Analyze Uzbekistans economy Term Paper Example | Topics and Well Written Essays - 1500 words

Analyze Uzbekistans economy - Term Paper Example Uzbekistan’s economy has been through its share of the initial down when it was formed. It relieved its independence in 1991, and since that time, Uzbekistan has undergone economic transformations to strive to become factor in the global economy. The collapse of the Soviet Union and the birth of Uzbekistan had left the country exposed because of the immeasurable downfall of the network of trade and suppliers. The country only had raw materials and semi processed goods available for exports, making them highly vulnerable to the world economy and thus creating a dependency on the world’s commodity prices. Uzbekistan at that time had to take drastic steps to induce polices and reforms that would influx market based aspects. However, the governance of Uzbekistan under Karimov had different set of economic ideas. He introduced policies that had the sole intention of creating control over the economy and these policies played no heed towards producing and implementing structu ral reforms. The economic liberation of the country in the beginning was very much controlled and the government was very cautious in its moves. The economic policies have somehow ensured a slow regression of privatization keeping more of government control in the state. The ineffectiveness of the economic forums brought the Uzbekistan’s economy as rendering and deterring factors for the foreign investments. The country then was too reluctant to listen to the economic advice on reforms by the World Bank, the IMF and various economic institutions. This led to abrupt increase in high levels of corruption and showcased the world about the extreme bureaucratic inefficiency to develop business initiatives. The core issue post independence was the soaring state control and authoritarian style of economic power. The following will shed more light on Uzbekistan’s post independence economic woes: ‘Privatization has been very slow and

Discuss how clinical protocols tie into quality management programs Research Paper

Discuss how clinical protocols tie into quality management programs within in the clinical setting - Research Paper Example Brown et al., second this in their study on quality assurance in healthcare in developing countries when they stress on the fact that improving quality actually pays rather than costs, and how health managers with limited budgets cannot afford to ignore that fact (Brown, Franco, Rafeh & Hatzell, n.d.). Buttell et al., mention a few clinical measures recommended by the Institute of Medicine, which are; to improve leadership and knowledge, to identify and learn from errors, to set performance standards and expectations for safety and to implement safety systems in health care organizations (Buttell, Hendler & Daley, 2007). A safe healthcare environment is essential for any medical or clinical institution. Clinical protocols must be followed to ensure quality management and control. They tie into quality management programs within the clinical setting by making healthcare safe, effective, patient-centered, apt, resourceful and impartial.  The thing that  should be aiming for, is constant  improvement. So that, future generations may also benefit from improved healthcare standards as a result of following clinical protocols. In order to achieve the objective of uninterrupted  improvement, merely defining the parameters of what quality care actually is will definitely not be sufficient although the mission hasn’t quite reached completion. Brown, L. D., Franco, L.M., Rafeh, N., Hatzell, T. (n.d.). Quality Assurance of Health Care in Developing Countries. Quality Assurance Methodology Refinement Series. Retrieved from http://pdf.usaid.gov/pdf_docs/Pnabq044.pdf Buttell, P., Hendler, R., Daley, J. (2007). Quality in Healthcare: Concepts and Practice. The Business of Healthcare. Retrieved from

