Borderline Personality Disorder Essay -- Psychology

Literature Review Borderline Personality Disorder (BPD) can be described in simple terms as a condition in which sufferers experience long periods of emotional instability and troubled feelings about themselves and other people. These troubled feelings allow individuals to take impulsive measures and have trouble in their relationships (Bouchard, Sabourin, Lussier & Villeneuve, 2009). BPD basically comprises of unusual intensities of instability in mood and irrational thinking also referred to as splitting. Splitting in BPD involves a switch between negative perception of others and idealization (Sperry, 2003). This usually occurs along with irregular mood swings and can negatively impact on the existing relationships such as family, co-workers and friends (Abela, Skitch, Auerbach & Adams, 2005). This disorder manifests itself in a number of ways. Persons suffering from this disorder may demonstrate episodes of intense hatred and dislike and idealization in addition to chaotic personal and interperson al relationships (Bouchard, Sabourin, Lussier & Villeneuve, 2009). Sufferers may also be supportive of others and nurture them well hoping that these people will always be there for them and will satisfy all their demands. These people may also demonstrate unstable self-image, inappropriate behavior, and lack of self identity (Sperry, 2003). The sense of self of a person is usually totally impacted on. The psychological disturbance associated with this disorder, especially the one involving the sense of self of a person, may result in long episodes of dissociation (Ebner-Priemer et al. 2009). In the past, BPD was believed to be a set of symptoms between problems associated with mood and schizophrenia. These symptoms were believed... ...resulting in fear and arousal (Schmahl, Berne, Krause, Kleindienst, Valerius, Vermetten & Bohus, 2009). The work of dampening this arousal is carried out by the pre-frontal region of the brain. Brain imaging has revealed that personal differences in the capacity to activate areas of the prefrontal cerebral cortex, which is believed to activate inhibitory responses, predict the capacity to repress negative feelings (Williams Sidis, Gordon & Meares, 2006). Acetylcholine and norepinephrine in addition to serotonin are the main neurotransmitters in the circuit involved in the regulation of emotions. Imbalance of these neurotransmitters in conjunction with increased GABA activity is believed to have the capacity to result in intense mood swings similar to those of borderline personality disorder (Schmahl, Berne, Krause, Kleindienst, Valerius, Vermetten & Bohus, 2009).

Flowers, herbs and willows Essay

Also, the fact that Shakespeare did not add any stage directions to the play helps the director portray the protagonists in the light they see fit. This has granted directors the licence to portray Ophelia as either virginal or sexually knowledgeable. Brannagh uses the device of flashbacks to perfectly show his audience that he sees Ophelia as being less than innocent and that she and Hamlet have previously been sexually active. He does this without taking anything away from the script and gets his point across using a dialogue-less scene. However in the most recent silver screen version of Hamlet directed by Michael Almereyda, Ophelia is portrayed as being virginal and innocent as no sexual references appear during the film. This shows how different the character of Ophelia can b portrayed, almost as they were two separate individuals. The lack of stage directions not only makes it simpler for directors to portray her the way they want, but also for the audience, as they don’t have to decide whether she was innocent or not for themselves, but have it done for them. The third interpretation of Ophelia is that if her being sexually active. The scenes in which she goes mad strongly suggest her sexual knowledge comes from her own experiences with Hamlet, as she acts in a sexual manner. The songs she sings during her madness are also of a sexual nature, which further points to her being sexually active. There is evidence of sexual activity in Branagh’s production, during the previously mentioned flashback scenes. Richard Corum also supports the view that she was sexually active, however Shakespeare never states whether she was a virgin or not Her conversation with Hamlet in act3 scene2 strongly suggest that she and hamlet have had sexual relations, â€Å"you are keen, my lord, you are keen†. The keenness may be that of his sexual lust and she teases him by pointing it out. However much this may point towards the idea that they both have had sexual relations, Shakespeare still never specifically says whether she is a virgin or not. Richard Corum investigates the symbolism and significance of the â€Å"flowers, herbs and willows, † that Ophelia talks off in chapter nine. Corum implies that through the flower imagery that Ophelia uses, it is undoubtedly obvious that she is not innocent. The flowers symbolize Ophelia’s wishes to regain her lost purity and to once again become an ‘innocent flower’. The â€Å"fennel† that is mentioned represents the â€Å"fickleness of love†. Folklore of the time also suggests that fennel and rue were â€Å"abortion-inducing agents†. The willow which Ophelia was holding when she was found dead, was also thought to hold the same properties, which means that Ophelia attempted to abort a pregnancy before the died. Furthermore, the term â€Å"flowers† was used at the time as a term for menstruation, which suggests that Ophelia’s â€Å"interest in rosemary† was a way of her trying to tell herself that her menstruation cycle continued as is normal, meaning she was trying to convincer herself that she was not pregnant. Corum also states that rue supposedly made men impotent and that in handing it to Hamlet, Ophelia was trying to prevent a â€Å"situation that is now perhaps unpreventable† Corum’s examination of the flowers in Act 4, Scene 5, seems to be viable. This is mainly due to his study being based on folklore that existed in Shakespearean times. The ideas themselves are plausible as they clearly fit into the character of Ophelia and can be related credibly to her apparent affair with Hamlet. Instead of outright stating Ophelia’s sexual knowledge Shakespeare uses this symbolism and imagery as subtle undertones to incorporate the idea of her sexual exploits. Shakespeare has always had strong-minded female protagonists in his plays, which means that the assertion that Ophelia is a character of considerable aptitude is not a new phenomenon. Lady Macbeth for example is the driving force behind her husband’s ambition and influenced him to kill the king. Juliet is another astute and determined character despite her young age, her character proves that women can challenge the authority of the men, as she does with her father by marrying Romeo. Taking the conception of Ophelia being a strong minded and autonomous character would by no means be extreme, as the examples I have given surely provide enough evidence that Shakespeare has presented female characters as being of a significant standing.

