Prepare a three to four page typewritten double-spaced paper on a current macroeconomic topic that is pertinent to class material. This can be chosen from the textbook, newspapers, magazines, or current economics periodicals.
Students will be expected to analyze and evaluate the issue or topic and provide recommendations. Here are some sample topics:
- The impact of drug legalization on the economy
- Using economics, how would you fix the homeless problem in California?
- Is the bullet train viable in California?
- How do interest rates affect consumers and their purchasing patterns
- How could the “Great Recession” have been prevented?
- Countries that do not believe in comparative advantage
- How could the Federal Government reduce the national debt?
- If you were the President of the U.S. what would you do to improve the economy?
- Which presidential candidate will have the most profound impact on the economy?
Hito Steyerl referencing a curious incident in 2014. A World War Two Soviet tank reportedly went to war in Eastern Ukraine by being driven off its museum memorial pedestal to a military checkpoint and killed three people. ‘One might think that the active historical role of a tank would be over once it became part of a historical display. But this pedestal seems to have acted as temporary storage from which the tank could be redeployed directly into battle. Apparently, the way into the museum—or even into history itself—is not a one-way street. Is the museum a garage? An arsenal? Is a monument pedestal a military base?’ Steyerl’s consideration within her research on ‘Museums in an Age of Planetary Civil War’ raises so many interesting implications, most of all that museum spaces could be inferred as providing temporary storage for their occupants, (in this case machine and humans) so that objects may be re-used. Therefore, the above examples demonstrate that when considering museum spaces within the context of posthumanist discourse, even physical museum spaces are more spatiotemporally fluid than they initially appear. This explores expanded notions of who museum audiences and participants are, in that these being solely human actors is flouted, with above examples illustrating museums are also for machines and weather, therefore broadening possibilities of who museums are for within contemporary practices. With an expanded understanding of who museums are for, the case for fluid museum spaces will be explored further in that spaces facilitate human and nonhumans as audiences, but also provide an environment for diverse participants and curators. Gurian’s ‘Threshold Fear’ exemplifies barriers preventing people from accessing museums and provides guidance as to how these are overcome – similar to a toolkit format. In advocating for ‘congregant spaces’ Gurian hopes ‘we readjust the way we build, repair and reinstall museums, we will invite more citizens to join us. I once said I wished museum audiences to be as diverse as those to be found at any given moment in Grand Central Station.’ This comparison to a diverse train station is broad, in that stations are for people, machines, animals, bacteria, plants and a whole host of other entities. Advocating for the importance of ‘congregant spaces’ circles round the crux of the text, but limits possibilities by omitting to address museums as non-places, to avoid appearing to homogenise museums. By synthesising this with Massey, who asserts ‘places do not have single, unique ‘identities’; they are full of internal conflicts’. Therefore Gurian’s assertions can be expanded, by applying Massey’s ‘a global sense of the local, a global sense of place’ to museums; a social idea of space for human and nonhuman actors can be realised. Yorkshire Sculpture Park is evidence of the above assertion, whose strapline ‘art without walls’ pioneers sculptural work within a 500 acre estate; an outdoor gallery with f>GET ANSWER