Usually people believe that domestic debt in Chinese compare with the GDP is very less, so in this way the government had the ability to issue more treasury bond. So in 1988, when Chinese implement the Rehabilitation of bank balance sheet, in order to write-off state-owned commerce banks system non-performing loan, it uses treasury bond to accumulate capital. Whereas, this kind of implementation does not consider Chinese future financial ability and invisible debt keep soaring, including state-owned enterprises non-performing loan, the debt of the state-owned policy banks. Some scholar also express pessimism, they assume if the government debt continue to increase, this will have a high financial risk resulting in Chinese Economic collapse. So, in calculating the Chinese government debt cause by the state-own financial institution, not only do we consider the figure provided by the Chinese official, but also have to add the Central Government invisible debt. This research is based on time series model in calculating year 2008 Chinese government debt, with Revenue Enhancement, commercial bank behavior and the above two financial policy in making evaluation. Notice: 2008 treasury bond in whatever policy measure is still higher than 60% Basle standard. This implies that in the near future the Chinese will not be able to withstand the huge treasury bond. Simultaneously, this manifest Chinese government debt have been underestimated, and falsely believe it can have the ability to be in the state of solvency, this lead to government continuous issuing of treasury bond. This will hamper the Chinese financial structure. As for the government debt, it only depends on Revenue Enhancement, that is control deficit rate which cannot solve the huge government debt. However, solving the government debt problem, not only with the measure of issuing treasury bond, this will result in raising the debt with the debt. The best method will be to pass resolution in all ways, slowly and steadily in writing off the debt. In this way it can lead Chinese to a Fiscal Sustainability result.

<p>Abstract</p><p>Problem: Branded products can be seen everywhere around us at all time, and is a way of communication for the buyer of the product But, what if one cannot build a brand based on visibility, an example is underwear, then how is it possible to create a brand and add value to it? Is it actually feasible to create a strong brand when not leveraging upon visibility? The organization Stargate Brand Group and its brand Frank Dandy Superwear have been used in order to obtain a deeper understanding around the topic.</p><p>Purpose: The purpose of this thesis is to research how to create brand value for an invisible brand within the fashion industry.</p><p>Method: To help fulfill the purpose a qualitative approach has been used. Personal interview with the CEO of Stargate Brand Group, telephone interviews with 20 fashion retailers combined with focus groups consisting of potential underwear buyers. The authors believe this approach helped to understand customer behaviour, branding techniques and how to create a brand value from an invisible branded product.</p><p>Result: The most important elements in order to create brand value for an invisible brand are quality and perceived quality. To become a successful underwear brand, since that is the invisible brand that the authors choose to focus upon, quality must be highly emphasized, and offering a high quality product is one way of creating brand value to customers.</p><p>The overall understanding of invisible products and brands is that they are bought primarily to fulfill the customer’s need of feeling comfortable and leverage upon people’s desire of well-being. An invisible brand cannot leverage upon its user to the same extent as other products, since it is not shown to the public.</p>

The thesis identifies a methodology for practice-led Fine Art research that emphasises day-to-day processes, which tend to be overlooked, and a practice, which becomes invisible to the mainstream art world. Attending to day-to-day habitual process is found to open up possibilities for embodied becoming through thinking and re-membering. Negotiating boundaries in face-to-face encounter is discovered to encourage inter-subjective becoming and is explored in terms of ethical interaction. The reflexive methodology considers questions arising from the possibility of exchange instead of gift, art as process rather than commodity, and an attitude of dissensus relating to artists as nonconformists. Tension and interaction in community leads to a pacific process of immanent invisibility, which functions as quiet activism and gentle politics provided by readymade situations. Mierle Laderman Ukeles s Touch Sanitation (1984), Allan Kaprow s Trading Dirt (1983) and selected works of Heath Bunting (2002-2010) are amongst the artworks cited in a discussion of artists who engage with materials or processes that are often overlooked including waste disposal, soil, and institutional structure. Emmanuel Levinas s approach to alterity (Levinas, 1988, 172) and Julia Kristeva s suggestion that connection cannot occur without severance (Kristeva, 1987, 254) have helped define an ethical practice of inter-subjective becoming. Victor Turner s notion of communitas (Turner, 1969) has affirmed a choice to avoid hierarchical structure and engage in processes that result in immanent invisibility. My contribution to practice-led, Fine Art research has involved testing a method rather than proving a hypothesis. I have developed a methodology that values art becoming invisible during the process of emphasising the overlooked in day-to-day life. Anecdotal passages throughout the text together with links in the text to my website and web log demonstrate an integration of practice with theory, which has been arrived at through a process of reflexive speculation. Two discs accompany the printed thesis that allow for digital reading.

