Ursula K Le Guin Essay Example for Free

Ursula K Le Guin Essay Ursula K. Le Guin was conceived Ursula Kroeber in Berkeley, California, on October 21, 1929. Her mom, Theodora Krackaw Kroeber, had a propelled degree in brain science and was a notable essayist for her accounts: Ishi in Two Worlds in 1961 and Ishi, Last of His Tribe in 1964. Le Guin’s Father, Alfred Kroeber, was a recognized anthropologist for his work with clans of Native Americans indigenous to California (Carmean, Williams, and Rich). Her dad likewise instructed at the University of California at Berkeley. Le Guin and her three more established siblings Karl, Theodore, and Clifford were urged to peruse at a youthful age (Boon and Heller). During the scholarly year, the Kroebers inhabited their home in Berkeley. At the point when summer showed up, the family would move to their domain, Kishamish, in Napa Valley. There, the family delighted in the organization of numerous erudite people: essayists, researchers, graduate understudies, and American Indians. Likewise, Le Guin and her sibling habitually investigated their forty-section of land summer home. This investigation would later impact huge numbers of her books that depend on ventures by foot (Boon and Heller). Experiencing childhood in a situation that encouraged scholarly interest and having boundless access to books, started Le Guin’s imagination. Because of her parents’ devotion to different societies, her fiction shows a wide range of perspectives other than the standard Euro-American serious realism. Her different perspectives permit Le Guin’s writing to move easily across hindrances of culture, language, sex, and belief system while investigating the two elements of social and mental character (Carmean, Williams, and Rich). Le Guin found sci-fi while perusing crafted by Lord Dunsany, and astoundingly, she created her first dream when she was just nine years of age. From that point, a magazine dismissed her first sci-fi story, composed when she was eleven (Carmean, Williams, and Rich). In 1947, Le Guin was taken a crack at Harvard University’s Radcliffe College and graduated in 1951 with a bachelor’s certificate in French and Italian with an accentuation in Renaissance writing (Carmean, Williams, and Rich). She at that point entered Columbia University and finished her master’s qualification in 1952. Le Guin beganâ a doctoral program at Columbia, yet in December of 1953 she chose to end her examinations to wed Charles Le Guin, a history teacher, in Pa ris, France. She had met Charles while venturing out to France as a Fulbright Fellow (Boon and Heller). After the wedding, the Le Guins lived in Georgia. While in Georgia, Ursula Le Guin showed French at Mercer University, and Charles Le Guin had effectively finished his Ph.D. in French history at Emory University. The Le Guins then moved to Idaho and had their first youngster, Elizabeth, in 1957, and their subsequent kid, Caroline, in 1959. Around the same time, Charles Le Guin took a situation at Portland State University and the family moved to Oregon forever. The Le Guin’s third and last youngster, Theodore, was conceived in 1964 (Carmean, Williams, and Rich). Ursula Le Guin started attempting to distribute her work in book structure rather than magazines (Carmean, Williams, and Rich). She started composing verse, later gathered in Wild Angels in 1975, and a couple of books after her marriage. Distributers dismissed her initial works for not fitting accurately into a sort (Boon and Heller). Her advancement recorded as a hard copy happened in September 1962, when the distributing organization, Fantastic, distributed â€Å"April in Paris.† The next year, a similar distributer printed her first sci-fi story, â€Å"The Masters† (Carmean, Williams, and Rich). Le Guin started to win renowned honors and accomplish acknowledgment for her set of three: Rocannon’s World (1966), Planet of Exile (1996), and City of Illusions (1967). In 1968, Le Guin’s A Wizard of Earthsea won the Boston Globe Horn Book Award and in 1969, The Left Hand of Darkness won both the Hugo and Nebula grants. She turned into the principal author to win both the Hugo Award and the Nebula Award twice for the novel The Dispossessed (1974, 1975). Since the 1970s, Le Guin has won a lot more honors, including a few Hugos and Nebulas, Pen/USA, Locus Readers Awards, a Pushcart Prize, and a Gandalf grant for accomplishment in dream (Boon and Heller). Also, she won the Kafka Award in 1986; a Hugo Award for â€Å"Buffalo Gals, Won’t You Come Out Tonight?† (1988); a Nebula Award for Tehanu and â€Å"Solitude† (1995); and the Endeavor Award or both The Telling (2000) and Tales from Earthsea (2001); Lastly, Le Guin was accepted into the Science Fiction Hall of Fame in 2001, and was named Grand Master by the Science Fiction and Fantasy Writers of America in 2003 (Carmean, Williams, and Rich). While the majority of Le Guin’s time was committed to composing, she was additionally known to be associated with political exercises. As she picked up fame, sheâ became a solid supporter for improving the nature of imagination and sci-fi. She was likewise a firm promoter for women's liberation. Her initial works dainti ly addressed sexual orientation issues; later works, for example, Tehanu, tended to the nonattendance of uniformity legitimately (Carmean, Williams, and Rich). While she set an accentuation on sci-fi and sexual orientation issues, the subject of Le Guin’s work is consistently mankind. She utilizes an illustrative procedure while her mode is figurative. Drawing from the viewpoint of the Daoist savant Laozi, Le Guin’s characters look for solidarity and complete mindfulness and must have the option to perceive the genuine natures of individuals or articles before they can really comprehend their place on the planet. The characters must gain proficiency with the inescapable Catch 22s throughout everyday life and the questionable idea of creation (Carmean, Williams, and Rich).

Covering the full semester of learning Critical Thinking Term Paper

Covering the full semester of learning Critical Thinking - Term Paper Example Life is comprehended through the recognitions individuals hold about how occasions happen, why they occur, and how much control they had over how they happened. Bunch (2004) depicts an occasion called a change in perspective, which implies that the manner by which life is seen shifts towards another thought of how life can function. A change in perspective happens when the manner by which life is seen is moved to another comprehension. This underlying idea made its own change in perspective for me as I perceived how life could be drawn closer in various manners from which I had initially accepted. Through becoming familiar with what Covey (2004) introduced, I started to imagine that prospects were more extensive and more accessible than what I initially saw as my own impediments. Information makes new thoughts and changes the manner by which something is placed into setting with convictions about the world. Learning, at that point, is the conductor through which information can make important change. One can say that numerous insights characterize how that learning is accomplished and seen. The understanding that insight comes in numerous structures underpins the numerous degrees of observation that exist (Gardner, 1983). Change comes then from how close to home insights see and get information and uses it towards significant change. The manner by which the individual methodologies life can be seen through the focuses on which they center their lives. Flock (2004) portrays the inside by first expressing that it isn't really a simple spot to recognize. The focal point of one’s life is characterized by what is significant, which is normally what gives security and direction. Intelligence and force are not generally gotten from that inside, yet ought to be looked for as a piece of how one focuses their life so as to hoist the idea of how life is lived. The focal point of one’s life can be a terrible spot as well, which shadows each move they make and keeps them limited by rules they have characterized, yet may not be from a position of truth. Revelations and focuses can come at the same time now and again. In perusing the book Left to tell: Discovering God in the midst of the Rwandan holocaust, Immaculee Llibagiza (2008) I found that Immaculee discovered confidence amidst a danger against her life. Her work day happens as she ends her life from a position of dread to that of a position of confidence wherein she accepted that God would keep her from hurt. Her feelings of dread were solid to such an extent that they had been the focal point of her life, yet in finding that she accepted that God would hold her from hurt, she moved the focal point of her musings from dread to confidence. How we see the focal point of our life and how our propensities bolster that inside makes viability or ineffectualness in accomplishing objectives and results. Propensities, Covey (2004) composes, are â€Å"the convergence of information, ability, and desire†, which on account of Llibagiza (2008) were not, at this point applicable to war time presence. Her day by day propensities and the information and expertise with which she existed were not a piece of the new presence of living in every day dread and stowing away. She needed to shed every last bit of her old propensities and structure new ones that coordinated her condition. Between the ideas of propensity that Covey (2004) clarifies and the interruption that Llibagiza (2008), obviously propensities frequently should be changed to advance endurance, however

