Heterogeneous Space In Architecture

Heterogeneous Space In Architecture In Space Reader: Heterogeneous Space in Architecture, Michael Hensel, Christopher Hight and Achim Menges discusses the possible approach of heterogeneous space in contemporary architecture through examining the role of space in Modern and Post-Modern architecture, To understand what constitutes heterogeneous space, let us examine each term. Most simply, heterogeneous means something (an object or system) that consists of a diverse range of items or qualities, which can include differences in kind as well as differences in degree. These could be multiplicities of things, abrupt changes or smooth gradients. However, the dominant approach to such diversities draws from a Platonic lineage that sees all the variations in reference to a model or perhaps a norm; all apparent differences are here really only deviations from the model, their identity given by degrees of resemblance to a single uniformity. All diversity is seen as phenomena measured against this unity, which is seen as more real, even if it only exists as an ideal or statistical mean. This is true for dualism as well. Examples might be the traditional opposition of masculine and feminine, in which the latter is treated as a version of the first, or any number of racisms. Luce Irigaray h as shown that the logic of dualisms involves not two terms but only the semblance of two terms. Phallocentrism is the use of a netural or universal term to define both sexes: within this structure, there is not one term, man, ant another independent term that is denigrated, woman. Rather, there is only one term, the other being defined as what it is not, its other or opposite. Irigarays claim is that woman is erased as such within this logic: there is no space for women because taking their place is the specter or simulacrum of woman, mans fanciful counterpart, that which he has expelled and other from himself. Gilles Deleuze has called this the Logic of the Same, and while it may appear either benign or despotic, it nevertheless always forecloses the possibility of real difference. Implicit in the pervasiveness of structures of binarization is the refusal to acknowledge the invisibility or negligibility of the subordinated term, its fundamental erasure as an autonomous or contained term. The binary structure not only defines the privileged term as the only term of the pair, but it infinitizes the negative term, rendering it definitionally amorphous, the receptacle of all that is excessive or expelled from the circuit of the privileged term. Yet while attempting to definitively and definitionally anchor terms, while struggling for settled, stabilized power relation, while presenting themselves s immutable and givem dualisms are always in the process of subtle renegotiation and redefinition. They are considerablt more flexible in their scope and history than their logic would indicate, for each term shifts and their values realign, while the binarized structure remains intact. It would be a mistake to assume that these oppositional categories are somehow fixed or immune to reordering and subtle shifts. Therefore, something significant is at stake once one thinks of differences as a positivity rather than simply a variance from uniformity. Here we should distinguish between difference and diversity in the way Deleuze described for philosophical traditions of ontology and epistemology in Difference and Repetition (1968). Difference is not diversity. Diversity is given, but the difference is that by which the given is given. Difference is not a phenomenon but the noumenon closest to phenomenon. .. Every diversity and every change refers to a difference which is its sufficient reason. Everything which happens and everything which appears is correlate with orders of difference: difference of level, temperature, pressure, tension, potential, difference of intensity. Deleuze argues that rather than naturalise the Logic of the Sames presumption of an underlying uniformity, we should accept the diversity of the universe as such and not attempt to reduce it. Once one accepts that diversity is irreducible rather than simply variations on or resemblances to an ideal model of Sameness, the problem becomes not how to account for divergences but how to think through multiplicities and how they happen and are correlated through other differences. Deleuze argues that such differences are Real, not effects of our perception or cultural constructions. Indeed, these differences produce the events, objects, and qualities that produce affective phenomena (such as temperature changes). Everything is produced via events of differentiation, even coherences and order. That is, while heterogeneity was once understood as a divergence from an underlying uniformity of Being that needed explanation, now we need to explain any apparent uniformity and ordering via process es of differentiation. Difference is active production of apparently coherent Beings-as-events. Thus, heterogeneity is a condition where phenomena of coherences across diversities are produced by processes of differentiation and can be understood and apprehended as such. This runs immediately into common ideas of space as homogeneous and passive, ordered only by the imposition of form, movement, activities or boundaries understood as distinct from space itself. In other words, space is seen as the product of formal operations or as a neutral and uniform space for such relations. Such commonplace are incompatible with the immanent heterogeneity of things since space becomes an underlying or overlaying uniformity against which to read diversity. Obviously, the differentials sketched above occur in time but also in space. This field of relations transforms through time and space, indeed is spatially