Street Scene Essay Example for Free

Street Scene Essay In the painting Street Scene, Pink Sky, Paris, there are several elements that make the painting a unique piece of art reflecting the contemporary feeling of the expressionistic and post impressionistic movements of the early twentieth century. James Wilson Morrice expresses these movements completely in this painting, which is a masterwork of form, color and balance. In this painting, the first thing the eye goes to s the upper right hand part of the painting. Here there is a series of four buildings that are well lit and in shades of yellow and gold. The roofs are in shades of charcoal and burnt umber. One notices that the buildings grow progressively smaller as thy move down the street. Next, you notice the people. There appear to be three women and a man. The man appears all in black, black overcoat and black hat. Next to him, facing him is a woman in a red dress and hat in brown and umber. She is wearing gloves. One’s eyes then drift to the front left of the painting where the other two women are walking by the cafe. One appears to have brown hair and be wearing a white dress with a matching white hat. The hat has a pink flower on it. The woman next to her, to her left, is wearing a dress of yellow-brown, and a black hat. She also has brown hair. To the extreme left, there is another building that appears to be a series of shops. This building has a dilapidated feel to it and is not as brightly lit as the buildings across the street. It presents a very stark contrast. The eyes then drift to the sky. It is a cacophony of steely blues and pinky mauves. It looks like an evening storm sky, but it is just the settling dusk. One can feel the hurry of the people to get home after a day of social gatherings or work. Finally, one gets to the bottom of the painting. Here one sees the edge of tables and chairs as one sits and contemplates as the world goes by. It is at if the viewer is at a cross street. Looking down one street as they watch people pass by on another. That brings the viewer to another element of the painting—mainly, the street. It is vacant save for the people. There is not a carriage, horse, car, or anything on the street. Everyone is on foot. Though they are walking, there is no sense of urgency in their movements. It is as if everyone is out for a Sunday stroll and the viewer is there watching as they drink their coffee and eat their croissant. This feels like a fairly typical street scene. The final element of the painting is just to the left of center. It is a cluster of trees and shrubbery. It ties the light and dark elements of the painting together, as the trees have dark greens and blacks combine with light greens and yellow-greens to make a unifying element that brings all the elements together. The elements are arranged as if one is looking on a street and down a street at the same time. It is almost like a â€Å"T† intersection. The paining has a balance to it that takes the shape of a triangle. The lighter shaded elements are on the right side, and the darker shaded elements are on the left side. The browns, creams, umbers, and ocher colors confine themselves to the left. The golds reds, and blacks confine themselves to the right. The trees tie the light and dark elements together and blend them into a coherent style and picture of everyday life on a Paris street. The trees also provide a much needed balance. If it were not for the trees, there would be a harshness to the painting that would make it unbalanced and off-center. Morrice picks mostly muted shades for his painting, even the ocres and golds have a slightly muted quality about them. The colors blend one into another, giving the painting a much needed fluidity. Morrice also arranges his larger elements to the back of the painting, forcing your eyes into the aforementioned triangle of the sky and the people. These are his main elements, and the ones your eyes go to after the brightness of the building. He wants the viewer to see the sky and the people and see both as time stopped, a moment that is captured forever. As mentioned before, the people are unhurried, and the sky is unhurried, which are the two elements that are the most important in this picture. Stylistically, the painting is a wonderful example of twentieth century post-impressionism. While it lacks the subtlety of Monet, it generates the same feelings that the impressionists do—that is the sense that you are there, leaving you to interpret the details. That is the very nature of impressionism. The viewer is given an idea, and they have to fill in the details. Post-impressionism at its soul is a revamping of the style without the subtle colors. Where Monet used pales and shades to make his point, Morrice uses muted bolds to bring the viewer to the scene. There is more a sense of making the impression more realistic instead of making it stylistic. This generates the move to the more bold moves of Picasso and his followers. Morrice’s work is in the vein of Cezanne. The use of color and element is similar in form and function, and the overall sense of the move to realism is there. Cezanne and Morrice both fit into the same mold, simply because they are both scene painters that use people as a focal point. The main difference is that Cezanne tends to use darker colors while Morrice uses brighter tones. They both tend to mute their tones, though Cezanne tends to do it more effectively than Morrice. Morrice borrows heavily from Cezanne. He uses blocks of color and focuses on sky, and the traditional views of the plane of the painting become obsolete. Additionally, the conventions between foreground and background begin to become ambiguous. There is also a spatial ambiguity to the painting, as the sky becomes a patchwork of color, flowing seamlessly one into another. Even in the two women walking down the street seem to blend into each other, the only differences seem to be in the distinction of their faces. The woman in brown seems to almost blend into the shops in the background. The woman in white appears to blend seamlessly into the scene. Faces are the only distinctions between people and background. There is only a bit of street and the black hat and face that even distinguishes her as an individual. The blocks of yellow are the only things that distinguish that there are four buildings. This is very much in the style of Cezanne. Even the trees and shrubbery seem to be in a block of color. Though the greens, blacks, and yellow-greens seem to blend, the eye can easily pick out the distinct shades and can see the summer look of the trees against the dusky sky. Looking at the style of both Morrice and Cezanne, one sees incredible talent and gracious style. The overall impressionistic feel that we get from both painters is evident. As both move towards the twentieth century, there is a shift from the previous impressionistic movement to the post impressionistic movement. The movement also shifts to the use of color in blocks to give movement and a sense of fluidity to the painting. Additionally, the focus on sky and people shows a movement away from the still lives and landscapes of the past to a movement of expressing people as the object and main idea of the painting. Thought the movement was not a long-lasting one, it left an impression on the art world that has affected painters and artists for years. The use of texture and color and form and function blend together flawlessly to create a new and exciting use of elements that added to the art world and still give us much to talk about today. The fact that we are able to draw comparisons to the present and the past shows us the relevance of the new art forms and how they still relate to today’s art world. We as art historians cannot forget the contributions of the past as they will and do affect our futures. References Adams, L (1997). A history of western art. Madison, WI: Brown and Benchmark. Art Gallery of Ontario, (2009). James Wilson Morrice, Street Scene, Pink Sky, Paris. Retrieved March 15, 2009, from Art Gallery of Ontario Web site: http://www. ago. net/ago103760 University of North Carolina at Chapel Hill, (2009). Art History. Retrieved March 15, 2009, from Art History Web site: http://www. unc. edu/depts/wcwebs/handouts/arthistory. html

