Crypto or go to jail. A voice kept telling Susan they should wait for David's call and use his pass-key, but she knew there was no guarantee he would even find it. She wondered what was taking David so long. Susan swallowed her apprehension and kept going. Strathmore descended silently. There was no need to alert Hale they were coming. As they neared the bottom, Strathmore slowed, feeling for the final step. When he found it, the heel of his loafer clicked on hard black tile. Susan felt his shoulder tense. They'd entered the danger zone. Hale could be anywhere. In the distance, now hidden behind TRANSLTR, was their destination-Node 3. Susan prayed Hale was still there, lying on the floor, whimpering in pain like the dog he was. Strathmore let go of the railing and switched the gun back to his right hand. Without a word, he moved out into the darkness. Susan held tight to his shoulder. If she lost him, the only way she'd find him again was to speak. Hale might hear them. As they moved away from the safety of the stairs, Susan recalled late-night games of tag as a kid-she'd left home base, she was in the open. She was vulnerable. TRANSLTR was the only island in the vast black sea. Every few steps Strathmore stopped, gun poised, and listened. The only sound was the faint hum from below. Susan wanted to pull him back, back to safety, back to home base. There seemed to be faces in the dark all around her. Halfway to TRANSLTR, the silence of Crypto was broken. Somewhere in the darkness, seemingly right on top of them, a high-pitched beeping pierced the night. Strathmore spun, and Susan lost him. Fearful, Susan shot her arm out, groping for him. But the commander was gone. The space where his shoulder had been was now just empty air. She staggered forward into the emptiness. The beeping noise continued. It was nearby. Susan wheeled in the darkness. There was a rustle of clothing, and suddenly the beeping stopped. Susan froze. An instant later, as if from one of her worst childhood nightmares, a vision appeared. A face materialized directly in front of her. It was ghostly and green. It was the face of a demon, sharp shadows jutting upward across deformed features. She jumped back. She turned to run, but it grabbed her arm. â€Å"Don't move!† it commanded. For an instant, she thought she saw Hale in those two burning eyes. But the voice was not Hale's. And the touch was too soft. It was Strathmore. He was lit from beneath by a glowing object that he'd just pulled from his pocket. Her body sagged with relief. She felt herself start breathing again. The object in Strathmore's hand had some sort of electronic LED that was giving off a greenish glow. â€Å"Damn,† Strathmore cursed under his breath. â€Å"My new pager.† He stared in disgust at the SkyPager in his palm. He'd forgotten to engage the silent-ring feature. Ironically, he'd gone to a local electronics store to buy the device. He'd paid cash to keep it anonymous; nobody knew better than Strathmore how closely the NSA watched their own-and the digital messages sent and received from this pager were something Strathmore definitely needed to keep private. Susan looked around uneasily. If Hale hadn't known they were coming, he knew now. Strathmore pressed a few buttons and read the incoming message. He groaned quietly. It was more bad news from Spain-not from David Becker, but from the other party Strathmore had sent to Seville. Three thousand miles away, a mobile surveillance van sped along the darkened Seville streets. It had been commissioned by the NSA under â€Å"Umbra† secrecy from a military base in Rota. The two men inside were tense. It was not the first time they'd received emergency orders from Fort Meade, but the orders didn't usually come from so high up. The agent at the wheel called over his shoulder. â€Å"Any sign of our man?† The eyes of his partner never left the feed from the wide-angle video monitor on the roof. â€Å"No. Keep driving.