configures through temporal transformations (for example, heated air produced a different spacing of molecules). Heterogeneous space therefore neither pre-exists diversity, nor is it simply the effect of processes of differentiation; rather, it is the immanent field of relations between differentials. It is not static but always flux, and therefore might be more precisely understood as the spacing through which difference manifests and is constituted via other differentials. The nature of heterogeneous space and homogeneous space can be studied by looking at Deleuze and Guattaris discussion of smooth and striated space using chess and game of Go for comparison in A Thousand Plateaus. In chess, the pieces are hierarchically differentiated while the board consists of a simple grid that is almost neutral but polarized between two sides (analogous to battle fronts). The pieces move across the grid, but always with a bias to the two fronts. In occupying the spaces, the pieces change the strategic conditions of the game. However, the strategic space of the game is constructed by moving distinct objects in relation to one another across what remains an essentially homogeneous and static field. In the game of Go, on the other han, the pieces are minimally differentiated (they are only black or white discs). While chess pieces occupy the spaces of the grid as if they were enclosed territories, in Go the discs are located at cross-points of a much larger grid field. Instead of moving, pieces are placed and remain, only being altered when surrounded by pieced of the opposite color. Players do not advance in fronts, but can place discs anywhere to control the board from all sides, attempting to create conditions where the addition of one single piece might create a closed territory around many opposite colors and potentially instantly switch control of the board. Here, the pieces are not so much objects occupying territories within an otherwise homogeneous space as charges within a fluctuating field-space out of which territorial boundaries emerge or are held open across distances. What one manipulates in Go is thus the space of th game itself. While the typological pieces are dominant in chess, using translational dynamics to produce strategic effects, in Go space dominates the notational pieces, whose importance is determined purely by their relation to the space around them and is dynamic, holding the potential for a multiplicity of outcomes at any stage. Chess poses active objects moving through a static space that is basically homogenous. In Go, space itself is in flux and cannot be reduced to a static frame of reference or ordering measure. For Deleuze and Guattari these two games suggest different ways of understanding the relationship between identity, agency and space: chess pieces entertain biunivocal relations with one another, and with the adversarys pieces: their functioning is structural. On the other hand, a Go piece has only a milieu of exteriority, or extrinsic relations with nebulas or constellations as bordering, encircling, shattering. All by itself, a Go piece can destroy an entire constellation synchronically; a chess piece cannot (or can do so diachronically only) Chess pieces are actors whose roles are defined a priori of the temporal spatial relationships, while those of Go are produced through the playing of a game. To extend this analogy, in the heterogeneous space like that of Go, identity and agency is produced via contingent spatial relationship with many similarly informed but also thereby differentiated actors. In chess, on the other hand, identity is given and occupies a given role and space as a sovereign subject in relation to others. The queen is always the most powerful piece; a pebble in Go is critical or not only in relation to the space of the board it participates in constructing. The body politics of chess requires a static space through which to organize itself; the multitude of Go is at once constructed through space and a spatial construct. One plays Go by managing spatial differentials; one plays chess by deploying already defined differences in space. Heterogeneous space can thus be contrasted to an isotonic space through which one moves. Rather than defining difference against a constant measure, or metric, of space as a ground, differentiation is produced via the immanent unfolding of spatial processes. These differentiations could be sudden or gradual, or both at different locations. Moreover, there can exist within the same dimensions a manifold set of such relationships; these sets, or systems, might be intricately entwined or barely connected though they must be calibrated to each other in some way and not simply overlapped. In terms of design, this understanding of heterogeneous space would hold that differentiation of use and complexity of form arise from spatial qualities, and that these qualities are inseparable from its material conditions. This space could produce controlled but varied atmospheric effects as well as different performative capacities that are not determined by programmatic function. Such a space would necessarily be affective in relation to the actors and agencies that traverse it, enfolding subjective perception with its material conditions. Moreover, these spatial affects would not be distince or th result of formal organizations of matter but would be means through which material and programmatic organizations would be configured and manifested. Heterogeneous space in architecture is therefore neither difference produced by form within an overall uniformity (modern space) not a collage of distinct formal elements (Post-Modern space). Instead, the proposition of a heteroheneous sp ac would produce and permit differentiation and discontinuity of both quality and organization across