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Criminal justice system in racial equality

An astute social worker and professional policy advocate, once you have selected and identified a social
problem, you begin the process of creating and implementing a policy that addresses that social problem. One
of the first things you do in the implementation process is an analysis of the social policy you identified.
In Part 3 of your ongoing Social Change Project assignment, you analyze the selected social policy.
Address the following items
Evaluate the policy’s strengths and weaknesses. What is working? What is not working?
How will changing this policy affect clinical social workers or the clients of clinical social workers?
Provide an update on the advocacy activities you proposed in the Week 6 Assignment
Can you focus more on the criminal justice system in racial equality

Sample Solution

iew, to identify which actors encounter this space and in what capacity they operate. In terms of online museums inhabiting intangible space, the prevalence of Artificial Intelligence (AI) illustrates the prevalence of alternative nonhuman curators. AI may be used in various capacities within digital museum spaces. The Anne Frank House has employed a Facebook Messenger Bot, to tailor specific digital, remote encounters between the museum and prospective visitors, by sharing photographs and information, depending on what the human recipient has chosen to engage with. This ‘bot’ operates tasks and responds quickly with efficiency and autonomy, according to your requests and interests. This bot is on the front line of museum access; this digital space can be accessed worldwide and may be an individual’s first encounter of accessing the collection. This experience is a finessed and comprehensive showcase of the museum and collection. The discussion also carried a social message within the conversation relating and referencing the wider context surrounding the collection. As an alternative space, we know that genuine exchanges occur though this technology, because outcomes are reached and the software facilitates ‘talking points’ for conversations. However the extent to which this could be considered as humans interacting with other humans, by utilising digital software as the facilitator, can be discussed. By applying Marshall McLuhan’s assertion that technology is an extension of the human, it appears that under human curators, museum practices use digital spaces to facilitate alternative, accessible and remote engagements with objects and collections. To analyse and discern how nonhumans participate within digital spaces, a path that the information follows can be traced. With bots and AI, human curators firstly create objectives to inform software configuration that creates specific experiences. Algorithmic language is then created and replicated; this intra-action initially occurs between human actors with digital software through code; as a language that speaks with digital entities first within intangible spaces. Therefore, through algorithms, the digital software could be considered as the custodian and audience, in being the primary receiver of this content through this received information. Consequently, we as humans are the end users to receive and share this experience, but not the primary audience Even though digital entities are perceived to form the intermediary between ‘real’ human connections; they are nonetheless first to receive the content. This serves to reverse McLuhan’s arguably anthropocentric view of how technology is an expansion from the human. This can be asserted in that within digital museum spaces, humans can be seen as extensions from when the content is disseminated by digital entities, as illustrated above. By applying non-human centric ideology within the above examples, it could be reasoned that digital entities can be considered less as an intermediary to communicate and disseminate collections. Instead however, perc

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