† Chapter 78 Underneath the twisting mass of cables, Jabba was sweating. He was still on his back with a penlight clenched in his teeth. He'd gotten used to working late on weekends; the less hectic NSA hours were often the only times he could perform hardware maintenance. As he maneuvered the red-hot soldering iron through the maze of wires above him, he moved with exceptional care; singeing any of the dangling sheathes would be disaster. Just another few inches, he thought. The job was taking far longer than he'd imagined. Just as he brought the tip of the iron against the final thread of raw solder, his cellular phone rang sharply. Jabba startled, his arm twitched, and a large glob of sizzling, liquefied lead fell on his arm. â€Å"Shit!† He dropped the iron and practically swallowed his penlight. â€Å"Shit! Shit! Shit!† He scrubbed furiously at the drop of cooling solder. It rolled off, leaving an impressive welt. The chip he was trying to solder in place fell out and hit him in the head. â€Å"Goddamn it!† Jabba's phone summoned him again. He ignored it. â€Å"Midge,† he cursed under his breath. Damn you! Crypto's fine! The phone rang on. Jabba went back to work reseating the new chip. A minute later the chip was in place, but his phone was still ringing. For Christ's sake, Midge! Give it up! The phone rang another fifteen seconds and finally stopped. Jabba breathed a sigh of relief. Sixty seconds later the intercom overhead crackled. â€Å"Would the chief Sys-Sec please contact the main switchboard for a message.† Jabba rolled his eyes in disbelief. She just doesn't give up, does she? He ignored the page. Chapter 79 Strathmore replaced his Skypager in his pocket and peered through the darkness toward Node 3. He reached for Susan's hand. â€Å"Come on.† But their fingers never touched. There was a long guttural cry from out of the darkness. A thundering figure loomed-a Mack truck bearing down with no headlights. An instant later, there was a collision and Strathmore was skidding across the floor. It was Hale. The pager had given them away. Susan heard the Berretta fall. For a moment she was planted in place, unsure where to run, what to do. Her instincts told her to escape, but she didn't have the elevator code. Her heart told her to help Strathmore, but how? As she spun in desperation, she expected to hear the sounds of a life-and-death struggle on the floor, but there was nothing. Everything was suddenly silent-as if Hale had hit the commander and then disappeared back into the night. Susan waited, straining her eyes into the darkness, hoping Strathmore wasn't hurt. After what seemed like an eternity, she whispered, â€Å"Commander?† Even as she said it, she realized her mistake. An instant later Hale's odor welled up behind her. She turned too late. Without warning, she was twisting, gasping for air. She found herself crushed in a familiar headlock, her face against Hale's chest. â€Å"My balls are killing me.† Hale panted in her ear. Susan's knees buckled. The stars in the dome began to spin above her. Chapter 80 Hale clamped down on Susan's neck and yelled into the darkness. â€Å"Commander, I've got your sweetheart. I want out!† His demands were met with silence. Hale's grip tightened. â€Å"I'll break her neck!† A gun cocked directly behind them. Strathmore's voice was calm and even. â€Å"Let her go.† Susan winced in pain. â€Å"Commander!† Hale spun Susan's body toward the sound. â€Å"You shoot and you'll hit your precious Susan. You ready to take that chance?† Strathmore's voice moved closer. â€Å"Let her go.† â€Å"No way. You'll kill me.† â€Å"I'm not going to kill anyone.† â€Å"Oh, yeah? Tell that to Chartrukian!† Strathmore moved closer. â€Å"Chartrukian's dead.† â€Å"No shit. You killed him. I saw it!† â€Å"Give it up, Greg,† Strathmore said calmly. Hale clutched at Susan and whispered in her ear, â€Å"Strathmore pushed Chartrukian-I swear it!† â€Å"She's not going to fall for your divide-and-conquer technique,† Strathmore said, moving closer. â€Å"Let her go.† Hale hissed into the darkness, â€Å"Chartrukian was just a kid, for Christ's sake! Why'd you do it? To protect your little secret?† Strathmore stayed cool. â€Å"And what little secret is that?† â€Å"You know damn-fucking-well what secret that is! Digital Fortress!