multiple conditions within an overall coherency. In a certain sense, all of Deleuzes works, as Deleuze makes clear in his reading of Foucault, are about the outside, the unthought, the exterior, the surface, the simulacrum, the fold, lines of flight, what resists assimilation, what remains foreign even within a presumed identity, whether this is the intrusion of a minor language into a majoritarian one of the pack submerged within an individual. It is significant that Deleuze, like Derrida, does not attempt to abandon binarized thought or to replace it with an alternative; rather, binarized categories are played off each other, are rendered molecular, global, and are analysed in their molar particularities, so that the possibilities of their reconnections, their realignment in different system, are established. (desire) Can architecture inhabit us as much as we see ourselves inhabiting it? Does architecture have to be seen in terms of subjectivization and semiotization, in terms of use and meaning? Can architecture be thought, no longer as a whole, a complex unity, but as a set of and site for becomings of all knids? What would such an understanding entail? In short, can architecture be thought, in connection with other series, as assemblage? What would this entail? What are the implications of opening up architectural discourses to Deleuzian desire-as-production? Can is become something -many things other than what it is and how it presently functions? If its present function is an effect of the crystallization of its history within, inside, its present, can its future be something else? How can each be used by the other, not just to affirm itself and receive external approval but also to question and thus to expand itself, to become otherwise, without assuming any provolege or primacy of the one over the other and without assuming that the relation between them must be one of direct utility or translation? Architecture has tended to conceive of itself as an art, a science, or a mechanics for the manipulation of space, indeed probably the largest, most systematic and most powerful mode for spatial organization and modification. Deleuze claims that Bergson is one of the great thinkers of becoming, of duration, multiplicity, and virtuality. Bergson developed his notion of duration in opposition to his understanding of space and spatiality. This understanding of duration and the unhinging of temporality that it performs are of at least indirect relevance to the arts or sciences of space, which may, through a logic of invention, derail and transforms space and spatiality in analogous ways. Space is understood, according to Deleuze, as a multiplicity that brings together the key characteristics of externality, simultaneity, contiguity or juxtaposition, difference of degree, and quantitative differentiations. Space is mired in misconceptions and assumptions, habits and unreflective gestures that convert and transform it. Architecture, the art or science of spatial manipulation, must be as implicated in this as any other discipline or practice. According to Bergson, a certain habit of thought inverts the relations between space and objects, space and extension, to make it seem as if space precedes objects, when in fact space itself is produced through matter, extension, and movement: Concrete extensity, that is to say, the diversity of sensiblequalities, is not within space; rather it is space that we thrust into extensity. Space is not a ground on which real motion is posited; rather it is real motion that deposits space beneath itself. But our imagination, which is preoccupied above all by the convenience of expression and the exigencies of material life, prefers to invert the natural order of the termsà ¢Ã¢â€š ¬Ã‚ ¦ Therfore, it comes to see movement as only a variation of distance, space being thus supposed to precede motion. Then, in a space which is homogeneous and infinitely divisible, we draw, in imagination, a trajectory and fix positions: afterwards, applying the movement to the trajectory, we see it divisible like the line we have drawn, and equally denuded of quality. Space in itself, space outside these ruses of the imagination, is not static, fixed, infinitely expandable, infinitely divisible, concrete, extended, continuous, and homogeneous, though perhaps we must think it in these terms in order to continue our everyday lives. Space, like time, is emergence and eruption, oriented not to the ordered, the controlled, the static, but to the event, to movement or action. If we shut up motion in space, as Bergson suggests, then we shut space up in quantification, without ever being able to think space in terms of quality, of difference and discontinuity. Space, ineffect, is matter or extension, but the schema of matter, that is, the representation of the limit where the movement of expansion would come to an end as the external envelope of all possible extensions. In this sense, it is not matter, it is not extensity, that is in space, but the very opposite. And if we think that matter has a thousand ways of becoming expanded or extended, we must also say that there are all kinds of distinct extensities, all related, but still qualified, and which will finish by intermingling only in our own schema of space. It is not an existing, God-given space, the Cartesian space of numerical division, but an unfolding space, defined, as time is, by the arc of movement and thus a space open to becoming, by which I mean becoming other than itself, other than what it has been. It is to refuse to conceptualise space as a medium, as a container, a passive receptacle whose form is given by its content, and instead to see it as a moment of becoming, of opening up and proliferation, a passage from one space to another, a space of change, which changes with time.