Systematic Desensitization for Panic Disorders

Systematic Desensitization for Panic Disorders Panic Disorder Treatment Print Systematic Desensitization for Panic Disorders By Sheryl Ankrom linkedin Sheryl Ankrom is a clinical professional counselor and nationally certified clinical mental health counselor specializing in anxiety disorders. Learn about our editorial policy Sheryl Ankrom Updated on January 05, 2020 Joerg Steffens/OJO Images/Getty Images More in Panic Disorder Treatment Symptoms Diagnosis Coping Related Conditions Joseph Wolpe, a pioneer of behavioral therapy, developed a technique called systematic desensitization for the treatment of anxiety-related disorders and phobias. This technique is based on the principles of classical conditioning and the premise that what has been learned (conditioned) can be unlearned. Ample research shows that systematic desensitization is effective in reducing anxiety and panic attacks associated with fearful situations. Systematic desensitization usually starts with imagining yourself in a progression of fearful situations and using relaxation strategies that compete with anxiety. Once you can successfully manage your anxiety while imagining fearful events, you can use the technique in real-life situations. The goal of systematic desensitization is to become gradually desensitized to the triggers that are causing your distress. Learning to Relax Before you can begin gradually exposing yourself to your feared situations, you must first learn and practice some relaxation techniques. Some techniques commonly used in relaxation training include: Deep Breathing When people are anxious, they tend to take rapid, shallow breaths that come directly from the chest. This type of breathing is called thoracic or chest breathing. When you’re feeling anxious, you may not even be aware that you’re breathing this way. Chest breathing disturbs the oxygen and carbon dioxide levels in the body, resulting in increased heart rate, dizziness, muscle tension, and other physical sensations. This may signal your body to produce a stress response that contributes to anxiety and panic attacks. How to Breathe Properly for Relieving Your Anxiety Progressive Muscle Relaxation If you have panic disorder, agoraphobia or another type of anxiety disorder, you may experience frequent muscle tension. In fact, chronic muscle tension may be so automatic that it seems normal, and you may have forgotten what it feels like when your muscles are completely relaxed. By employing the progressive muscle relaxation technique, you will be able to quickly rediscover the distinctions between relaxation and tension of various muscle groups. Using Progressive Muscle Relaxation Visualization By imagining yourself in a peaceful, stress-free setting, you can reach a state of mental and physical relaxation. For example, imagine yourself sitting near a beautiful, peaceful lake. Focus on the scene for a period. Feel the soft sand on the bottom of your feet. As a gentle breeze sweeps across the water, imagine the warm air on your face as you watch a magnificent sunset on the horizon. Visualization Techniques How Systematic Desensitization Works Before beginning systematic desensitization, you need to have mastered relaxation training and developed a hierarchy (from least feared to most feared) list of your feared situations. If you have difficulty getting to a state of relaxation or identifying your anxiety hierarchy, you should consult with a professional who will be able to provide you with guidance. Systematic desensitization begins with imaginary exposure to feared situations. Use your anxiety hierarchy to break down the feared situation into manageable components. For example, let’s say you fear to go into large stores. You may have the least anxiety walking into the store and your anxiety likely intensifies as you get further from the exit doors. Standing in the checkout line represents your highest fear response. In this case, you would start the process by focusing on the action that causes the least amount of distress and then work your way up. The result is that you will gradually, or systematically, become desensitized to shopping in large stores. Desensitization, Hierarchies and Social Anxiety

The Tell Tale Heart By Edgar Allan Bro - 876 Words

edgar allan bro Although a literary text can be interpreted many different ways, a particular approach can be enlightening and reveal possible and specific ways to interpret the text. In Edgar Allan Poe’s story â€Å"The Tell-Tale Heart†, the narrator begins the story with stating that he is â€Å"nervous --very, very dreadfully nervous† (Poe) - but not insane. Through the story, he attempts to defend his sanity, but ultimately confesses to killing an old man. He had no motivation besides the fear of the man’s eye – â€Å"the eye of a vulture --a pale blue eye, with a film over it† (Poe). From a psychoanalytic approach, readers could infer that the narrator in â€Å"The Tell-Tale Heart† is being driven by his ego. His is fixed on committing his crime cautiously, but in the end his ego forces him to confess his misdeed. This approach shows what drives the mind to make the decisions we as people make. Furthermore, it shows the results of the unrepressed ego. When reading â€Å"The Tell-Tale Heart† for the first time, one may think the narrator is controlled by his id. But reading closer into the story, it begins to point to his ego that is controlling him. The narrator’s superego and id play very miniscule roles in his thought process, and do not show in his actions. The narrator s egocentrism is displayed when he says, I think it was his eye! yes, it was this!... Whenever it fell upon me, my blood ran cold... (Poe). He talks of killing the man to rid him of the fear of the eye. One criticShow MoreRelatedThe Rise Of Poe By Edgar Allan Poe1635 Words   |  7 Pagesare always searching for the right words to express their true emotions towards a certain subject. Artists and authors manage to make a living off of knowing how to use the right words to reach through to their platform. Though within his time, Edgar Allan Poe did not have an established platform and was seen as estranged; he still dabbled as an author and has mad e many famous short stories and poems that we enjoy to this day. Poe uses tone, diction, imagery, symbolism, elements of the supernaturalRead More The Death of the ‘Authorlessness Theory’? Essay6470 Words   |  26 PagesHardin). Third, Gram Parsons did not write all of the songs on the album. â€Å"I Can’t Dance† was a Tom T. Hall song; â€Å"Cash on the Barrelhead† was originally by the Louvin Brothers; â€Å"Love Hurts† was written by the famous songwriter Boudleaux Bryant; and, â€Å"Hearts on Fire† was co-written by Tom Guidera (Harris’ then boyfriend) and Walter Egan. Fourth, Parsons’ performance of â€Å"Hickory Wind† marked the second time he had recorded the song for an album. While a member of the Byrds, he recorded the song on their

Being the Best Missionary to the Indians - 887 Words

A good missionary is one that simply is respected and accepted by the Indians and who has successfully spread the word of God to them. Many qualities however though play into obtaining this presence. A lot of Europeans that came to the new world did not possess these many qualities to understand the Indians. As a Jesuit myself who is a part of the New France mission I do know on a first hand basis what it takes to be a good missionary. As a part of the New France mission I have experienced various encounters with several different Indian nations. I do admit that these native people are very down to earth and connected with each other very well. The purpose of are mission to New France was to spread the word of God and our Catholic faith to the natives and convert them. This process is much easier said than it is to actually be done. For one just think about trying to first communicate with a person who speaks a different language, has no idea who you are, and where you came from. To sum it up basically trying to talk with an alien from another planet in the skies. This leads me to saying that communication and patience are the top two qualities that we missionaries have to have to even start to succeed with our mission. Other Frenchmen that came here to the New World to start a new life do not seem up to par with are communication and patience skills with the natives here. The fact of their skills not up to par with ours is mainly because as a Jesuit we have been trainedShow MoreRelated`` A Winter Of Lahore `` By Ashley Carus Wilson1518 Words   |  7 PagesIrene Petrie: Missionary to Kashmir Written by Ashley Carus-Wilson, this book is a biography of Irene Petrie, a missionary who went abroad to India for four year, and died during her time there. Carus-Wilson is sister to Petrie, and wrote this book for the purpose of ensuring that her sister was remembered and honored by the community. The chapter being examined is entitled, â€Å"A Winter in Lahore†, and details Petrie’s first arrival to India and her mission work thereafter. The audience of this textRead MoreComparison of How Spain, France, Britian, and America Interacted with the Natives1345 Words   |  5 Pagesbrought over Franciscan missionaries to begin to witness to the Florida Indians. For most of the 1600’s the Franciscan missions were the preverbal mediator between the Indians of Florida and the people of Spain. It was also reported that the Native people that lived in away from the missions did not feel the religious squeeze, but were however, still within the reach of the sickness brought over from Europe. The Indians that lived in the villages close to the missionaries started to change slowlyRead MoreCherokee Removal Essays886 Words   |  4 Pagesamongst the new citizens of a new, free country and the traditions of the Cherokee people was being pushed back into the west. Since international law said that England had discovered the American colonies, they therefore owned all of the land. That meant that the natives or quot;uncivilizedquot; people no longer owned the land. This group of the quot;uncivilizedquot; consisted of many Indian tribes which were forced out of their homeland, including the Cherokee. While Georgia andRead MoreMotives of Exploration of the New World Essay823 Words   |  4 Pagesof adventure. The treasures that Columbus brought back to Spain enticed many adventurous explorers and sent them searching for gold and silver. Missionary clergymen sought to serve God by converting the natives to Christianity. By 1634, the area of present-day Florida and Georgia was home to 30 Spanish missionaries, 44 missionary stations, and 30,000 Indian converts to Catholicism. Within a few decades, Spanish explorers became familiar with the northern coast of South America, the Pacific Ocean, theRead More Lakot Woman Essay926 Words   |  4 Pageseveryday life as an American Indian woman. The Lack of running water or electricity, the poverty and oppression found on and around the Indian reservation, are just a few examples of the problems that she had to deal with on a continuing basis. She describes in detail the violence and hopelessness that her people encountered at the hands of the white man as well as the â€Å"hang around the fort Indians†. Mary Crow Dog tells of horrors she had to endure while attending the missionary school and of facing theRead MoreRed Jacket By Phillis Wheatley1062 Words   |  5 PagesRed Jackets’ â€Å"Reply to the Missionary Jacob Cram† and the poems written by Phillis Wheatley both have something in common. Belief in a God/god(s). Red Jacket provides that in his culture there is the belief in the Great Spirit which Jacob Cram wants to change to the almighty God and Phillis Wheatley shows how what she went through as a slave brought her to an un-denying devotion to God. Religion is something that has developed continually over the years, but one thing has remained the same†¦ everyRead MoreAmerican History And The Colonization Of North America By Daniel K. Richter1130 Words   |  5 PagesNorth America; it is the European or white man’s version of events. Children all over the United States see pictures of Indians barely wearing clothes and wearing headdresses covered in feathers and larger than the very heads they sit on. Though, this narrative is not contained to inaccurate history books it is represented in books, movies even advertisements. Time and time again Indians are portrayed as savages who lack morals and are devoid of humanity. Recently author Daniel K. Richter has askedRead MoreThe Islamic Diffusion Of India1243 Words   |  5 PagesArabs began to convert to Islam, the religion carried to the coast of India. The first mosque in India was built in 629, it is called the Cheraman Juma Masjid. The mosque was made in the Indian state Kerala. Islam continued to spread into Indian cities, by immigration and conversion, as the Arab Muslims and the Indians continued trading. DIFFUSION Islamic diffusion in India happened through both Relocation and Expansion. India was first introduced to Islam in the 600’s when Arab tradersRead MoreI Visited The San Fernando Mission1205 Words   |  5 Pages2016 .The visit to the mission was one of the best experiences that I encountered. It was an exposure to a lot of details and helped me understand and reconnect with the past historical events and moments that we were studying throughout the semester. The San Fernando mission was the 17th mission founded by father juniper Serra. It was built to fill the gap between the mission San Buenaventura and the mission San Gabriel. We talked a lot about the Indians in the class and you mentioned that they areRead MoreThe Trail Of Tears : The Removal Of The Indians1631 Words   |  7 Pagesto be mostly opinions and exaggerations. One of the most popular ideas that justified the Indian Removal was that the United States was moving the Cherokees for their own sake. Lewis Cass, a supporter of the Indian Removal and a governor of Michigan territory, wrote an essay titled â€Å"Removal of the Indians† in January 1830, only eight years before the Trail of Tears. In this essay he speaks of why the Indians should be removed. One of the things he says is,†Ã¢â‚¬ ¦From an early period,[the Cherokees’] rapid