The Work Of Milton Glaser Arts Essay

The Work Of Milton Glaser Arts Essay Milton Glaser, was born in 1929 in New York, he attended the High School of Music Art. Known for his influential dynamic design, three of his most famous works include the I love New York logo, Bob Dylan poster and DC bullet logo, designed for DC Comics. Glaser has worked for a variety of agencies, designers, illustrators and co-founded Push Pin Studios in 1954. In 1977, Milton Glaser designed the I heart New York poster, unbeknown to him that it is this piece of design that would define his life. As a very simple piece of design to the eye, it holds a very clever message, Glaser explains how the design is to be translated to be fully understood, he says that, to understand the design you have to translate it. First of all you have to figure out that the I is a complete word, then you have to figure out that the heart is a symbol for an experience, then you have to figure out that NY are the initials for a place he then goes onto say that the issue in all communication is moving the brain, and puzzles move the brain, this then makes people feel good because they have solved the problem, just like this logo. The logo was designed to promote tourism in New York City and then became the trademark of the New York State. Glaser did the work pro bono as he only expected the campaign for more tourism to last a few months; never did he think it woul d have gone global, as this was not his original intention. However, the logo was a major success and has become so iconic worldwide and has been and still continues to be sold for years. The logo, then became furthermore prominent during the aftermath of the 911 terror attacks, as Glaser added a black smudge to the bottom corner of the heart symbolising a wound and a wounded heart is important to attain healing, and to acknowledge pain, despite this though the Department of Commerce were sceptic to adopt the creation which is why Glaser sent the new logo to New York Daily News, circulation close to a million copies around the city and the added the extra words more than ever, it helped create a sense of unity between the population and an awareness of support from visitors. Glaser has always craved being, new, original and inventive using a variety of historical and visual references, he stated my sense is not to be allergic to style or mores in time, he says. I see it as a continuous conversation. My resources run deep from African art to Japanese watercolor to Modernism to Dada. The best example of this from Glaser is probably the album insert designed for Bob Dylan in 1967, the use of jarring historical references allows a sense of inventiveness. Designing, something new, fresh and different is definitely aspiring. Being versatile and flexible with media and styles is a must; I absolutely admire experimentation, as well as delving into various visual styles and media. The use of technology in design is great, yet the more conventional and traditional styles are truly something to treasure, these are a big passion of mine. Combining traditional media and technology together really does enable a stronger connection and context with the audience, as much as I appreciate how the usage of technology has greatly helped the development of design tremendously, it seems as though conventional design is a sign of the past, this needs reviving! It is stated by Glaser that whether simple or complex design is integrated into a piece, communicating a clear opinion, message or view to the prospective audience. To design is to communicate clearly by whatever means you can control or master, design should do what it is designed to do, whether thats inform, shock or persuade people as an example . However, design is definitely beyond reading; colour, layout and shape recognition all have a selective purpose, for example road signs are very legible yet out of date in relation to current generations and social conditions and therefore should be changed, yet humans are very reluctant to change and prefer to stay conformed to conventional design. This then idea of being conformed is because people are scared of change, yet when that change becomes conventional overtime it is then a norm. Glaser felt that whilst working for Push Pin studios, that he became imprisoned by its reputation, and I wanted to try and invent a new ambiguous rep utation, leaving the agency to build up his own strong reputation. Glaser is a very ambitious individual, this is definitely something to idolize, not being scared or worried about other peoples views on what he produces or the context that surrounds it. Computers are to design as microwaves are to cooking, what a great statement! Design is an art whether a piece takes hours, days, months, weeks or even years, it is very precious. As a simple analogy, a microwave is an electrical appliance that uses technology to reheat and cook food; computers as technology lower the standard, classic knowledge as well as the craft of design. The definition of a designer seems to have become more blurred. The accessibility of technology now means that anyone with a computer and the correct software can become a designer. This