Children of Men Film

Children Of Men. â€Å"Children of Men† Directed by Alfonso Cuaron. Is set in the year 2027, in a chaotic world in which humans can no longer procreate, Theo Faron a former activist, agrees to help transport a miraculously pregnant woman, Named Kee, to a sanctuary located out at sea, where her child’s birth could help scientists save mankind. In the film Children of Men, there are many crucial scenes to help convey the idea of the film, however I find one of these scenes particularly important; namely the apartment scene.In this scene Theo is being driven through the streets of London to the Ark Of Arts to visit his cousin Nigel. The director uses a number of techniques to help portray the themes and ideas, such as music, setting, lighting and mise-en-scene. During the apartment scene, the song â€Å"The Court Of the Crimson King† by King Crimson is playing in the background; The lyrics in this song help portray the idea of mankind’s demise. Crimson is the colour ascribed to someone who is furious, for example how God must feel toward mankind for its sins. But the wise never refer to God directly, for it seems nutty and conjectured.Instead they refer to God’s ordained agents, in this age personified as crimson-seated monarch. All the diabolical-sounding protests at the beginning of the sequence is bone-chilling with detail of various biblical verses predicting the end of the world. It implies that infertility is God’s punishment for man’s sins as humanity approaches the grand finale. I. e. the final coming to a head culmination of the human saga. Also during this scene the lighting plays a significant role in creating the mood which the audience feel. It directs the viewer to what the character is feeling, drawing the viewer into the film.The scene starts with Theo being driven though the busy and crowded streets of London, full of cars, people and protesters. The weather throughout the first part of the scene is quite cloudy emphasising the dim mood in the scene. It is quite dark and gloomy, this helps portray the connection to the depression throughout the country due to the infertility. The images and lighting are similar to images that record the suffering of people during the depression of the 1930s. However, inside the park the weather starts to brighten making everything look lush and vibrant.It seems absurd to see such a strong contrast after passing through the imperial gates. This brings to mind the saying â€Å"The grass is always greener on the other side† This helps to show how the members of the public see this part of London as a desired thing and that everything is better, but this saying usually ends up being false; these people still live in the same world, it is all an illusion, Further on in the scene Theo says to his cousin Nigel, â€Å"A hundred years from now, there won’t be one single sad f**k to look at any of this (meaning his apartment).What keeps y ou going? † To which Nigel replies â€Å"You know what it is, Theo? I just don’t think about it†. He is just ignoring the inevitable. Mise-en-scene creates a shocking impact as the viewer draws on their prior knowledge to make connections to the symbols revealed in this sequence. As Theo crosses the bridge to the Ark of Arts, above the Battersea power station, you can see a floating pig, reminiscent of Pink Floyd’s album cover for â€Å"Animals†.As Theo enters the court in the background, you can see a painting of two policemen kissing which is quite a famous piece by the street artist Banksy. After Theo enters the apartment he is greeted by his cousin Nigel. Behind him is the Statue Of David and two dogs in front of it. The Statue of David represents civil rights and the two dogs represent guards or loyalty, But with the dogs in front of The Statue Of David, This represents, Guarding the people, Or keeping the people from their rights.The scene the n cuts to Theo, Nigel and his handicapped son sitting at a dinner table and behind Theo on the wall is a large painting by world famous Pablo Piccaso, The painting is called â€Å"Guernica† it was created in response to the bombing of Guernica, Basque country, by German and Italian war planes. Guernica shows the tragedies of war and the suffering it inflicts upon individuals, particularly innocent civilians. This work has gained a monumental status, becoming a perpetrated reminder of the tragedies of war, an anti-war symbol and an embodiment of peace.The presences of Banksy, Michelangelo and Picasso artwork help portray the thoughts of society, as these entire artist stands for, peace, civil rights and anti-establishmentarianism. Near the end of this scene Theo and Nigel are talking by the window and behind them you can see again the floating pig. Having this floating pig is very symbolic using another saying â€Å"pigs will fly†. This presumably will never happen, a m etaphor for being impossible like making plans to touch the sun at night, but having an actual floating pig represents how ‘Pigs Will Fly’ and hope is not lost when it comes to the infertility of mankind.Using the four techniques, Music, Setting, Lighting and Mise-en-scene, the director has successfully brought the viewers into the movie to experience it as he intended us to, which is to challenge our beliefs of how our world functions. Even just in this one scene there is so much to understand other than just watching the film, but the ideas of the story hidden in plain sight challenging the viewer to read further into the movie and the issues it highlights. Written by Matthew Puterangi.

Essay about Individual Freedom in Melvilles Bartleby,...