Political Impacts Essay

Political stability is usually defined as the state of peace that is normally experienced in a country from the activities from the government and also the government in this situation will make decisions and keeping best interests in mind for people. Government initiatives are when the government can support business through grants and tax reductions. The government have their own initiatives for companies like Asda and these are the health eating and fit for life. These are campaigns that Asda will try to support then try to receive more funding from the government for advertising etc. Also when the government chooses investment finance this then involves selling part of your business shares to an investor. The investor will then take a share of any profits or losses Asda make. The government may change the tax rates up or down in an effort to try an boost the economy. An example of this is VAT which means all non-food will need their labels changing which could potentially increase profitability. `The international monetary fund describes itself as ‘an organisation of 188 countries that works to foster global monetary cooperation. It also works to secure financial stability, facilitate international trade, promote high employment and sustainable economic growth, and reduce poverty around the world. Legal Impacts The legal impacts are that Asda must follow the law. The legal frameworks is where the business chooses the way it operates. This will determine who has what role and share to the business. It will also determine relationships between investors and employees etc. Consumer protection is when a group of laws and organisations have to ensure that the rights of a consumer are put in place to hopefully prevent businesses that are engaging in fraudulent activities etc. An example of consumer protection is the Trade Description Act. This is where the product must be described accurately otherwise it can cause an issue. It is really important that Asda describe the product well and accurately if not then the trading standards will have no choice but to get involved. Employee protection is essential in a business. Health and safety standards are the most important. New employees will partake in an induction day before they can start a full time job. They will be shown around the premises and where they can and can’t go within the company. Social Impacts Over time many changes take place in society which are relevant for business organisations. One change is demographic issues. When the population of a country is growing, there is an increase in demand for goods and services, the numbers of people making themselves available for work. This means Asda could potentially increase in their profits as population is growing so there is a possibility of gaining more customers. There have also been changes in structure as the number of older people in Britain is increasing. People tend to save when they are young and spend their savings when they are older so this also could increase profits also for Asda if they spend more in their stores. The average age of marriage is increasing and many people now live alone. Many single people are high income earners. This shows that the standard of living has increased. As it has increased it means they are likely to spend more money on food which is great for Asda as their profits increase. Male and f emale roles have been shifting as today 50% of the working population is female. The changing of gender roles has had a massive impact on consumption patterns. For example the rapid rise in the ready meals market is mainly because of families where both parents are working. This is ideal for Asda to gain more profits by stocking up on a lot of ready meals. Britain consists of many religious groups. Each religious group has its own beliefs and values. These beliefs can affect the types of goods that customers purchase and, and behaviours in the workplace. It is important that employers are familiar with these religious requirements so they can make appropriate allowances. Asda need to apply similar sensitivities to products or materials that people of different religions may touch and handle. Business ethics are the values and principles held by those that run businesses. Ethics help to shape the actions of a business and the decisions it makes. Ethic principles should go beyond legal requirements. Key ethic issues include fair trade. This is offering fair prices to suppliers often in poor countries. Also not leading customers and cheating t hem in any way and providing them with what is good and useful to them.