has both negative and positive effects; on one hand, poorly considered, non-disciplined design is now being allowed to flow through the public consciousness. On the other hand, we are seeing new, forward thing, unrestricted creative thinking from those who are not restrained by traditional formalities. Craft allows technology to be exploited effectively. Therefore the continuation of taught craft in academic institutions is essential to sustaining graphic design as a profession. The use of technology has vastly helped revolutionise design, I do not disagree there and to run a design office, computers are necessary along with traditional skills. Having amazing artistic abilities and a range of experience is in most cases what is clarified as a designer, yet I do not believe this is how a designer should be classified, I understand that various skill sets are required to be clarified as a graphic designer. I believe in using a variety of styles, dependent upon which area of design Im working on and what purpose the design has. My styles seem to have become more varied in the last couple of years, which is great, becoming too rounded on a particular style is good, if wanting to familiarize people to easily recognise a defined style and the designer, but then having that comfort of working in one style I feel makes people become conformed to that one and only style, not allowing any room for change, just how us humans work in general, we dont like change, having a variety of rounded styles is great and something I definitely believe in. When I work on HTML and websites, I really do prefer to be minimalistic, ordered and very structured enabling a good usability for browsers, yet this may be seen more for purpose than design as I do not like over complex websites that confuse the browser. However, when designing a piece of work purely around fine art, my thought is exactly the opposite, I adore being slightly abstract and bright, bold colours. I do this as I find art truly is a form of expression and communication, just how Glaser states that communication is all about moving the brain, which is done through puzzles, so when someone can identify what a piece of work is and they feel good they have done this, it shows there is effective communication and expression in a piece of work. Typography is not really one of my strong suits, but I really do have to acknowledge the importance of its use amongst design. It is typically questioned whether there are currently too many fonts, as there are hundreds and possibly thousands of websites that offer free fonts for download. I disagree with the statement that there are too many fonts, as it really is the understanding of the fonts that is lacked these days. Having this knowledge can really define the difference between a good and excellent designer I feel. Understanding and knowing the main fonts, font families and the use of line height, kerning and tracking is very important in any area of design, if a designer is not aware of any of these aspects of typography, knowing when and how to use them may become ineffective, as the art of typography is to communicate efficiently and therefore has be clean, legible and well designed, knowing the basics is essential. I really aspire to travel wherever design takes me, and experience a bit of everything. I have my strong suits and my weak suits, but there is so much I want to learn. I am very good at fine art practice and thoroughly enjoy this; this is because it is a very way for me to communicate with people without using words. As well as this, the amount of historical and current influences that inspire my work is vast, I enjoy combining influences to create a mixed piece of design, this may be seen as unconventional and wrong but the possibilities within design are endless, as Glaser states my sense is not to be allergic to style or mores in time, just my thoughts exactly, I really enjoy combining styles and references. There are other areas of design which Im not that keen on, as for example, web design, web design really does interest me, yet frustrates me at the same time because of the careful consideration of code that is needed, despite this though, I understand that the web is booming and will continue to do so, the need for online advertising is currently enormous in any market, I know this and this is an area which I am currently extending my practices on, as web design is very important and influential in the current twenty first century. Web design isnt the only practice that I feel will continue to grow hugely, the need of branding is getting ever more so diverse along with the use of complex applications for smart phones, smartphones are certainly taking off and such big developments in design have been made in the past five years, the current rate of change in design is rapid, and becoming even more complex each year. The need of experienced designers who adapt quickly to change and new technologies is extremely important; keeping up with change is definitely a must in the current era. I know that Graphic Design is a very tough business, but being consistent and persistent to work very hard will get me where I want to be.