Individual Freedom in Melvilles Bartleby, the Scrivener What motivates you to go to work everyday? What motivates you to dress the way you do? What motivates you to be reasonable when it comes to normal requests? Ah, the ultimate question in need of an answer: Who determines what is reasonable and normal, and should we not determine these matters for ourselves? Chaos would result, you say, if every individual were granted that freedom. Yet, we all do have that freedom, and Herman Melville (1819-1891) through the interpretation of a man who prefers to follow his own path in Bartleby, the Scrivener, subjectively conveys the mental anguish he experienced as a writer and man when the literary world attempted to steal that freedom.†¦show more content†¦To force himself to live by the standards of normalcy set forth by society would be to kill the man who lived within. Bartleby did choose physical death over conformity at the end of the story. Melville chose a different path than Bartleby, not a physical death, but a death all the same . Through Bartleby, Melville describes the deadness he feels within when having to conform his writings to the reasonable standards and common usage of literature. For Melville, the doorway that would lead to acceptance in the literary world was barred shut to his entry, the hinge held firmly in place by his own creativity, sparred by his own internal sense of reason. To walk across the threshold would require the loosening of the hinge. With the axis of his soul sliding downward, Melville stepped through the doorway. Melville quickly realized it was the doorway to hell. He had stepped into a world of mental torment; mental torment that even the good Reverend Jonathan Edwards (1703-1758) whose sermons of fiery damnation could not measure up to (503). He had sold into slavery his mind and soul to the bidders of the celebrated literary world. Melvilles gains were minimal when weighed against his losses. He shared with Nathaniel Hawthorne his inner turmoil, What I feel most moved to write , that is banned, - it will not pay. Yet, altogether, write the other way I cannot.Show MoreRelatedBartleby, the Scrivener the Lady with the Dog Essay1399 Words   |  6 Pagesand social norms. Anna and Gurov in ‘The Lady with the Dog’ are restrained by the socially expected conventions in their marriages, inhibiting their ability to express their inner compulsion of desire. Chekov reveals their yearning to escape their individual lives as they cope with personal troubles by distancing themselves from marriage through a sexual relationship with each other. When away from the city of Yalta, their lives seem their own without the social constraint forced upon them; howeverRead MoreEssay on American Capitalist Society In The 19th Century1849 Words   |  8 PagesHerman Melville’s Utilization of Bartleby the Scrivener: the Story of Wall Street As a Means of Criticizing Capitalism and Its Crimes Against Humanity Herman Melvilles Bartleby, The Scrivener: A Story of Wall Street scrutinizes the alienation of labor, the social ideologies and the dehumanizing consequences of the American capitalist society in the 19th century. Bartleby is the main character in the story. The other characters in the story, Ginger Nut, Nippers and Turkey, barelyRead MoreThe Scarlet Letter And Bartleby, The Scrivener1251 Words   |  6 Pageswoman in the Puritan Era who is convicted of adultery and has to face being a social outcast. Herman Melville examines the story of Bartleby, a copyist who mysteriously refuses to work and is, therefore, put in jail. 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Media Influences on Childhood Obesity - 1272 Words

Recently my 13 year old brother received his second phone, an IPhone 4s. I could not believe it a 13 year old carrying around one of the best pieces of technology in our world. Since then my brother’s free time outside running around has decreased drastically. His eyes and hands are glued to his IPhone 4s. Finding him playing basketball or throwing a football around in my yard when I go home on the weekends has become less and less. This is just one of thousands of children whose physical activity has suffered due to technology. Today our society has created the perception to children that without the latest technology they are not ‘cool’ or even worse poor. Kids then beg their parents for updated technology in order to fit in. Face it†¦show more content†¦Ã¢â‚¬Å"A recent examination of the nutritional content of food ads during children’s programming found that 72.5% were for high-calorie, low-nutrient products; 26.6% were for high-fat or high-sug ar products: and just 0.9% were for low-calorie, nutrient-rich products† (Powell, Schermbeck). Even web sites promote unhealthy food products which create a bad perception for a healthy lifestyle for kids. Gaming web sites particularly, market poor-nutrient foods targeted for children. Research has shown that food advertising companies have strategized an effective selling plan towards children. Companies rely on features that appeal to children: happy, colorful, vibrant, exciting and fun. There are very little food product advertisements promoting fruits and vegetables. These influences shape children’s nutritional knowledge, eating practices and weight status. All in all television exposure is linked to diet misconceptions. The