† â€Å"My, my,† Strathmore muttered condescendingly, his voice like an iceberg. â€Å"So you do know about Digital Fortress. I was starting to think you'd deny that too.† â€Å"Fuck you.† â€Å"A witty defense.† â€Å"You're a fool,† Hale spat. â€Å"For your information, TRANSLTR is overheating.† â€Å"Really?† Strathmore chuckled. â€Å"Let me guess-I should open the doors and call in the Sys-Secs?† â€Å"Exactly,† Hale fired back. â€Å"You'd be an idiot not to.† This time Strathmore laughed out loud. â€Å"That's your big play? TRANSLTR's overheating, so open the doors and let us out?† â€Å"It's true, dammit! I've been down to the sublevels! The aux power isn't pulling enough freon!† â€Å"Thanks for the tip,† Strathmore said. â€Å"But TRANSLTR's got automatic shutdown; if it's overheating, Digital Fortress will quit all by itself.† Hale sneered. â€Å"You're insane. What the fuck do I care if TRANSLTR blows? The damn machine should be outlawed anyway.† Strathmore sighed. â€Å"Child psychology only works on children, Greg. Let her go.† â€Å"So you can shoot me?† â€Å"I won't shoot you. I just want the pass-key.† â€Å"What pass-key?† Strathmore sighed again. â€Å"The one Tankado sent you.† â€Å"I have no idea what you're talking about.† â€Å"Liar!† Susan managed. â€Å"I saw Tankado's mail in your account!† Hale went rigid. He spun Susan around. â€Å"You went in my account?† â€Å"And you aborted my tracer,† she snapped. Hale felt his blood pressure skyrocket. He thought he'd covered his tracks; he had no idea Susan knew what he'd done. It was no wonder she wasn't buying a word he said. Hale felt the walls start to close in. He knew he could never talk his way out of that one-not in time. He whispered to her in desperation, â€Å"Susan†¦ Strathmore killed Chartrukian!† â€Å"Let her go,† the commander said evenly. â€Å"She doesn't believe you.† â€Å"Why should she?† Hale fired back. â€Å"You lying bastard! You've got her brainwashed! You only tell her what suits your needs! Does she know what you really plan to do with Digital Fortress?† â€Å"And what's that?† Strathmore taunted. Hale knew what he was about to say would either be his ticket to freedom or his death warrant. He took a deep breath and went for broke. â€Å"You plan to write a back door in Digital Fortress.† The words met with a bewildered silence from the darkness. Hale knew he had hit a bull's-eye. Apparently Strathmore's unflappable cool was being put to the test. â€Å"Who told you that?† he demanded, his voice rough around the edges. â€Å"I read it,† Hale said smugly, trying to capitalize on the change of momentum. â€Å"In one of your brainstorms.† â€Å"Impossible. I never print my brainstorms.† â€Å"I know. I read it directly off your account.† Strathmore seemed doubtful. â€Å"You got into my office?† â€Å"No. I snooped you from Node 3.† Hale forced a self-assured chuckle. He knew he'd need all the negotiating skills he'd learned in the marines to get out of Crypto alive. Strathmore edged closer, the Berretta leveled in the darkness. â€Å"How do you know about my back door?† â€Å"I told you, I snooped your account.† â€Å"Impossible.† Hale forced a cocky sneer. â€Å"One of the problems of hiring the best, Commander-sometimes they're better than you.† â€Å"Young man,† Strathmore seethed, â€Å"I don't know where you get your information, but you're in way over your head. You will let Ms. Fletcher go right now or I'll call in Security and have you thrown in jail for life.† â€Å"You won't do it,† Hale stated matter-of-factly. â€Å"Calling Security ruins your plans. I'll tell them everything.† Hale paused. â€Å"But let me out clean, and I'll never say a word about Digital Fortress.† â€Å"No deal,† Strathmore fired back. â€Å"I want the pass-key.† â€Å"I don't have any fucking pass-key!† â€Å"Enough lies!† Strathmore bellowed. â€Å"Where is it?† Hale clamped down on Susan's neck. â€Å"Let me out, or she dies!† Trevor Strathmore had done enough high-stakes bargaining in his life to know that Hale was in a very dangerous state of mind. The young cryptographer had painted himself into a corner, and a cornered opponent was always the most dangerous kind-desperate and unpredictable. Strathmore knew his next move was a critical one. Susan's life depended on it-and so did the future of Digital Fortress. Strathmore knew the first thing he had to do was release the tension of the situation. After a long moment, he sighed reluctantly. â€Å"Okay, Greg. You win. What do you want me to do?