World Studies Definitions :: essays research papers

1. Edison, Thomas Alva - 1847-1931, American inventor, b. Milan, Ohio. A genius in the practical application of scientific principles, Edison was one of the greatest and most productive inventors of his time, but his formal schooling was limited to three months in Port Huron, Mich., in 1854. For several years he was a newsboy on the Grand Trunk RR, and it was during this period that he began to suffer from deafness, which was to increase throughout his life. He later worked as a telegraph operator in various cities. Edison's first inventions were the transmitter and receiver for the automatic telegraph. 2. Bell, Alexander Graham - 1847-1922, American scientist, inventor of the telephone, b. Edinburgh, Scotland, educated at the Univ. of Edinburgh and University College, London; son of Alexander Melville Bell. He worked in London with his father, whose system of visible speech he used in teaching the deaf to talk. In 1870 he went to Canada, and in 1871 he lectured, chiefly to teachers of the deaf, in Boston and other cities. During the next few years he conducted his own school of vocal physiology in Boston, lectured at Boston Univ., and worked on his inventions. His teaching methods were of lasting value in the improvement of education for the deaf. 3. Carnegie, Andrew - 1835-1919, American industrialist and philanthropist, b. Dunfermline, Scotland. His father, a weaver, found it increasingly difficult to get work in Scottish factories. In 1848 he brought his family to Allegheny (now Pittsburgh), Pa. Andrew first worked in a cotton mill as a bobbin boy, then advanced himself as a telegrapher, and became (1859) a superintendent for the Pennsylvania RR. He resigned (1865) his railroad position to give personal attention to the investments he had made (1864) in iron manufactures. 4. John Davison Rockefeller - 1874-1960, b. Cleveland, grad. Brown, 1897 took over active management of his father's interests in 1911 and engaged in numerous philanthropies. Riverside Church in New York City was built through his gifts. He also gave vast sums for religious projects, for scientific investigation, and for the restoration of historic monuments. Among his most notable philanthropies were the restoration of colonial Williamsburg, Va., and the donation of the site for the United Nations headquarters in New York City. He founded (1931) and helped plan Rockefeller Center in New York City, which the Rockefeller interests, completed in 1939. 5. Gompers, Samuel - 1850-1924, American labor leader, b.

Learning the Writing Business from Book Agents and Editors :: English Literature Essays

Learning the Writing Business from Book Agents and Editors So, you just wrote your first science fiction novel. Your friend read it and told you that you were the next Ray Bradbury or Gene Roddenberry. Your fertile mind fantasizes your name up there on a Borders’ wall poster right next to images of Isaac Azimov and Jules Verne. Before going off the deep end and equating yourself with Hemingway and Steinbeck, give your ego a stiff reality check. Few of us mortals are literary Mozarts that can plop down in front of a computer screen and author a perfect manuscript the first time around.. Let’s get one thing straight right now. You wrote a manuscript and not a book. After an author takes the time and care to read, edit and rewrite the manuscript at least five times, the work has finally evolved into a publishable book’ manuscript. Literary agents have represented my books. Truthfully, I never learned too much from literary agents except that they will show a strong interest in you and your work only if publishers and film producers do. If the power brokers in the literary world think your work is marketable, then you are a viable commodity. If you have no track record in the publishing industry, then forget all about your friend’s praise and about your inflated ego. You’re going to have to accept criticism from your agency’s editors, compromise ideas and plots in your artistic masterpiece, rewrite paragraphs, sentences and pages to conform to editorial evaluations, admit making errors, learn from these â€Å"mistakes† and avoid them when constructing future â€Å"manuscripts.† Although I never learned too much from my literary agents, I absorbed plenty from editors I had worked with. It took me three years to finally master what the editors considered the â€Å"mechanics of the writing craft.† I reluctantly learned that good writing involves much more than the demonstration of grammar, spelling and punctuation skills. I picked up a hundred or so suggestions from my â€Å"literary editors,† and I will share some of them now. To facilitate good transitions and chapter’ integrity, don’t begin sentences and/or paragraphs with pronouns (when writing in the third person). Stay away from â€Å"lazy sentence patterns† such as starting out with â€Å"There are† or â€Å"There is.† And above all else, if you plan to be original and creative, stay away from using stereotypical’ cliches and hackneyed idioms. A good sci-fi’ novel or any other genre’ novel should first be a â€Å"love story† at its core’ construction with the genre’ decoration adroitly wrapped around that core.