Symbols in Ethan Frome Free Essays

Sex, lies and deceit. These three things are what this novel is about. But it is so much more than that. We will write a custom essay sample on Symbols in Ethan Frome or any similar topic only for you Order Now In the book Ethan Frome, written by Edith Wharton, the author uses symbolism to represent many things such as death. Symbols such as Zeena’s red pickle dish, the cold season of winter, and the dead cucumber vine all represent important parts that make up this novel. Zeena’s red pickle dish is a dish Zeena treasures most. She received the pickle dish as a wedding present and only uses the dish on special occasions. Mattie uses the pickle dish the night her and Ethan are alone, while Zeena is out of town. The cat accidently breaks the dish during the dinner. â€Å"†¦And gathering up the bits of broken glass she went out of the room as if she carried a dead body† (Wharton 66). At this point, Zeena was really mad when she found out herself that the dish was broken and no one told her. This gave her another reason to hate Ethan and Mattie even more. The dish breaking symbolizes the marriage between Ethan and Zeena was now broken. Ethan Frome takes place in Starkfield, Massachusetts during the cold winter months. Winter controls over the tragedy in all its signs of snow, wind, cold and darkness. Winter is the worst season for Ethan. In the beginning, Harmon Gow had said, â€Å"Guess he’s been in Starkfield too many winters. Most of the smart ones get away† (Wharton 2). Ethan studied science and technology after high school, but after his father died and his mother became sick, he was forced to come back to his hometown of Starkfield. Responsibility for his mother and poverty has prevented him from leaving. Sadly, Ethan’s mother died in the winter. After his mother’s death, Ethan married Zeena because he was so lonely all the time. Winter is symbolizes isolation and loneliness. Last but not least, the dead cucumber vine. â€Å"A dead cucumber vine dangled from the porch like the crape streamer tied to the door for a death, and the thought flashed through Ethan’s brain: â€Å"If it was there for Zeena-† (Wharton 26). Ethan wished Zeena was dead. If Zeena was not alive, Ethan could be with Mattie and they both would be happy together. They wouldn’t have to hide their love for each other. The dead cucumber vine symbolizes death and also symbolizes dying souls that live in the Frome’s house. In this case is Zeena, who is the slowly dying soul living in the house because of her illness. Zeena’s red pickle dish, winter, and the dead cucumber vine are all important symbols in this novel. Understanding these symbols make this novel more interesting now that one knows what some objects symbolizes. Such as Zeena’s pickle dish, the broken dish is a symbol for the shattering of Ethan and Zeena’s marriage. The winter represents loneliness. The dead cucumber represents death. These three things best represent the story of Ethan Frome. How to cite Symbols in Ethan Frome, Papers

Plato and Aristotle free essay sample

Plato and Aristotle were two philosophers who made an impact on philosophy as we know it as today. Plato is thought of as the first political philosopher and Aristotle as the first metaphysical philosopher. They were both great intellectuals in regards to being the first of the great western philosophers. Plato and Aristotle each had ideas in how to better life by improving the societies in which they were part of during their lives. The views of Plato and Aristotle look different but they do have some similarities to them. Plato is mostly known for his Theory of Forms and Aristotle is known for his thoughts in universals. Even though they both thought a bit differently they did agree in a few things. Plato and Aristotle not only had an impact on society in the past but today’s society as well. Plato was a teacher to Aristotle and lived during the Peloponnesian War, which lead to the end of the Athenian democracy. He had eyewitness account of Socrates, his mentor, trial and execution. Unhappy with the political corruption that plagued the Athenian democratic government, he removed himself from politics. He strongly felt that neither a moral individual nor a state could be established in a democratic environment. Plato felt that the common man was not intelligent enough to deal with concepts that influence the state such as economics, policies and other relative matters. He thought of philosophers as being the most intelligent among men. He viewed political incumbents in the Athens government basically as bought individuals in office for the good of themselves and not society as a whole. Another danger was that extreme liberties given to the people in the democratic society could potentially lead an anarchy. Aristotle was a student of Plato’s and teacher of Alexander the Great. He created his own school in Athens. He thought of metaphysics to be the first philosophy, which was a large interest to him. Aristotle’s stated that forms were universal. According to Aristotle, notion of Essential properties makes something what it is, and accidental properties are the differences of that item. Aristotle believed the state and the individual are similar and democracy would be the better government. In Book VII of The Republic by Plato, Socrates describes the Allegory of the Cave. It is a metaphor to illustrate the effects of education on the human soul. It can also be understood as what is real and what is believed to be real in life. Even though Plato had his ideal city, the forms was really what people could connect with. There is so much one can take from his thoughts on the forms that could be applied to society today. Plato starts out comparing people that are uneducated to prisoners chained in a cave, unable to turn their head. All they can see is the wall of the cave in front of them. A fire behind them burns bright. Between the fire and the prisoners, there is an area for puppeteers to move around and hold up the puppets to cast shadows on the wall that is in front of the prisoners. This is what the prisoners see every single day. This is all they know; shadows, echoes, the smell of the fire, and darkness. They believe that that shadows are reality. One of the prisoners is allowed to go outside of the cave. Once they reach the outside of the cave, they are blinded by the light because they have not seen such. Once their eyes start to adjust, they start seeing shapes and objects around them. They see that the sun is what creates light and that the tall objects with leaves are trees. They are colorful with moving parts. They go back outside to tell the prisoners, but they are not believed. Those still inside of the cave thinks the person just came in from the outside ill because that is not what they see in the cave, they did not see the outside for themselves, so therefore, it does not exist. So now the person that just came in from the bright sun light cannot see very well in the darkness of the cave, their eyes have not adjusted to the darkness, and people think they are crazy. This is where this view fails for Aristotle because it is not realistic. Aristotle rejects Plato’s Theory of Forms, and makes the way for his realistic approach, which underlines observation first and abstract reasoning second. Being a student of Plato’s, I believe he was indebted to justify at lengths why he disagrees with doctrines of his teacher. He provided detailed arguments against many of Plato’s doctrines, a lot of his major works, focusing in particular on the Theory of Forms. In Aristotle’s critique he thinks this theory is essentially an assertion of the superiority of universals over particulars. Plato argues that particular instances of beauty or justice exists only because they participate in the universal Form of Beauty. Say a there are two objects, one is colorless and the other one is red. The colorless one goes where the red on is located. Since the colorless object and the red object are participating, they are both red objects. They have a certain nurture and nature. However, Aristotle argues that universal concepts of beauty and justice derive from the instances of beauty and justice in this world. We only arrive at an idea of beauty by observing particular instances of beauty. This universal quality of beauty has no existence beyond this idea that we build from particular instances. He is staying that the particulars come first and the universals come after and therefor, Aristotle places emphasis on the importance of observing the details of this world. Which leads me to understand his thoughts on happiness a little more. With putting the weight on observing happiness can measured by a person’s life. Aristotle lays out in Book X in the Nicomachean Ethic’s, the continuation of his thoughts on pleasure, happiness and the end of life, and ethics and politics. His view on happiness and the end of human life really made me question his way of thinking. Aristotle suggests that happiness is the final end of life because nothing is greater than happiness or the good life and it goes against his universal theory. Aristotle proposes that happiness, or the good life, is taken to be a most final end. â€Å"We said, then, that happiness is not a characteristic, for in that case it could be present even to someone asleep thought his life, living the life of plants, and to someone undergoing the greatest misfortunes. † (Nicomachean Ethics, 1176a-1176b). The good life for humans is the life of choosing to life the life according to the virtues. â€Å"For we choose everything, so to speak, for the sake of something else-except happiness, for it is the end. † (Nicomachean Ethics, 1176b). Also, it seems that only humans can be happy because the happiness is an important nature of every individual human and it is unique to humans in that the function of humans is what distinguishes them from other kinds of things. Happiness is a self-sufficient activity desirable for its own sake. One seeks nothing from happiness beyond the actual experience or performance of it as an activity. Activities that are desirable in themselves are activities in conformity with virtue and indicates that the greatest happiness must be activity in conformity with the highest virtue. It is wrong to confuse happiness with various kinds of amusements involving bodily pleasures, as many people do. Such amusements are neither virtuous nor ends in themselves, but are merely relaxing diversions in which one occasionally engages for the sake of future activity. The greatest happiness is activity in conformity with the highest virtue is excellence. Intelligence is mans highest possession and the objects of intelligence are the highest objects within his grasp. It is clear that the life of contemplation and theoretical wisdom must be the greatest of human virtues and the highest form of happiness. The objects of the contemplative life are the unchangeable and eternal verities that underlie and govern the universe. From contemplation of these truths the soul derives a feeling of purity and stability. â€Å"Further, this active is most continuous, for we are more able to contemplate continuously than we are to do anything else whatever. † (Nicomachean Ethics, 1177a). Also, the wise person is able to contemplate by himself, the wiser he is the more adept he will be doing so. Contemplative happiness is not dependent on other men. It is the form of life in which human beings come most nearly to being divine, the life that harmonizes with intellect, and that life seems to be the happiest, according to Aristotle. There is another kind of happiness, based on moral virtue and practical wisdom, which is concerned with feelings that spring from mans bodily nature. It can be defined as the harmonious coordination of all parts of mans complete being. This kind of happiness is not as exalted as the contemplative, but it helps prepare us for the higher happiness and, since man is not all mind and reason, gives us something to fall back upon when we are unable to remain continuously at the higher level. â€Å"For if there is a certain care for human things on the part of gods, as in fact there is held to be, it would be also reasonable for gods to delight in what is best and most akin to them – this would be the intellect – and to benefit in return those who cherish this above all and honor it, on the grounds that these latter are caring for what is dear to gods as well as acting correctly and nobly. † (Nicomachean Ethics, 1179a). This person is the happiest and a wise person would be extremely happy. I believe this idea has some hints of Plato’s forms. The one person who went outside of the cave and saw it all was brought down by all the people in the cave that didn’t see the outside. Aristotle states that you cannot be happy with a lot of friends because they are not true friends. I believe those excess friendships would be a similar situation in the cave. They would not bring your happiness, only suffering. Aristotle and Plato have similarities in their city states as well. Plato gives a place to women, but Aristotle does not seem to care for women. When reading Plato, the texts are in Socrates’s voice. It makes it hard to connect what he is saying, especially in the Republic since it is a play. Also, one cannot tell if Socrates, Plato, is being serious or straightforward or if it’s Socrates’s thoughts or Plato’s. In Nicomachean Ethics, the text is Aristotle’s lecture notes and he is the author of them. While reading, it seems that Plato comes out and gives his opinion on matters, but Aristotle presents them, but does not come out and say what his thoughts are. Plato and Aristotle were two philosophers who made a huge impact on philosophy. They were both great western philosophers. Plato and Aristotle each had ideas in how to better life by improving the societies in which they were part of during their lives. Although they are thought to have completely different views, when laid out, their views have some similarities.