“Othello: The Moor of Venice” by William Shakespeare Essay

William Shakespeare’s â€Å"Othello: The Moor of Venice,† is full of deception, jealousy, and guilt. The title character, Othello, newly married to Desdemona and respected despite his differences for his strength of character and his valiant efforts on behalf of the Venetian state. Othello’s character changes drastically when his servant Iago, fueled by hatred for Othello, manipulates Othello’s thoughts to create the impression that Desdemona is unfaithful with friend and fellow soldier Michael Cassio. Othello’s actions become defined by his jealousy, which contrasts so notably from the Othello presented at the beginning of the play, that the jealousy becomes a character in itself. When the play begins, the reader is introduced to Iago and Roderigo, who knowing of Othello’s nuptials to Desdemona attempt to sabotage the romance by appealing to her father. Iago’s hatred of his master is first introduced; it will be the driving force behind the events of the demise of Othello and Desdemona. The reason for Iago’s hatred is difficult to pinpoint, though in the first act he implies that Othello’s having passed him over for lieutenantship. However, his case against Othello appears to be due to a deeper hatred so much so that he manipulates everyone around him to bring about the downfall of his master. In this first scene, Iago and Roderigo’s speech is peppered with derogatory references to Othello’s racial difference. In this first section, he is not called â€Å"Othello† but rather â€Å"the Moor† (I. i. 57), â€Å"the thick-lips† (I. i. 66), â€Å"an old black ram† (I. i. 88), and â€Å"a Barbary horse† (I. i. 113). At later points throughout the play, Iago makes again makes reference to Othello’s race, implying an animalistic nature and that Desdemona’s attraction to him is a novelty fueled by lust rather than mutual love and understanding, â€Å"Her eye must be fed, and what delight shall she have to look on the devil? When the blood is made dull with the act of sport, there should be a game to inflame it and to give satiety a fresh appetite, loveliness in favor, sympathy in years, manners and beauties. All which the Moor is defective in (II. i. 204). Despite Othello’s status as a general his race, his difference from the white Venetians with whom he works, is a matter of disdain for Iago and something his virtues are constantly trying to overshadow. Othello is everything he is in spite of his race, and perhaps Iago’s jealousy of Othello’s ability to overcome his difference is enough to his hatred of the Moor. Iago recognizes that his best tool against Othello is the love and trust Othello has in Desdemona. He manipulates in such as way as to ingratiate himself even further to Othello as his plan requires his close oversight and well placed lies, â€Å"Make the Moor thank me, love me, and reward me/ For making him egregiously an ass/ And practicing upon his peace and quiet/ Even to madness (II. i. 235). † Once the idea of distrust is in Othello’s mind, his jealousy begins to emerge more clearly as a singular character than Othello himself had. In the beginning of the play, while other characters such as Iago characters and motives were being built through dialogue and monologues, Othello’s character is built in the reader’s mind by the impressions, which the other characters have of him. He is simply spoken and humble almost to a point of subservience. His love for Desdemona is a matter of like wills coming together. Despite Iago’s assertions to Othello’s animal nature (apparently owing only to his darker skin), Othello is the most restrained of all the characters. However, as the seeds of Iago’s manipulation are planted and harvested the change in Othello is startling. Though a soldier of note, Othello never exhibits any notion of violence until his jealousy takes over his reason. Iago realizes this and is able to manipulate not only his words and imply the worst to Othello but also the actions of others. His exchange with Cassio while Othello hides in the enclave is possibly the best example of his manipulation and the extent to which doubt and jealousy have overtaken Othello’s character. Cassio, speaking of the woman Bianca who has strong affections for him, shows all the characteristics of a man speaking to a woman. Othello, whose beliefs are led the whole way by Iago’s seeds of doubt, automatically assigns the role of woman to Desdemona. When Cassio laughs in disdain over Iago’s question of whether Cassio has affections for Bianca other than physical, Othello interprets the laughter as directed at him, â€Å"So, so, so, so! They laugh that win! (IV. i. 110). † Iago’s manipulation is so complete that Othello resolves to settle the perceived betrayal through murdering Desdemona and having someone else take care of Cassio, â€Å"Ay, let her rot and perish and be damned tonight, for she shall not live. No, my heart is turned to stone† (IV. i. 140). It is a show of Iago’s power over Othello that not only does he lead Othello to this conclusion but also tells how Othello should murder Desdemona, â€Å"Do it not with poison. Strangle her in her bed, even the bed she hath contaminated† (IV. i. 159). This scene is illustrative of the power which jealousy now has over Othello; his motives and reasoning are now presented to the reader through Othello’s own words and actions. His jealousy becomes the character, not Othello the man. He begins to see his love for Desdemona as the destructor, never suspecting Iago’s manipulations until it is too late, â€Å"It is the cause, it is the cause, my soul. Let me not name it to you, you chaste stars,/ It is the cause† (V. ii. 1-3). Despite Desdemona’s protests, the jealousy has taken such a deep root into his mind that even her pleas and explanations do not touch cause him to waiver in his desire to kill her. When he finds out that Iago masterminded the entire saga and that he had killed Desdemona in vain we see the return of his gentleness, though not his calm. The jealousy created madness in Othello; this madness, though the jealousy is shown to be unfounded, unsettles Othello’s character. When he kills himself, Othello is still no longer his old self, though also no longer a jealous man. He is merely a broken man, Iago though caught accomplished his wish to destroy the Moor. Once jealousy takes root in Othello’s mind it begins to alter his character in such a way that the Othello of the beginning of the play and the Othello at the end are almost opposites. As this jealousy is increasingly agitated by Iago’s unfolding drama the reader and, I daresay the other characters who hold Othello so close to their affections, lose more and more the man whose loyalty and strength of mind and body overcame any objections to his differences. While the rest of the characters remain unwavering in their defining features, Othello is like three characters in one. First, there is the Othello who is the strong and steadfast servant of Venice who is a celebrated and trusted general, whose love for Desdemona is unquestioned even by the heads of state. Second, there is Othello enraged and broken by falsely based jealousies. Finally, even as knowing of her innocence restores his faith and love in Desdemona, his guilt causes a third incarnation of the man and character.