† Silence. Hale seemed momentarily unsure how to handle the commander's cooperative tone. He let up a bit on Susan's neck. â€Å"W-well†¦Ã¢â‚¬  he stammered, his voice wavering suddenly. â€Å"First thing you do is give me your gun. You're both coming with me.† â€Å"Hostages?† Strathmore laughed coldly. â€Å"Greg, you'll have to do better than that. There are about a dozen armed guards between here and the parking lot.† â€Å"I'm not a fool,† Hale snapped. â€Å"I'm taking your elevator. Susan comes with me! You stay!† â€Å"I hate to tell you this,† Strathmore replied, â€Å"but there's no power to the elevator.† â€Å"Bullshit!† Hale snapped. â€Å"The lift runs on power from the main building! I've seen the schematics!† â€Å"We tried it already,† Susan choked, trying to help. â€Å"It's dead.† â€Å"You're both so full of shit, it's incredible.† Hale tightened his grip. â€Å"If the elevator's dead, I'll abort TRANSLTR and restore power.† â€Å"The elevator takes a password,† Susan managed feistily. â€Å"Big deal.† Hale laughed. â€Å"I'm sure the commander will share. Won't you, Commander?† â€Å"No chance,† Strathmore hissed. Hale boiled over. â€Å"Now you listen to me, old man-here's the deal! You let Susan and me out through your elevator, we drive a few hours, and then I let her go.† Strathmore felt the stakes rising. He'd gotten Susan into this, and he needed to get her out. His voice stayed steady as a rock. â€Å"What about my plans for Digital Fortress?† Hale laughed. â€Å"You can write your back door-I won't say a word.† Then his voice turned ominous. â€Å"But the day I think you're tracking me, I go to the press with the whole story. I tell them Digital Fortress is tainted, and I sink this whole fucking organization!† Strathmore considered Hale's offer. It was clean and simple. Susan lived, and Digital Fortress got its back door. As long as Strathmore didn't chase Hale, the back door stayed a secret. Strathmore knew Hale couldn't keep his mouth shut for long. But still†¦ the knowledge of Digital Fortress was Hale's only insurance-maybe he'd be smart. Whatever happened, Strathmore knew Hale could be removed later if necessary. â€Å"Make up your mind, old man!† Hale taunted. â€Å"Are we leaving or not?† Hale's arms tightened around Susan like a vice. Strathmore knew that if he picked up the phone right now and called Security, Susan would live. He'd bet his life on it. He could see the scenario clearly. The call would take Hale completely by surprise. He would panic, and in the end, faced with a small army, Hale would be unable to act. After a brief standoff, he would give in. But if I call Security, Strathmore thought, my plan is ruined. Hale clamped down again. Susan cried out in pain. â€Å"What's it gonna be?† Hale yelled. â€Å"Do I kill her?† Strathmore considered his options. If he let Hale take Susan out of Crypto, there were no guarantees. Hale might drive for a while, park in the woods. He'd have a gun†¦. Strathmore's stomach turned. There was no telling what would happen before Hale set Susan free†¦ if he set her free. I've got to call Security, Strathmore decided. What else can I do? He pictured Hale in court, spilling his guts about Digital Fortress. My plan will be ruined. There must be some other way. â€Å"Decide!† Hale yelled, dragging Susan toward the staircase. Strathmore wasn't listening. If saving Susan meant his plans were ruined, then so be it-nothing was worth losing her. Susan Fletcher was a price Trevor Strathmore refused to pay. Hale had Susan's arm twisted behind her back and her neck bent to one side. â€Å"This is your last chance, old man! Give me the gun!† Strathmore's mind continued to race, searching for another option. There are always other options! Finally he spoke-quietly, almost sadly. â€Å"No, Greg, I'm sorry. I just can't let you go.† Hale choked in apparent shock. â€Å"What!