The Marxist Perspective on Crime Essay Example

The Marxist Perspective on Crime Paper In sociology, deviance refers to behaviours or actions which are considered abnormal and undesirable; in other words, they contravene cultural/social norms (for example swearing in public). At a certain point in time, a society may decide that some specific acts are so undesirable that they warrant punishment. When laws are passed against deviant acts, they become crimes (for example murder). In this essay, I will look at the Marxist perspective and how it has contributed to the study and understanding of crime and deviance. Whilst Functionalism is a perspective based on value consensus, Marxism holds at its core the theory of conflict and class struggle in society. According to Marx, there is a fundamental division between what he sees are the two classes of society: the capitalists (or bourgeoisie), who own the means of production (e. g. oney, property, raw materials capital) and the working-class, who do not own capital. From a Marxist point of view, the proletariat and the bourgeoisie hold conflicting positions for example, factory workers will inevitably wish for high wages, whilst factory owners will want to maximise their profits by paying workers as little as possible. Marxist criminology is based around the view that crime is a product of the fundamental class conflict in capitalist societies. We will write a custom essay sample on The Marxist Perspective on Crime specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on The Marxist Perspective on Crime specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on The Marxist Perspective on Crime specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Marxists argue that the structural-conflict model of capitalism systematically generates crime by holding at its centre severe social inequalities whilst encouraging people to strive for monetary success. The nature of the system is competitive, promoting personal gain rather than collective well-being; it often leads to the exploitation of millions for the profit of a few. Right across the social spectrum, people are persuaded of the importance of material possessions through adverts of the latest fashion item and through the medias portrayal of exclusive lifestyles. Echoing Mertons strain theory, Marxists argue that those with barriers to success, from the businessman to the factory worker, are pressured to break the law in order to achieve the material desires which capitalism encourages. Marxs theory of alienation can be applied to those crimes which have no apparent financial gain, explaining them as an expression of the frustration produced by demeaning and unsatisfying work. For those who are most affected by the systems unequal distribution of wealth, crime can be seen simply as a means for survival. According to Marxists, the state passes laws which protect the interests and reflect the ideology of the ruling class the many laws which protect private property, the essence of capitalism, reflect the expansion of business and trade. They argue that laws which appear to be in the interest of the subject class are in fact just concessions and are there to create a false consciousness, an illusion of equality; they are in place to maintain the power of the ruling class and to keep the subject class under control. From a Marxist point of view, there is a systematic bias in favour of those at the top, and this is evident when looking at how laws are enforced. White-collar crimes, such as corporate/financial frauds, are rarely discovered and even more rarely prosecuted, despite the fact that they can have devastating effects; on the other hand, more visible street crimes are severely punished by the agents of social control. Moreover, people have unequal access to a fair trial having the money to pay for a good lawyer can mean the difference between being found guilty or not guilty. In this light, Marxists play down the significance of official statistics, which predominantly record blue-collar crimes, claiming that they are a social construction and that they do not reflect the truth. Radical criminology, a strand of neo-Marxism, developed in the 1970s through the work of Ian Taylor, Paul Walton and Jock Young as an alternative perspective to traditional Marxist criminology. Like traditional Marxists, they see the economy as the most important part of society and they believe that the inequalities in wealth and power between individuals in capitalist societies are the root cause of crime. However, unlike Marxists, they reject theories suggesting that external forces can direct human behaviour (for example the strain to anomie). Taylor et al insist that crimes are often deliberate acts with political motives, and that deviants are not just the passive victims of capitalism, but that they are actively fighting and trying to alter capitalism. By looking at the states role in the process of criminalisation, radical criminology draws both on Marxism and Interactionism in an attempt to produce a fully social theory of deviance. However, it has been criticised for failing to provide any substantial theories of crime and for offering a utopian socialist model as an alternative to capitalism. New left realism developed in the early 1980s both to compensate for some of the weaknesses of previous Marxist and neo-Marxist theories and to respond to a rise in zero tolerance right-wing policies. Left realists differentiate themselves from Marxists and left idealists by emphasising the significance of working-class street crime and by studying its effect on its victims. John Lea and Jock Young point to evidence from the British Crime Survey that there has been a massive increase in street crime since the Second World War. Whilst agreeing that crime is closely linked to deprivation, they reject the view that poverty is directly responsible for crime, arguing that unemployment levels in the 1930s were high, yet the crime rate was low compared to the 1980s. Their explanation of crime is based around the concepts of relative deprivation, subculture and marginalisation. According to Lea and Young, deprivation leads to crime when experienced as relative deprivation. When one feels deprived compared to someone else, they may use illegal means to feel less disadvantaged. As well as explaining property and financial crime, relative deprivation can be used to explain violent crime: relative deprivation can create frustration and aggression. The concept of subculture is explained by Lea and Young as a collective response to a groups problem. If a group sufferers from relative deprivation, it may adopt a lifestyle which to cope with their problem, either illegally or legally. The concept of marginalisation refers to groups at the margins of society, those without socio-political representation and clearly defined objectives. Typically, unemployed youths of minority ethnic groups resort to crime as an expression of their resentment to a society which doesnt offer them anything. Essentially, left realism is criticised for failing to explain the causes of crime it relies extensively on victimisation statistics and only takes into account the views of victims on certain issues. Also, left realism fails to explain why some people who suffer from relative deprivation commit crime and others do not. However, it has highlighted the importance of understanding street crime and has influenced crime tackling policies. The traditional Marxist perspective on crime has been essential in illustrating the many flaws of capitalism and pointing out that crime is not exclusively a working class phenomenon. In many respects, however, it has a rather simplistic view on the relations of power in capitalist societies. Moreover, it is in large part race and gender blind, and it emphasises the significance of corporate crime at the expense of other crimes. Most importantly of all, perhaps, it wrongly assumes that a communist system would eliminate crime. Despite these criticisms, Marxism has produced a basis for the understanding of crime and has influenced numerous new approaches which further enrich the study of crime and deviance.