The Feasibility of Different Techniques for Providing Fresh Water to Arid Regions in the World

The feasibility of different techniques for providing fresh water to arid regions in the world 1. 0 Introduction Water is the most valuable and indispensable resource for all forms of life. People need it for every activity: domestic use, agriculture and industry. Access to fresh water is regarded as a universal human right (United Nations Committee in Economics, Social and Cultural Rights, 2003). Drought has become an increasingly important problem in many parts of the world. Water scarcity is most common in arid and semiarid regions of the world, which cover one third of the Earth’s land surface (Smallwood, 2011).UNESCO and the Italian Ministry for the Environment and Territory (IMET) have launched â€Å"The Water Programme for Africa, Arid and Water Scarce Zones†, which seeks to develop the potential management of water resources to protect the fragile environment of water scarce regions. Additionally, limited fresh water resources available in these regions are also threatened with deterioration in quality due to hydrological changes. The accessible water in arid regions are often restricted to groundwater. Surface flows are usually limited to flash floods due to short duration and high intensity rainfall events.The purpose of this report to describe the feasibility of different techniques for providing fresh water to arid region, like Africa. Firstly, this report will consider the background to this problem and then it will compare and analyze two water provision methods in Africa, desalination and dams. Finally, this report will offer some recommendations. 2. 0 Background Water is not only a physical resource: in every culture it is spread among social, spiritual, political and environmental meanings. So, solving the water problem means progress across all of these developments.This is mostly relevant in countries with no perennial rivers, streams, or permanent surface fresh water. Also, people in arid regions are uniquely vulnerable to econ omic and social changes. Achieving sustainable development has dramatic implications for reducing poverty and hunger. Today, millions of people still lack access to basic sanitation and every year many of them die from diseases related with inadequate water supply, sanitation and hygiene. According to The Water Project statistic’s, nearly 1 out of every 5 deaths under the age of 5 is due to water-related disease, such as cholera, diarrhoea and malari.Current predictions (UNWWAP, 2003) show that more than 20 developing countries will experience water shortage by 2025. Most of this countries are found in Africa and the Middle East. 2. 1 Water problems in Africa Water problems mostly take place in Africa, where it is predicted that 300 million people are affected by water shortages. (UNWWAP, UNESCO 2003) The University of Cape Town studied that climate change have a huge impact on Africa. For example, rain shortages have already caused many problems there.In East Africa more tha n 3 million people face hunger this year, because there hasn’t been any rain for three month. (BBC, 2011) Most people in Africa live in rural areas and they are still dependent on agriculture for their livelihoods. Internal renewable freshwater resources average about 3 950 km3 per year. This amounts to about 10 per cent of the freshwater resources available globally and closely resembles Africa’s share of the world population at 12 per cent (Donkor, 2003). Three of four Africans use the ground water as their main water supply.The ground water is not always available, it accounts for only 15% of the continent’s water. Perhaps the greatest cause of Africa’s problem of a lack water is that they can’t effectively utilize its resources. Approximately 4 trillion cubic meters of water is available every year, and only 4% of that is used. The continent and people lack the technical knowledge and financial resources. In Africa is the greatest percentage of people lacking access to safe drinking water, there are 25 nations in the world and 19 are in Africa. The global challenge, 2011) So adequate management of its water resources is crucial for the future of the African continent. 3. 0 Comparison of Options 3. 