Brechtian Performance †Message Delivery Essay

Our group explored and used a variety of different Brechtian techniques. Our chosen form of â€Å"social improvement† was â€Å"safe sex†, and we chose to use a parody of the well-known Bible tale of Genesis to deliver our message, hence juxtaposing contemporary society. We presented it with quite a lot of satire, with physical comedy (the banana and the throwing of clothes whilst Adam [Ryan] and Eve [Steph] were behind the curtains) as well as verbal comedy (â€Å"But God said we could do anything but touch the bananas!†). This example of verbal comedy was to parody God’s command to not touch the apples in the book of the Bible. We also had a narrator (Rebekka) who proved to be effective and acted in the style of a â€Å"Brechtian† narrator. We had individuals step out of the group to address the audience too – God (Jasmin) talked directly to the audience. This is a very popular Brechtian technique as it breaks the â€Å"fourth wall† and jars the audience. God and the narrator also gave stage directions, an example of self-reference which is again jarring for the audience. Since we used a Biblical story, there is already the presence of God, who made the judgment on characters in the end and resolved piece of epic theatre – another Brechtian technique. Also, when God entered, the music We Will Rock You was played in the background, juxtaposing God’s holiness and seriousness and creating opportunities for comedy at the same time. I think certain Brechtian techniques were utilized quite well in our piece of epic theatre. By choosing the tale of Adam and Even, we do not need introductions or monologues in order for the audience to understand the characterizations of the roles – even if not everyone is religious, I think it can be assumed that the whole of the audience are quite familiar with the basics of the tale. This allows the audience to be easily engaged in our performance. Our physical and verbal uses of comedy was successful – the audience understood the innuendos and showed this by laughing at the appropriate times. We also presented the Bible view of contraception satirically, and in the end used the narrator to tell the audience what the message really was – to have safe sex. Thus our issue of social improvement was clearly understood by the audience. When God said â€Å"to go forth and multiply†, the narrator also held up a placard that said â€Å"= MAKE BABIES†, a nother attempt at humor and also translating the Biblical language to make sure the audience could comprehend and follow the story. Critically, I believe we employed the Brechtian techniques well, but there is still a lot of room for improvement. We used self-referencing – both the narrator and God gave stage directions. The narrator also, whilst speaking to the audience, did not speak as herself – instead, she used â€Å"The narrator enters stage right and proceeds to tell the audience that this story is going to be about the issue of safe sex.† This use of third person is jarring and effective. God also gave directions to turn the lights on and off, which made the â€Å"theatre† of our piece evident. However, there were a lot of opportunities to use more Brechtian techniques, but we didn’t. I feel our use of juxtaposition wasn’t particularly strong – we could have used a contradicting type of music when Adam and Even were behind the curtains and throwing the clothes out instead of using the music we chose, which fit with the scene instead of contrasting it. Also, we only used â€Å"frozen images†, and not gestus – Adam and Eve froze whenever God and Satan entered, but it couldn’t be called a representation or summary of all the feelings and emotions depicted in the scene. Personally,I do not think my portrayal of Satan was up to its full potential. I didn’t really use any Brechtian techniques in my role, and my wearing the Devil horns seemed to fail as a humorous stereotypical presentation of Satan. I also think the narrator might’ve given herself more stage directions at times to create an even more jarring and comical effect. For example, â€Å"The narrator says the end to conclude the story. /pause/ The end.