11 Easy Steps for How to Draw a Dog

Easy Steps for How to Draw a Dog SAT / ACT Prep Online Guides and Tips Dogs are cute! Who hasn’t taken a moment to doodle their favorite pooch on the side of their paper before? But like many animals, dogs can be hard to draw well, especially from memory. If you are trying to up your drawing skill, this guide for how to draw a dog is for you! We’ll cover all the basics of learning to draw animals and dogs in particular, and walk you through drawing a dog step by step. 4 General Tips for Drawing Dogs and Animals Drawing animals can be really challenging! Living creatures are often harder to draw than static objects, as you want your animal drawings to be full of life. Here’s a few tips to get you started! Use References It might feel like cheating to use a reference, but it’s a-OK. Professional artists use references all the time to help their artwork feel more realistic. A reference photo will help you see what a dog looks like without trying to make a real dog sit still the entire time you’re working. There are so many kinds of dogs that it’s practically impossible to remember how to draw all of them. Even if they have similar skeletal structures (which isn’t always the case), their fur texture, eye shape, and size can vary pretty widely. You can take your own reference photos or use ones you find in books or online to help you get the details right. Study Anatomy You don’t have to go to veterinary school, but spending some time looking at animal anatomy will help you better understand how an animal sits, stands, and moves. Pay particular attention to the location of the spine, as this will help you figure out how the animal is shaped. When you know that, you’ll have an easier time positioning the head, legs, and tails appropriately. You can also get a better handle on their muscle structure, which is particularly helpful when drawing animals with short fur and pronounced muscles. Though you don’t need to replicate every detail in your drawing, understanding how an animal’s body works can make your drawings feel more lifelike, even in a cartoony style. Start With Simple Shapes Even complicated drawings are based on simple shapes. A light underdrawing that consists primarily of primary shapes is a great foundation for more detailed drawings; you can build on the basic shapes to help your drawing feel lifelike. Look at an animal’s anatomy and imagine it as several connected shapes. You might see a large oval for the ribcage and a rounded rectangle for the head, or an almost kidney bean-like shape for an animal’s leg. These are just guidelines- they’ll need refinement to really work in a drawing, but using these shapes to guide your work will help you stay on track as you’re drawing. Draw Lightly It takes time and effort to draw well. Start off with light pencil for sketching, and don’t be afraid to erase and try again. As you progress through the drawing process, you can erase your guidelines and draw in heavier pencil. This helps keep you on target and gets rid of the unnecessary lines. When you’re ready, you can go back over your drawing in ink or marker, and erase the pencil marks entirely. That ensures that only the lines you want are visible! This also works for digital illustration. Using layers in illustration programs, you can have underdrawings and layers of increasing detail, which can be turned off when you no longer need them. With practice, you'll soon be doing way better than this. How to Draw a Dog: The Simple Method Even when you’re drawing a simple dog, it’s smart to have an understanding of basic dog anatomy. It might sound silly or unnecessary, but even cartoony drawings need to be based in reality to look right. As mentioned above, take some time to look at dog anatomy and learn the basic shapes that make a dog up to help you make even a simple dog look great! Because there are so many kinds of dogs, we can’t provide a tutorial for how to draw all of them. Instead, here’s a simple guide for drawing a sitting dog that can be adjusted depending on what kind of dog you’re drawing. A modest beginning. Sketch the Muzzle All you need is an oval to start with. Don’t get caught up in making it look perfect- you can make adjustments to it later. Also, don’t worry about details. Just get a circle down and we’ll add to it later, once we have the body done. It doesn't look like much yet... Draw the Head Sketch the shape of the head around the oval you’ve drawn for the muzzle. Again, it doesn’t have to be perfect, because you can change it at any time. You can change the shape depending on how you want your dog to look. Some dogs have very round heads while others are more angular, but having the head oval in place gives you a structure to work around. Looking a bit more like a dog now. Add a Nose Dog noses are unusually shaped. They actually look a bit like mushroom slices, with an exaggerated flare at the bottom. You can start by drawing a sort of rounded triangle, then adding the nostrils to flesh it out. A simple nose or a detailed one can be equally effective depending on how detailed your drawing is. Making progress... Add Ears A dog’s ears can be a great source of expression! Depending on what kind of dog you’re drawing, the ears may be floppy, upright, or even cropped. Start with the basic shape and tweak it from there. Eyes make a big difference. Add Eyes Let’s keep it simple here- eyes are tricky to draw well! Two little ovals will do the job for now, so if we’re doing a simple cartoony drawing, we don’t have to get very detailed. You can add eyebrows to give your dog more of an expression. Dogs don’t have eyebrows exactly like we do, but some have eyebrow-like markings just above their eyes. Feel free to use your imagination! Okay, it's definitely a dog now. Add a Mouth Dogs have two rounded shapes beneath their noses that often turn upwards, making it look as though they’re smiling. You can draw these shapes as rounded ovals to make the dog look happier, or make them more angular and pointed downward to make your dog look more serious. In combination with the ears, the dog’s mouth is the best way to convey emotion. The egg-shaped body feels like a bit of a step backward. Add a Body The body looks a bit like an egg, with the top hidden behind the dog’s head. Again, draw it lightly and go over it later to add more detail. These legs leave something to be desired. Add Front Legs Draw two straight lines and add a little oval at the end for the paw. You can embellish these with spots or fur, but the basic shape is just two sets of two lines with a little oval at the end. I wanted a husky-like tail, even if it looks a bit like a banana right now. Add a Tail What kind of tail a dog has depends on its breed. You can draw a skinny tail, a fluffy one, or no tail at all depending on what kind of dog you’re drawing. These legs are a little on the abstract side. Add Back Legs Back legs are a little more difficult to visualize, but think back to the anatomy of a dog. The dog’s thigh is kind of like a tilted oval, and the foot and lower leg are like an elongated, squashed oval. All these are just sketch lines, so if they look a little funky now, that’s okay- you can fix them up with detail later on. Details and ink definitely help the doggy appearance. Add Details and Finish Up Now that you have the basic structure of your dog, you can touch things up with detail, erase all your sketch lines, and outline in ink. Some things to add to make your dog look more lifelike and cute are color, fur textures, and whiskers. Take a look at real dogs and see the features that make them unique, then make adjustments to yours to make it look special, too! How to Draw a Dog: The Detailed Method Drawing a detailed dog is a lot like drawing a simple dog, though it will likely take you more time and effort. Again, understand the simple shapes that make up a dog. Look at skeletal structure and muscle groups to help you understand what they look like under all that fur, as those are the features you’ll start with before you add more detail. First and foremost: start simple. It’s easier to draw a familiar yellow lab than it is to draw something more complex, like a Puli. That goes for shapes, too. Underdrawing is even more important when drawing detailed dogs than it is for simple dogs, even if you feel like you’re erasing most of the work. And erasing is a big part of drawing detailed dogs. You probably won’t get it perfect the first time, but that’s okay! The dog up above was my first attempt, and if I continued to practice I would get better. Erase and try again and again. You might not notice your skill improving, but every drawing you do brings you closer to the artist you want to be. This beautiful dog is going to be our reference photo. Start With a Reference You can use your own photo or one you find online, but add your own embellishments and tweaks to really make it your own. You don’t need to trace, though you can if you’re just starting out and want to get a better grasp on what dogs look like. It’s not wrong to learn by tracing, but it’s a good idea to use those drawings as practice unless you took the photo yourself. Many artists take their own reference photos. If you can’t, you can use one you find online, but aim to make your drawing substantially different from the reference if you plan to use the picture for something other than practice. Starting with a reference photo lets you work off of an existing image, which can help your drawing be more accurate. Use what you know of skeletal structure so you can better draw the shapes that make up a dog. Not very impressive. Outline Shapes Naturally, dogs are made up of many complex parts. But when you’re starting your drawing, just focus on the basics- the shapes that make up the basic form of a dog. If you were to just imagine a dog’s silhouette, you might see a rounded rectangle for the head, a large oval of the chest, and another oval for the hindquarters. Start with a line to keep the body parts aligned. The line can be straight or slightly curved, depending on what position you’ll draw the dog in. Then draw the basic shapes at their appropriate places, centering them on the line. After some redrawing, we have the basic form of the dog in our photo. Outline Shapes for Larger Features Now that you have the basic dog shape down, you can add just a little more detail. Focus on drawing the larger features of a dog- the snout, feet, and legs. Again, draw shapes rather than detailed features, as you’ll add all the little stuff later. Fill in the places where those features meet the body, and connect the larger sections of the body together. You’ll flesh all of this out later on; for now, you just want it to look like the basic silhouette of a dog, not something instantly recognizable as whatever breed of dog you’re trying to draw. This dog is more muscular than furry, so I focused on the muscles. Add Body Contour Now’s the time to start getting into detail, mostly in the body. Add some rough structure to the body, such as muscle definition for short-haired dogs or fur outlines for long-haired dogs. Look at where the breed is thicker or thinner, and emphasize those areas of the body. Look at where fur gathers on images of the type of dog you’re drawing, and also where muscles are more visible. Those are the areas to emphasize here, but, as always, don’t get too invested in details yet. Also take a moment to draw the legs and feet in more detail. Add toes and fur, if necessary, so you have a clearer picture of what the final dog will look like. Hey, that's a dog! Erase Unnecessary Lines Get rid of the guidelines you used, as from now on you’ll mostly be fleshing out details and shading. You’ve spent enough time on the basic shape, adding some fur and details, that you no longer need your initial shapes and guidelines. Now’s the time to add basic outlines for the dog’s ears, eyes, nose, and snout details. Get their placement and shape right, and be sure they look similar to those in your reference photo. This will probably take some time. Don’t get frustrated if you have to draw and redraw these features several times- these are details that are important to get right, but that can be quite tricky to execute well. You might have to do a lot of practice, but it’ll be worth it in the end! Add Fur Texture Now you can add fur and fluff to the details you added in the last step. Add a little fur to the ears or little tufts on the legs. If you’re not drawing a particularly shaggy dog, add more muscle definition. Use shading to emphasize where the dog’s muscles would show, and sketch out areas where the dog is more muscular to make it look more realistic. Just as you’ve done throughout the drawing, start with general details before you get into the smaller ones. Go for general fur shape, then add fuzzier patches. Get the general body shape and muscle structure done, then add muscles that are in use given your reference photo’s pose. It's not perfect, but that just means it's time to practice! Finishing Touches You’re almost done! Take some time to add additional details to things like the dog’s nose and eyes, and add teeth or a tongue depending on whether the dog’s mouth is open. You can also add spots or other color patterns if your dog has them. Just shading will accomplish this, or you can use full color to give your picture even more pop. However, it is possible to get too detailed. Some artists draw intensely detailed images while others are a little more sparing. Both are great art styles, so don’t feel like adding tons of detail is the only way to make your art look realistic and interesting! Additional Tips for Drawing Dogs Once you've got the basics down, drawing a dog is a matter of practice. Keep trying to improve, even when it feels like your skill isn’t getting better. But if you need some additional help in drawing certain parts or certain kinds of dogs, consider these tips! How To Draw a Dog’s Face Drawing a dog’s face can be particularly tricky- we want our drawing’s faces to be as expressive and cute as real dogs. Understanding what a dog’s skull is like is a great first step, as you’ll be able to see what parts move, what parts don’t, and where important features like the ears and eyes sit. Outline the basic shape before adding features. You can block them in using lines to be sure that they’re all aligned properly. As with the rest of the dog, start with the broader details and then fill in the specific ones. Start with the shape of the eyes, for example, and refine them until they look right. Then add the iris and pupils as well as surrounding fur. You can always make changes, but it’s easier to start with the larger details and fill in the specific ones than end up having the erase everything because you can’t get the shape to look right after you’ve drawn the details. How to Draw a Puppy Puppies are a lot more than miniature dogs- they have different features, which means there are special considerations to keep in mind when drawing them as opposed to adult dogs. For one, puppies often have proportionally larger paws than adult dogs. Drawing the paws a bit larger is a good way to clue people into the fact that you’re drawing a puppy! Puppies are also generally a little chubbier, with more rounded bodies. Though some might be a little muscular, for the most part puppies will be more rounded- combined with other puppy features like larger paws, a rounded body can make a dog look younger. Some breeds also have gangly legs, especially as they begin to grow into adolescents. A few adult breeds, such as borzois and greyhounds, may look gangly as adults, but many dogs get that same look as they’re growing up. It’s okay to make your puppy drawings look a little awkward- it’s true to life! Another good detail for puppies is that their eyes often look proportionally larger than those of adult dogs. This is a common feature of baby animals, and it’s part of the reason that people love them so much. A large head, round eyes, and smaller nose and mouth remind us a lot of human babies, so use those features to make your puppy drawings look even cuter! What’s Next? Don't be afraid to experiment with different styles when drawing dogs. Check out this guide to how to do contour line art and try out a whole new art direction! Not sure what to draw now that you've mastered dogs? This list of 100 different drawing ideas is sure to help. Drawing is a great hobby, but it can also make you money. Check out this list of art scholarships to help you turn your skills into cash for college! Have friends who also need help with test prep? Share this article! Tweet Melissa Brinks About the Author Melissa Brinks graduated from the University of Washington in 2014 with a Bachelor's in English with a creative writing emphasis. She has spent several years tutoring K-12 students in many subjects, including in SAT prep, to help them prepare for their college education. 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Robert F. Kennedy's Assassination Essay Example | Topics and Well Written Essays - 1750 words