My dissertation, Wixárika Art and Artists: Resisting Neocolonialism While Crossing Visible and Invisible Borders is an ethnographic study of the Wixáritari who have lived in the region of Northern Central Mexico known as El Gran Nayar or the Sierra Madre Occidental, with a specific focus on the Wixáritari who live in Huejuquilla el Alto, Guadalajara, and Zacatecas, Mexico. This dissertation examines the legal, cultural and historical influences as well as the sociopolitical and economic circumstances that have pushed Wixárika (Huichol) art and artists out of their original homeland in Mexico. This dissertation concentrates on the historical construction of race in Mexico to illustrate that Wixáritari have been pushed outside of their territories either willingly or unwillingly. I analyze and interpret this concept through historical events and the process of colonialism through which politics, policy and laws have shaped and created hierarchies of race. Through ethnography I illustrate that the Mexican government's neoliberal policies and laws have adversely affected Wixáritari artists and non-artists in the Sierra Madre, and also those who work in the large cities where half the population now resides. Furthermore, this work illustrates that the Wixáritari are organizing against the Mexican laws and policies that served to exclude and marginalize them. Wixáritari activism is thus creating powerful social change. By using the theoretical framework ethnoexodus, I demonstrate that Wixáritari cannot be put in a box or be stereotyped as a homogenous pan-ethnic group.The second half of my dissertation is devoted to "voluntary" or involuntary im(migration) processes that take place. I specifically explore these forms of dislocation through the use of oral history, oral narratives, and testimonios. I have found that the Wixáritari have a desire to reproduce their traditions and resist modernity. They have experienced cultural changes and in the process they have been integrated into their surrounding society by forming new relationships and learning to adapt on their own terms to the capitalist system and "modern" way of life. In these spaces, I argue that their homeland and geographic space in and outside of the Sierra Madre Occidental along with their spirituality is part of their identity, which crosses many borders that are both visible and invisible. / text

Abstract Problem: Branded products can be seen everywhere around us at all time, and is a way of communication for the buyer of the product But, what if one cannot build a brand based on visibility, an example is underwear, then how is it possible to create a brand and add value to it? Is it actually feasible to create a strong brand when not leveraging upon visibility? The organization Stargate Brand Group and its brand Frank Dandy Superwear have been used in order to obtain a deeper understanding around the topic. Purpose: The purpose of this thesis is to research how to create brand value for an invisible brand within the fashion industry. Method: To help fulfill the purpose a qualitative approach has been used. Personal interview with the CEO of Stargate Brand Group, telephone interviews with 20 fashion retailers combined with focus groups consisting of potential underwear buyers. The authors believe this approach helped to understand customer behaviour, branding techniques and how to create a brand value from an invisible branded product. Result: The most important elements in order to create brand value for an invisible brand are quality and perceived quality. To become a successful underwear brand, since that is the invisible brand that the authors choose to focus upon, quality must be highly emphasized, and offering a high quality product is one way of creating brand value to customers. The overall understanding of invisible products and brands is that they are bought primarily to fulfill the customer’s need of feeling comfortable and leverage upon people’s desire of well-being. An invisible brand cannot leverage upon its user to the same extent as other products, since it is not shown to the public.

identity play an important role in how they communicate and interact with other individuals. One group in which identity construction and navigation is a difficult process is the hearing impaired population. In an effort to understand how these individuals construct their identity and navigate their hearing impairment, this study utilizes Communication Theory of Identity. Through the use of interactive interviews, the researcher was able to examine how 11 participants manage their identity as hearing impaired individuals. The interviews provided insight into the four layers of identity proposed by CTI – personal, relational, enacted, and communal – in the hearing impaired individual. The author discusses the themes within each of the four layers and the gaps present between the layers that emerged as the hearing impaired participants discussed how they navigate their hearing impairment. Furthermore, the implications of these themes and gaps within the hearing impaired individual’s identity, such as feeling disconnected from both the Deaf and hearing communities, are examined.