† We did not really have time to try this out though, so it might not be a good idea and is merely what I would’ve wanted to try. I also feel we should’ve tried juxtaposing the â€Å"sex† scene to be more sarcastic and humorous – perhaps with a classic, slow, romantic song, paired with the frantic throwing of the clothes. Again, our lack of organization meant we could not try that out, so it is only another personal goal that I wanted to attempt. I wish to have explored more Brechtian techniques, especially in my own role. For example I could’ve used a mask – perhaps a typical Halloween type of mask for a comical, stereotypical presentation. I think we synthesized our content with our form quite successfully. Choosing the Biblical tale of Genesis as the base of our form was a good choice as we favourably parodied God’s commands and the audience could follow the story with ease. This form we chose was effective because it allowed us to employ a variety of Brechtian techniques. The use of physical comedy was also very effective – the audience liked it and it was a sarcastic and humorous symbolism when Adam and Eve went behind the curtains. The use of the banana as a symbol was also very popular and the audience liked it. These uses of physical comedy were effective because we allowed the audience to piece things together and realize the joke, thus making it more amusing for them. The use of the narrator’s third person was also very well executed as it jarred the audience – they were not used to this and it made â€Å"theatre† more evident. Adam and Eve also spoke in colloquial language, p arodying the sophisticated Biblical text and making it more modernized, relating to the targeted audience. Overall the audience understood and appreciated the message we were trying to bring through, as well as our social improvement, thus I would consider this as well synthesized. Our group did not use any cross cutting, which I think is a very effective Brechtian technique. For example, for Tanisha’s group, whose social issue was the modern attitude to obesity, the use of cross cutting was executed very well. When Chloe was giving statistics about obesity and discussing facts about â€Å"Tanya†, Tanisha was at the background eating her Doritos. With this, we understand more easily what Chloe was saying – it was like she was describing the Tanisha at the back. This also provided a lot of comedy and the audience laughed a lot. It could still be an example of juxtaposition and contrast, where Chloe was talking about how Tanya’s condition was very fatal and she must be helped immediately, whilst Tanya was at the back just eating and eating. I also really like the use of the â€Å"original song† in the Gay Marriage group, and feel like we could have employed that technique too. YMCA is a song we, the audience, all know, and changing the lyrics to fit their own message was very successful. It was effective because we understood right away that they were gay and supported gay rights, and it was also very amusing as the lyrics to our well-known song are not changed in such a way. More comedy was created by their stylized acting – Georgia, Amalissa and Charlotte were so serious when singing the song, like it was an anthem and such – which made it more humorous for us. The use of making up your own lyrics to a well-known tune is, I feel, a very effective Brechtian technique, as the audience would easily understand and would also find it very funny. The â€Å"power relationships† demonstrated in Cora’s group was also something I would’ve wanted to use. Their social issue was bullying, and the bullies stood on chairs and towered over â€Å"Cinderella†, who was backed up against the wall. This is a very famous and popular Brechtian technique in demonstrating power – and I find this very effective. This explicit exaggeration of statuses makes the audience question the otherwise â€Å"normal† relationship. We’ve become so used to bullying that we know it’s wrong, yet we never really question the immorality of it or how to stop it anymore. Having the bullies stand on chairs and Cinderella cowering in fear was like a â€Å"wake-up call† – we see the power relationship and we see how wrong it is. Hence this was an effective way to get the social improvement across to the audience. Lastly, I really liked how Tanisha’s group â€Å"broke the fourth wall†. When the two contestants introduced themselves, we were given instructions to clap and give a round of applause. This made the â€Å"theatre† of the piece very evident – the audience is actually joining in and somehow â€Å"taking part† in the performance – we provided the applause. This technique is very effective because it jars the audience and makes them realize they are watching a piece of theatre. I would like to perhaps take this even further and try to ask questions and demand answers from the audience. This penetrates the fourth wall strongly and having the audience participate in such a way is very effective in making â€Å"theatre† obvious. This will make the audience think about the social issue more – the piece of theatre was not merely something you went to watch and got absorbed in, but rather, a representation of reality. I believe this is a n extremely effective Brechtian technique.