Robert F. Kennedy's Assassination - Essay Example In one of the speeches that Robert Kennedy in 1962, he was quoted, "The future is not a gift: it is an achievement. Every generation helps make its own future. This is the essential challenge of the present.†1 It is truly a tragedy for the American government to lose leaders with advocacies like the 2 Kennedy’s. Robert Francis Kennedy (RFK) was filled with not just emotion but passion towards leading and serving the country and its people. Yet, just like his older brother John, RFK was assassinated. The will within the person to live is so strong that RFK only died more than 24 hours after the assassination.2 RFK was said to be just like his older brother to have both the brains, the heart and the capabilities to assume the presidency. Bobby, as RFK is fondly called, failed to achieve the coveted post despite the credentials that he has under his belt. The odds are very much going his way and Bobby was just a few more steps towards becoming the next American president. A ll was shattered a couple of minutes past midnight on the 5th of June 1968. His life was ended during his presidential campaign at the Ambassador Hotel in Los Angeles, CA by a gun shot. A man with a very promising future was killed by an assassin identified as the Palestinian-American Sirhan Bishara Sirhan.3 Since it was the period for the presidential campaign, media was all over the place. ... All of the 3 assassinations were highly publicized. However, RFK’s assassination seemed to be more traumatic since it was the 2nd Kennedy assassination in less than half a decade. In the filed video coverage of RKF’s presidential campaign in 1968, the crowd’s jubilation was turned into panic and fear as the sound of the gunshot echoed in the atmosphere. According to Melanson et al: Cameras captured the frenzied struggle to subdue the attacker. They showed us the terrible vision of Robert Kennedy lying on the floor and bleeding profusely. To this day, many people believe that these same cameras captured the actual shooting (as the Zapruder film had done in President Kennedy’s assassination); some are insistent to the point of anger that it’s all in film†¦No photographic record of the actual shooting is known to exist.5 The picture of the blood-covered RFK lying on the floor is truly quite disturbing and heartbreaking. It is disturbing because of the graphical representation of a man respected and eyed to be the next president of a very powerful nation. One can think that the photo being published and circulated in media can be considered as an invasion of privacy. Even if the person involved in the picture is a public servant, such situation should be kept private as to reserve the dignity and respectability of the person. The picture of a dying man lying on the floor covered with his own blood can trigger so many emotions within a nation.6 Since the assailant was identified, the assassination case was considered closed. That is what the public was made to believe. People from different walks of life might agree or disagree with the previous

Presentation Essay Example | Topics and Well Written Essays - 1000 words - 7

Presentation - Essay Example wer in relations in the family influence the use of the Internet?’ Does anybody here ever thought of how parents can actually influence the children’s use of the Internet? Do you agree that our mother or our father has a role to play with regards to a child’s exposure to the use of the Internet? Please raise your hand if you agree that parents have a strong influence in the child’s use of the Internet. Well, the answer to the research question is basically ‘YES’. To address the research question, our team decided to conduct a combined quantitative and qualitative research survey so that we can get a generalized and subjective response from each of the 12 randomly selected research participants. To learn more about the degree in which parents can affect the child’s use of the Internet, my group purposely conducted a combined quantitative and qualitative research survey study on a total of 12 students who are currently around 18 years of age. Basically, we have randomly selected 12 students from our school to participate in the fieldwork. Some of the questions used in the survey include those that are answerable by ‘yes’ or ‘no’. This will eventually give us the opportunity to compute for the generalized result. For example, the first research survey question purposely asked whether or not the research participant is using the Internet at least once a day. The second research survey question asked if the research participants agree that parents (both mother and father) have a strong influence on how you use the Internet. Our team also used an open-ended question which will allow us to generate a more subjective response from each of the research participants. For instance, in question no. 3, the research participants were requested to explain why their mother or their father has more power in controlling their internet usage. Question number 4 purposely asked how their parents influence their use of the Internet when they were young. (Table I