misconceptions have a domino effect on children’s food preference and choices which then poorly effects children’s unhealthy weight status. The obesity epidemic needs to be controlled one step at a time. The first step includes eliminating the multiple influences encouraging children to eat these low-nutrient, high-calorie food items. Two distinct ways to terminate media as a contributor to childhood obesity is to limit screen time and limit unhealthy food advertisement to the youth (Kunkel).Show MoreRelatedHealthy Choices for Better Living Essay1588 Words   |  7 PagesDoes the media truly influence and play and key role in childhood obesity? Can we hold the media responsible for our food purchases and meals that we as a society choose to provide our children? Certainly there are a multitude of influences in the media and yes, they are geared toward our children. 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Numerous factors contribute to childhood obesity such as, poor lifestyle choices and the lack of exercise. In the article Harrison et al. (2011) indicates in order to understand why childhood obesity and overweight are on the rise, we first need to establish the factors that contribute to this dilem ma. There is no doubt that nature and nurture contribute to childhood overweight and obesity; that is why researchers developedRead MorePsy 200 Article Critique : Obesity And Obesity Essay938 Words   |  4 PagesArticle Critique #1 Obesity has become one of the number one factors affecting today’s youth. Numerous factors contribute to childhood obesity, such as; poor lifestyle choices and the lack of exercise. In the article Harrison et al. (2011) indicates in order to understand why childhood obesity and overweight are on the rise, we first need to establish the factors that contribute to this dilemma. There is no doubt that nature and nurture contribute to childhood overweight and obesity; that is why researchersRead MoreChildhood Obesity : A Developing Problem1197 Words   |  5 PagesObesity in America is a developing problem, and not just in adults. Today, one in three American children and teens are either overweight or obese; almost triple the rate previously in 1963. Child obesity has expeditiously become one of the most genuine health challenges of the 21st century (â€Å"10 Surprising Facts About Childhood Obesity†). Physical inactivity, race, junk food in schools, the mass media, and t he child’s parents flaws are all factors that have resulted in the prevalence of childhoodRead MoreMedia Coverage Of Childhood Obesity941 Words   |  4 Pages Media coverage contributes to how childhood obesity is framed and stigmatized in Canadian society. The media contributes to changes in popular culture, which can affect how the dilemma of childhood obesity is viewed and addressed. Several forms of media, including campaigns, social media, and the news help to construct popular opinions when looking at the issue. The views provided by different media platforms and organizations help to frame the problem of childhood obesity, and address the problemsRead MoreArgumentative Research Paper On Childhood Obesity1555 Words   |  7 Pages Argumentative Research Paper: Childhood Obesity Issac Jones ECPI University ENG 120 Advanced Composition M. Barnes June 11, 2017 Health has become a very popular topic in today’s society; how to lose weight, healthy body mass index, proper foods to eat to give your body nutrition, certain exercises to help lose weight here or gain muscle there, lower prices for a gym memberships, it seems to be a topic we are hearing about all the time now. However,Read MoreFast Food And Childhood Obesity1166 Words   |  5 Pages â€Å"Childhood obesity is a serious epidemic, affecting children across the world. In our country alone, 17% of all children and adolescents are now obese, triple the rate from just a generation ago† (Centers for Disease Control and Prevention [CDC], 2011). This drastic increase leads researchers and ordinary citizens alike to speculate about possible causes. Fast food consumption is one potential cause that has received widespread attention. Many researchers have looked at the relationshipRead MoreHow Do Television Advertisements Affect People s Health And Its Significance1684 Words   |  7 PagesHow do Television advertisements affect people’s health and its significance in relation to childhood obesity? Introduction: Child obesity is undoubtedly one of the most controversial issues in modern society, and has been labeled as one of the most serious health issues. Overweight and obese children generally grow up to be overweight and/or obese as adults, who are highly likely to be predisposed to health disorders such as diabetes, cardiovascular disease and other sorts of illnesses. With fastRead MoreEssay on Are Parents to Blame for Childhood Obesity?1489 Words   |  6 PagesChildhood obesity is an epidemic in the United States. One out of five children in the U.S. are obese. In fact, â€Å"Approximately 17% (or 12.5 million) of children and adolescents aged 2—19 years are obese (Obesity rates among, 2011). The childhood obesity rates have steadily risen since 1980 and many children are now suffering from what were once thought of as adult illnesses, such as elevated cholesterol levels, hypertension, arthritis, and diabetes. Several internal and external factors contribute