1 Dams In meeting critical water needs, there is some alternative technologies, such as dams and desalination. According to ICOLD (International Commission on Large Dams), a large dam is dam with the height of 15 m or more. Regional inventories include nearly 1300 large and medium-size dams in Africa, 40 % of them are located in South Africa. Most of these were constructed in past 30 years, the reason is rising demand for water from growing population.The majority of dams in Africa have been constructed to facilitate irrigation (52%) and to supply water to municipalities (20%). Although only 6% of dams were built primarily for electricity generation, hydroelectric power accounts for more than 80% of total power generation in 18 African countries. Only 1% of African dams have been constructed to provide flooding control, according to the World Commission on Dams. Sudan’s president, Omar al-Bashir, is so proud of the new Merowe dam in the north of his country. Costing $1. billion, it will produce 1,250 megawatts and create a lake 108 miles long, above the Nile’s fourth cataract. (The Economist, 2010) However, if dam construction is predicted, then not only technically feasible options should be considered, but also economical viability, social acceptance and environment stability. 3. 2 Desalination In Africa, where water shortages are particularly severe, desalination technology has been developed to a point where it can serve as a reliable water source at a price almost comparable to that of the conventional sources.Desalination techniques are one of the available tools to avoid stressing freshwater resources. Nevertheless, they should always be considered as just one of the components of an i ntegrated water resources management process developed in conjunction with water conservation strategies (UNESCWA). South Africa is considering a major desalination programme for its coastal cities. Cornelius Ruiters, deputy directorgeneral of national water resources and infrastructure, told GWI that â€Å"At the moment, less than 1% of our water comes from desalination. We need to increase that by 7% and 10% by 2030.We are mostly dependent on surface water, and there is obviously a limit to that – we need to diversify our mix. † The cities of Cape Town and Ethekwini (Durban) are at the beginning of investigating desalination, but not decision have yet been taken on what technology would be used. Ruiters told â€Å" We have to examine all the options, both financial and technological, and look what are they doing in the Middle East, Singapore and China. Public – private partnerships are a possibility. † (Global Water intelligence, 2009) 4. 0 Conclusion a nd RecommendationDeveloping suitable policy and management system is essential to improve the value obtained from fresh water resources. This includes interventions to strengthen governance, improve knowledge and information systems including data collection and monitoring and evaluation, enhance human and institutional capacity, develop IWRM systems which focus on catchment and basins as the management unit, and mainstream gender. Cooperation and partnership, between multiple stakeholders and at multiple levels, from the local to the sub-regional to the regional, are at the core of successful interventions.These responses should improve the opportunities to meet urgent needs for potable water, sanitation, irrigation and hydropower, among others. A critical issue that will need to be addressed systematically in Africa is financing. Reference list UNESCO. (2004-2006). Water Program. Available: http://unesdoc. unesco. org. Last accessed [29. 11. 11] Arizona. (undated). Global Water Sh ortage Looms In New Century. http://ag. arizona. edu/AZWATER/awr/dec99/Feature2. htm. Last accessed [29. 11. 11] Iahs. (1995) Isotope techniques for water resources in arid and semiarid region. ttp://iahs. info/redbooks/a232/iahs_232_0003. pdf. Last accessed [29. 11. 11] Abufayed, A. A. ( 2003) Desalination: supplemental source of water for the arid states of North Africa. http://www. ipcc. ch/pdf/assessment-report/ar4/wg2/ar4-wg2-chapter3. pdf. Last accessed [29. 11. 11. ] Fao. (2007) Dams and Agriculture in Africa. http://www. fao. org/nr/water/aquastat/damsafrica/Aquastat_Dams_Africa_070524. pdf. Last accessed [29. 11. 11. ] The Economist. (2010) Dams in Africa. http://www. economist. com/node/16068950. Last accessed [29. 11. 11. ]