Examining The Concept Of Motion Capture Film Studies Essay

Examining The Concept Of Motion Capture Film Studies Essay MoCap technology has revolutionary technology quickly, especially technologies that use in movie and games industries, MoCap has come a critical role in the creation of animation as smooth as real. The report will begin mentioned about MoCap technology such as what it is , How it useful , and Who will use this type of technology to bring more understanding to the readers. After that the report will focus on the Weta digital, a world s leading film studios which has continued to develop MoCap technology until it is highly successful. Nowadays, MoCap is use in many famous movies such as many characters in Beowulf, alien characters in District 9, character Gollum in Lord of the Rings trilogy, a giant gorilla named Kong in King Kong, and etc. And for more knowing about MoCap, so that Avatar , an epic movie which had the most gorgeous computer graphic (CG) details, was chosen for being an example of the latest evolution of MoCap. Besides, this movie was greatly well-known and also influences the revolution of film industry explicitly as well. WHAT IS MOCAP? MoCap is an abbreviation of Motion Capture; this technology is a process by which movement is digitally recorded. The technique was originally used for military tracking purposes and in sports as a tool for biomechanics research which focused on the mechanical functioning of the body, like how the heart and muscles work and move. In the last twenty-five years, motion capture has become an essential tool in the entertainment business, giving computer animators the ability to make non-human characters more life-like. Its a technology used in animated films and television as well as video games. Historically, MoCap in animated movies was created using an extension of the rotoscoping technique. In this technique, an actor is filmed making certain movements or gestures while wearing markers on specific points of his or her body. Each marker in each frame of film is then manually encoded into the computer. As animation software improved, it became possible to apply an algorithm to the markers that attach them to a 3D object, creating what is now called motion capture. MoCap can be categorized by their four primary input methods which are Prosthetic, Acoustic, Magnetic, and Optical method. 1. Prosthetic (or mechanical) method: This is one of the early methods for capturing the motion from various parts of human anatomy. These methods include simple on/off type of motion detection systems as well as complex motion tracking systems. The latter type of prosthetic motion capture could be an ideal approach if it wasn t for the complex mechanical requirements and the performance-inhibiting qualities generally associated with such designs. However, the type of data provided could be clean rotational data collected in real time without any occlusion problems. This method is based on a set of armatures which must be attached all over the performer s body. The armatures are then connected to each other by using a series of rotational and linear encoders. These encoders are then connected to an interface that can simultaneously read all the encoders in order to prevent data skewing. Finally, through a set of trigonometry functions, the performer s motion can be analyzed. These de sign restrictions seem to be quite difficult to overcome, and will probably limit the use of these type of devices for character animation. 2. Acoustic method: Acoustic capture is another method currently used for performance capture. This method involves the use of a triad of audio receivers. An array of audio transmitters is strapped to various parts of the performers body. The transmitters are sequentially triggered to output a click and each receiver measures the time it takes for the sound to travel from each transmitter. The calculated distance of the three receivers is triangulated to provide a point in 3D space. An inherent issue with this approach is the sequential nature of the position data it creates. In general, we would like to see a snap shot of the performer s skeletal position rather than a time skewed data stream. This position data is typically applied to an inverse kinematics system(1) which in turn drives an animated skeleton. One of the big advantages of this method is the lack of occlusion problems normally associated with optical systems. However, there seems to be several negative factors associated with this method that may or may not impede its use. First, there is the fact that the cables can be a hindrance to various types of performances. Second, the current systems do not support enough transmitters to accurately capture the personality of the performance. Third is the size of the capture area, which is limited by the speed of sound in air and the number of transmitters. In addition, the accuracy of this approach can sometimes be affected by spurious sound reflections. 3. Magnetic method: This is a popular method used for performance capture. Magnetic capture involves the use of a centrally located transmitter, and a set of receivers which are strapped on to various parts of the performer s body. These receivers are capable of measuring their spatial relationship to the transmitter. Each receiver is connected to an interface that can be synchronized so as to prevent data skew. The resulting data stream consists of 3D positions and orientations for each receiver. This data is typically applied to an inverse kinematics system to drive an animated skeleton. This magnetic approach shares the same lack of occlusion problems with the audio method. But it also shares the same negative factors such as the hindrance of cables, lack of sufficient receivers and the limited capture area. In addition, being magnetic the system is affected by any sizable areas of metal in the vicinity of the capture area, such as girders, posts, etc. 4. Optical method: Optical systems have become quite popular over the last couple of years. These systems can offer the performer the most freedom of movement since they do not require any cabling. Optical systems incorporate directionally-reflective balls referred to as markers which attach to the performer. Optical systems require at least three video cameras, each of which is equipped with a light source that is aligned to illuminate the field of view for that camera. Each camera is in turn connected to a synchronized frame buffer(2). The computer is presented with each camera view in order to calculate a 3D position of each marker; the resulting data stream therefore consists of 3D position data for each marker. This data is typically applied to an inverse kinematics system, to animate a skeleton. One typical problem with optical systems is the fact that it is quite easy for the performer to occlude, or hide, one or more markers thus creating holes in the data stream. Adding more cameras and/or more markers can minimize this occlusion problem. However, adding more cameras makes tracking each marker more complex, resulting in increased CPU time. Increasing the number of markers can result in exponentially increasing the confusion factor, i.e. keeping track of which marker is which. Optical systems are also limited by the resolution of the cameras and the sophistication of their tracking software. >> http://www.wisegeek.com/what-is-motion-capture-technology.htm >> http://vizproto.prism.asu.edu/classes/sp03/motioncapture.htm WHO USES MOCAP? Films: MoCap is being used more and more in films nowadays. MoCap based animation is essential for creating characters that move realistically, in situations that would be impractical or too dangerous for real actors (such as characters falling off the ship in Titanic. MoCap was also used extensively in Titanic for filler characters (fit in between real actors) or in situations with virtual camera fly-bys over a virtual ship. Many of these shots would have been difficult or impossible to do with real cameras and a real ship, or real models, so virtual models, actors, and cameras were used. Some film characters require the use of MoCap, otherwise their animation seems unreality. More and more independent companies are starting to put together desktop studios The idea of two or three people creating an entire movie isnt that far off, if MoCap is used correctly. The Gypsy(3) is ideal for small and large shops. MoCap animation can be done very quickly and inexpensively, without scheduling expe nsive motion capture sessions in a studio. Games: Game development is the largest market for MoCap. With games drawing as much revenue as movies, it is easy to see why game development often calls for enormous quantities of MoCap. The immense competition to produce the coolest game possible (thus becoming a top-seller hopefully) means that greater production capabilities mean higher quality. More time is left for aesthetic finishing touches and fine-tuning of game play. Generally there are two main types of 3D character animation used in games: Real-time playback vs. cinematics. Real-time allows the game player to choose from pre-created moves, thus controlling the characters moves in real-time. Cinematics are the fully rendered movies used for intros and cut-scenes. Often the last part of game production, or a process that is sub-contracted to a separate studio, cinematics are generally not essential to game-play, but do add a lot of appeal to the game, and help immensely with story development and mood generation. Video and TV Performance Animation: Real-time motion is becoming popular for live television broadcasts. MoCap can be used to place a virtual character within a real scene, or to place live actors within a virtual scene with virtual actors, or virtual characters within a virtual scene. MoCap for real-time broadcast requires mock-ups of any non-standard physiology (big stomachs, tails, etc.) to keep the performers motions from causing the characters limbs to interpenetrate its body. Joint moving limits on the shoulders and knees. A real-time adaptation feature such as Film BOX Animations real-time motion mapping (from the performers skeleton to a different proportioned characters skeleton) is essential when the characters body is very different from the actors body. When combining a live elements with virtual elements the real and virtual cameras must share the same properties (perspective, focal length, depth of field, etc.) otherwise the illusion looks strange. Post-Production for Ongoing Series: MoCap for ongoing series is becoming very popular. Creating a weekly show without MoCap invariably causes shows to be late or production studios to go bankrupt. Having an efficient MoCap pipeline is essential to the success of an ongoing character animation based series. Web: MoCap is ideal for the web, whether used to create virtual hosts or greeting cards. As the web becomes more sophisticated and bandwidth(4) increases, MoCap will help bring a human element to the web, in the form of characters that viewers can relate to and interact with. Live Events: MoCap generated Performance Animation can be thought of as Improvisation meets Computer Graphics (CG) . At trade shows, meetings or press conferences, a good improviser acting through a CG character in real-time can create a very intriguing lasting experience for the viewer. Integration with live actors further helps create a fascinating experience. Scientific Research: MoCap is useful for perceptual research. By presenting test subjects with abstract movements, distilled from motion capture data, repeatable experiments can be developed that provide insights into human perception. Biomechanical Analysis: Biomechanical analysis for rehabilitation purposes relies extensively on MoCap, for its ability to produce repeatable results. MoCap can be used to measure the extent of a clients disability as well as a clients progress with rehabilitation. MoCap can also help in effective design of prosthetic devices. Engineering: MoCap is essential for producing product designs that are ergonomically practical, as well as designs for physical products that are comfortable and appealing. Even though there are restrictions of these systems. Optical systems are easily occluded and require a large distance between the subject and the cameras. Magnetic systems have major problems with metal in the capture space. Education: MoCap training can make a huge difference in an animators training. While access to MoCap is not a substitute for developing good art skills and good traditional character animation abilities, it can go a long way towards making someone more employable. Virtual Reality (VR): MoCap is indispensable for VR training applications. It makes for much better immersion than using a joystick or a positional handle. >> http://vizproto.prism.asu.edu/classes/sp03/motioncapture.htm TECHNOLOGIES IN FILM BEFORE BECOMING MOCAP 1971: Metadata An experimental 2D animated short by Peter Foldes drawn on a data tablet, who used the worlds first key frame animation software, invented by Nestor Burtnyk and Marceli Wein. 1973: Westworld First use of 2D computer animation in a significant entertainment feature film. The point of view of Yul Brynners gunslinger was achieved with raster graphics. 