† â€Å"I'm calling Security.† Susan gasped. â€Å"Commander! No!† Hale tightened his grip. â€Å"You call Security, and she dies!† Strathmore pulled the cellular off his belt and flicked it on. â€Å"Greg, you're bluffing.† â€Å"You'll never do it!† Hale yelled. â€Å"I'll talk! I'll ruin your plan! You're only hours away from your dream! Controlling all the data in the world! No more TRANSLTR. No more limits-just free information. It's a chance of a lifetime! You won't let it slip by!† Strathmore voice was like steel. â€Å"Watch me.† â€Å"But-but what about Susan?† Hale stammered. â€Å"You make that call, and she dies!† Strathmore held firm. â€Å"That's a chance I'm ready to take.† â€Å"Bullshit! You've got a bigger hard-on for her than you do for Digital Fortress! I know you! You won't risk it!† Susan began to make an angry rebuttal, but Strathmore beat her to it. â€Å"Young man! You don't know me! I take risks for a living. If you're looking to play hardball, let's play!† He started punching keys on his phone. â€Å"You misjudged me, son! Nobody threatens the lives of my employees and walks out!† He raised the phone and barked into the receiver, â€Å"Switchboard! Get me Security!† Hale began to torque Susan's neck. â€Å"I-I'll kill her. I swear it!† â€Å"You'll do no such thing!† Strathmore proclaimed. â€Å"Killing Susan will just make things wor-† He broke off and rammed the phone against his mouth. â€Å"Security! This is Commander Trevor Strathmore. We've got a hostage situation in Crypto! Get some men in here! Yes, now, goddamn it! We also have a generator failure. I want power routed from all available external sources. I want all systems on-line in five minutes! Greg Hale killed one of my junior Sys-Secs. He's holding my senior cryptographer hostage. You're cleared to use tear gas on all of us if necessary! If Mr. Hale doesn't cooperate, have snipers shoot him dead. I'll take full responsibility. Do it now!† Hale stood motionless-apparently limp in disbelief. His grip on Susan eased. Strathmore snapped his phone shut and shoved it back onto his belt. â€Å"Your move, Greg.†

Organizational Structure And Information Sharing Culture

The cumulative knowledge of employees, suppliers, customers and other key stakeholders has seen many organizations become dependent on individuals other than their employees. This is because the global economy has transformed into an information-driven economy while heavily relying on technology. A great influence on an organization’s success is its ability to share available information among organizational members. Proper sharing of information, which requires a free flow of information among the members of an organization, breeds a competitive advantage. An organization’s wealth information is, therefore, a combination of the information held by all stakeholders. To pool this information for easier access, the formality in an†¦show more content†¦In fact, the significance of sharing information among members of an organization can be analyzed from the perspective of dealing and adapting to situations that can be termed as disastrous or emergency. The free flow of information is a concern with the movement of information or data between the members of an organization. In information sharing, there is need to distinguish between information, data, and knowledge. The transferable knowledge is tacit in nature (Ferreire Plessis, 2009). The information sharing aspects of an organization are driven by the organizational characteristics of culture and subculture (Ferreire Plessis, 2009). Exchange of information between and within an organization reinforces response activities by members of the team during disasters. In times of disasters, multiple organizations collect, collate and communicate data and information to decide how resource allocation will be done as a means to minimize social and economic impacts. To increase performance within an organization, there is need to disseminate new information continually to key individuals. This information plays the role of an economic resource (Li Lin, 2006). 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