The Relationships Between Politicians and Media Essay

The Relationships Between Politicians and Media - Essay Example This research will begin with the statement that empirical research has long confirmed that for most people the mass media are the major sources of information about world events and about political affairs. However, despite television's growing importance as a source of information, regular readers of newspapers continue to attach a great deal of weight to the print medium. Non-readers show a greater dependence on television for political information. Both tables conceal significant variations in responses between readers of 'quality' and 'tabloid' newspapers: the former remain wedded to their preferred medium, using it much more extensively as a means of surveying the world in depth, whilst readers of tabloid newspapers rely more heavily on television and also tend to attach greater credibility to it as a source of news. These tables confirm the centrality of the media for the public. They are the means by which the public acquires information about the world and, more importantly, through which the public derives its knowledge and perceptions of current political and social problems and of the means to their resolution. Traditionally, the study of politics and its relationship to the mass media has focused on institutions and bona fide political actors. Governments, politicians, departments or voting patterns have usually been the political scientists' fodder. When married to an interest in the mass media, the result has been an over-concentration on institutions, structures, and the political à ©lite. à ©lite. While this remains of importance, this sort of approach overlooks the part the mass media play in generating public perceptions of political and social change as well as of policies and decision-making processes. The political significance of the political goes far beyond such questions as 'who controls the media?' and 'how do people get elected?'; even concerns over 'bias' and 'objectivity' are too narrow to take in the full significance of the political Politics and the political infuse all aspects of our lives, our attitudes, and our behaviour. And because the mass media are at the heart of the processes of communication through which 'problems' and their 'resolution' are framed and discussed, they deserve extensive analysis. 5 THE NATURE OF 'MEDIATED' KNOWLEDGE This broad approach to the political significance of the mass media is reflected in many contemporary writings. These emphasize the media's role in providing information-both images and texts-which forms the basi s of public perceptions and responses to events. The media provide, in Blumler's words, 'the informational building blocks to structure views of the world†¦ Table 1.3 Regular readers of: Telegraph, Times, Guardian or FT Express or Mail Mirror, Sun, or Star Main source of news % % % television 32 62 65 newspapers 57 28 24 radio 25 14 14 Table 1.4 Regular readers of: Telegraph, Times, Guardian or FT Express or Mail Mirror, Sun or Star Most believable source of news % % % television 30 59 66 newspapers 35 13 11 radio 20 16 13 from which may stem a range of actions'. 6 Although these 'informational building blocks' combine with a multiplicity of political and social factors to direct an individual's action, they determine the limits of our knowledge and of our perceptions of events and

The Analysis on the Road Pricing in the UK Essay

The Analysis on the Road Pricing in the UK - Essay Example transportation modes interact in our analytical scheme, cite factors that influence our efforts to arrive at a workable solution, and then discuss other alternatives. Walking is the simplest means of personal mobility, and when the purpose of such action is to move from one place to another, it is known by another term: transport. Mobility and transport depends on several factors ranging from the anatomical, like having two legs, to the external, like having a path on which to move or transport one’s body. Mobility and transport have been amongst the important factors that determined human development, and whether we like it or not, these are subject to the economic law of supply and demand. The development of transport supply and demand has given rise to the complex system of transport infrastructures, modes of transportation, and the propensity for personal mobility we enjoy today. We take mobility as part of a natural ability to be where we want to be, and take it against our privilege any obstacle that restricts this freedom in any way. This is why transport has become subject to the laws of supply and demand, for whereas the demand for mobility continues to increase with human development the supply of transport infrastructure that makes it possible is limited. Fig. 1 shows the effects of developments in transportation in increasing the speed of mobility. Economists (Rodrigue et al., 2006) define transport supply as the capacity of transportation infrastructures and modes, generally over a geographically defined transport system and for a specific period of time. Transport demand is the expression of transport needs, regardless of whether those needs are satisfied fully, partially, or not at all. Both are commonly quantified in terms of capacity (infrastructure), frequency (services), and networks, as in the number of passengers, volume (liquids), or mass (freight) that can be (supply) or needed to be (demand) transported per unit of time and