In this thesis settlement areas and settlements from the Bronze Age on Gotland are in focus. The island of Gotland in the middle of the Baltic Sea is famous for its rich archaeological remains of monuments and relics from all pre-historic periods, and the Bronze Age (1700-500 BC) especially is well repre- sented. There are nearly a thousand cairns, over 300 stone-ship settings and a large amount of bronze finds, but there are few traits of contemporary settlements. With few exceptions the settlements from all pre-historic periods are in one way “invisible” but during the last decades the context has changed, as has knowledge of the settlements from the Bronze Age. Research published throughout the first ten years of the 21th century offers new and refreshing interpretations concerning settlements and houses from the period in question on both a regional level and in more comprehensive studies across Scandinavia. This is due to continued advances in archaeological methods to see the invisible remains however many of the sites are discovered in exploitation-excavations. In a smaller scale this is also true for Gotland and during the last decade there are scattered finds of houses from the period in the shape of post-holes, hearths and cooking pits. The situation on the island is not to expect larger ex- ploitations followed by excavations so we have to test other ways to look for the settlement areas and settlements. In this study I therefor examine if there are any relations to the visible, in first hand cont- emporary types of monuments such as burnt mounds, cairns, stone ship settings and finds of bronzes, to sites seen as possible settlement areas from the Bronze Age. In this context I also have to consider the remains from the early Iron Age, foremost the visible remains of fossilised fields and ancient forts. The theoretical framework is a hermeneutic approach in the study of the relations of each cont- emporary types of monuments contextualized with possible settlements. As Gotland is an island I have to relate to the meaning of landscape and islands. To get closer to the society and the social orga- nisation, my aim is also to come closer to the people who lived their daily lives on Gotland during the Bronze Age and to consider the question of the chiefdoms and the social organisation.

This creative research project explored the relative values of the use of aural and visual elements in the production of a television program produced by the writer for the Public Affairs Department of WANE-TV, Channel 15, Fort Wayne, Indiana. The program dealt with the migrant farm and factory workers mho move into the community each year, work for a few months, and then move on again. The project utilized both aural and visual elements in the production of the program, and then sought to measure the relative value of those elements through a test designed specifically for that purpose. The test attempted to measure the degree of change in attitudes and knowledge levels of a select audience over against the living and working conditions of the migrant workers.The results of that test were then evaluated through the aid of an IBM 1130 Computing System. The mean, standard deviation, and t-test scores were employed in an effort to extrapolate, to some limited degree, for general principles of mass communication.

Rural poverty has been characterized as invisible. This has been true since Michael Steinbeck published The Grapes of Wrath in 1939. Building upon this characterization this thesis explores six pathways out of rural poverty in relation to the particular quality of invisibility. This study reviews scholarly literature and federal policy, as well as adds new interviews focused on a case study of Mecca and Thermal, two small, unincorporated communities in California’s Eastern Coachella Valley (ECV). Through these techniques I found that rural poverty is characterized by a unique invisibility and that although there are certain pathways out of this poverty, these pathways are unlikely, temporary, and too insubstantial to make significant change.

This paper addresses the aesthetic encounter from the perspective of the writings of Maurice Merleau-Ponty on the visible and the invisible. It begins with the premise that from time to time we encounter situations which precipitate a sense of slippage in our experience of the world. The paper proceeds to argue that the arts can provide a point of access to this experience, and that aesthetic theory has, for example, responded to it through the development of the notion of 'the sublime'. The writings of Maurice Merleau-Ponty and, in particular, aspects of his text The Visible and the invisible, are presented with a view to augmenting this aspect of aesthetic theory. Proceeding from a 'Merleau-Pontian' perspective, the paper explores how the arts can serve to disrupt our conventional sense of space and time - creating ripples in the substance Merleau-Ponty names as 'flesh' - so as to expose the chiasm or blind spot in our experience of the world. The methodology adopted is an experiential one, which draws on the writer's interaction with the selected works of various artists as well as her own practice in glass.