1976: Futureworld First use of 3D computer graphics for animated hand and face. Used 2D digital compositing to materialize characters over a background. 1977: Star Wars First use of an animated 3D wire-frame graphic for the trench run briefing sequence. 1981: Looker First CGI human character, Cindy. First use of shaded 3D CGI as we think of it today. 1981: Wolfen First use of in-camera effect for thermal vision sequence (see Predator). 1982: Tron Extensive use (15 min. fully computer generated) of 3D CGI including the famous Light Cycle sequence. Also includes very early facial animation (for the Master Control Program). 1983: Rock Rule First animated film to use computer graphics. 1985: Tony de Peltrie First CGI-animated human character to express emotion through his face and body language. 1985: Young Sherlock Holmes Lucasfilm creates the first photorealistic CGI character, stained glass knight with 10 seconds of screentime. 1986: Labyrinth First realistic CGI animal. 1987: Captain Power and the Soldiers of the Future First TV series to include characters modeled entirely with computers. 1990: Total Recall Use of motion capture for CGI characters. 1990: RoboCop 2 First use of real-time computer graphics or digital puppetry to create a character in a motion picture. 1991: Terminator 2: Judgment Day First realistic human movements on a CGI character. First use of a personal computer to create major movie 3D effects. 1993: Quarxs First broadcast series of animated CGI shorts. 1993: Jurassic Park First photorealistic CG creatures. 1993: Insektors First computer animated TV series. First use of character animation in a computer animated television series. 1994: ReBoot First full-length computer animated TV series. 1994: Radioland Murders First use of virtual CGI sets with live actors. 1995: Casper First CGI lead character in feature-length film (preceded Toy Story by six months). First CGI characters to interact realistically with live actors. 1995: Toy Story First CGI feature-length animation. 1997: Marvin the Martian in 3D First computer animated movie viewed with 3D glasses. 1999: Fight Club First realistic close-up of detailed facial deformation on a synthetic human. 2001: Final Fantasy: The Spirits Within First feature-length digital film to be made based on photorealism and live action principles. 2001: The Lord of the Rings: The Fellowship of the Ring First use of AI for digital actors (using the Massive software developed by Weta Digital). 2003: The Matrix Reloaded The Burly Brawl the first use of Universal Capture, the combination of dense (rather than point-based) motion capture and per-frame texture capture. 2003: Gollum from the Lord of the Rings trilogy First photorealistic motion captured character for a film, Gollum was also the first digital actor to win an award (BFCA), category created for Best Digital Acting Performance 2004: The Polar Express First CGI movie that used motion capture for all actors. 2009: Avatar First full length movie made using performance-capture to create photo-realistic 3D characters and a feature a fully CG 3D photo-realistic world. >> http://en.wikipedia.org/wiki/Timeline_of_CGI_in_film_and_television WETA DIGITAL: THE WORLD LEADER OF CG STUDIOS Weta Digital is a world leading visual effects company based in Wellington, New Zealand. They provide a full suite of digital production services for feature films and high end commercials, from concept design to cutting edge 3D animation. Weta was formed in 1993 by a group of young New Zealand filmmakers including Peter Jackson, Richard Taylor and Jamie Selkirk. It later split into two specialized halves Weta Digital (digital effects) and Weta Workshop (physical effects). One of Weta s first projects was to provide visual effects for Peter Jackson s film Heavenly Creatures. They went on to work digital magic on Peter s blockbuster movies The Lord of the Rings trilogy and King Kong. And they also work with other Hollywood directors, providing digital effects for box office hits like I, Robot, X-Men: The Last Stand, Eragon, Bridge to Terabithia, Fantastic Four: Rise of the Silver Surfer, The Water Horse, Jumper, The Day the Earth Stood Still, District 9 and The Lovely Bones. Moreover, their teams of digital artists are world-leaders in all areas of visual effects production, including animation, motion capture (MoCap), crowd generation, modeling, compositing, and film scanning and recording. In August 2006, Weta signed on to help James Cameron, a world famous director, to produce Avatar. Production design for the film took several years. The film had two different production designers, and two separate art departments, one of which focused on the flora and fauna of Pandora, and another that created human machines and human factors. In September 2006, Weta was developing and combining its technologies with Cameron s technologies to reach a new level of creative and technological excellence, delivering the film in 3D. This combination renders a great CGI(5) power to both Weta and Cameron through all the process in making an epic movie like Avatar. Most recently James Cameron s Avatar had proven that Weta was the CGI professional. This leaded Weta to win an Academy Award for Best Visual Effects. Their work on the film involved using a new camera system and shooting on a virtual stage. Finally, Weta s reputation was spread throughout the world for the power of creativity and delivery which keeps them in high demand with some of the world s leading film studios and up until now there are very least of the visual effect companies that can match Weta CGI creating potential. >> http://www.wetafx.co.nz/about/ >> http://en.wikipedia.org/wiki/Avatar_(2009_film) MOCAP AVATAR Each of Cameron s film introduces new technologies that change the way people make films. Avatar is the end result of the successful combination of a great talented director and a world class visual effect creator like Weta. Avatar making process step over the limit of the recent film making which supported by the innovation of the two new types of cameras which are the 3D Fusion camera and the Simul-Cam virtual camera, both of them are served as the part of MoCap. 3D Fusion camera: This camera is used for match-move, where you have motion capture CG characters and have to match their moves to composite them into an established shot. There are micro-motors on the Fusion rig to adjust the separation and convergence angle of the stereo Sony F950 cameras. The standard three lens functions of zoom, focus, and iris, plus interocular distance(6) and convergence are all under software machine control. Beam splitters provide the capability of having an interocular of half an inch even though the cameras are four inches wide. The cameras are mounted in the Fusion rig at a 90-degree angle. Simul-Cam virtual camera: A virtual camera with a series of super high intensity LED lighting system that fires off the LEDs in sync with the motion capture cameras running at 20 microsecond exposures, and these active LED markers on the Pace rigs. Therefore, this virtual camera would see the markers, but not see any of the bright live action stage lighting or even the sun, this mean Simul-Cam virtual camera can eradicate a great weakness of an original motion capture camera. >> http://hdusermagazine.com/wordpress/?p=12 The great benefit that can obviously seen while using MoCap in Avatar is its capability in capture a realistic movement of various types of object such as human, animal, and etc. Because all of the creatures and some humanoid characters like Na vi tribe in Avatar are based on an imagination of James Cameron, to shot those creatures by recording their reality life like many other movies did is impossible and almost impossible if the animator have to do every movement of all Na vi tribe characters and creatures in this movie by using only their high speed computers and mouse as well. Moreover, the realistic movement that recording by MoCap technology can persuade people to believe that if there are such kinds of those living things exist in the real world they must live in the same way as they did in film. Besides, there are many flexible way of using MoCap technology to match the diversity of users purpose, this is why MoCap is the best answer for making Avatar. WHICH DEVELOPMENT DIRECTION OF THE MOCAP IS HEADED? The uses of each type of MoCap usually depend on the motion data needed in each type of industry. Thus, the trends of each type of MoCap development are also difference. For example, in the film industry, a lot of research going into optical MoCap due to its flexibility and acceptable quality data while other industry investing in the development of other MoCap type seem to be a better choice due to the higher quality data but have some other restrictions. However, all type of MoCap future development is sharing some similar trends which are as followed: ? Every people in each area of using MoCap expect that this technology can provide them the result with a great accuracy (or quality); including improved physical abilities, so that characters can touch each other and feet meet solidly on the ground. This expectation directly affects the trend of the MoCap and all of the technologies evolution as well. ? When groups of performers are captured simultaneously, the number of polygons available to be digitized for each performer is decreased. Therefore, image quality will also reduce. Many MoCap manufacturer try to solve this problem and make MoCap to grow its ability to capture data from multiple characters. ? For better capturing details, MoCap s preview speed tend to drop down rapidly. Improving the speed of MoCap technology will provide a better use for the consumers. ? Capturing space or so called volume of MoCap is too narrow for a big project like capturing a big group of performers, so that increasing in volume will increase the value of MoCap technology. ? MoCap manufacturing cost is still too high which resulting in MoCap market price is very expensive. If manufacturers can lower the cost, so that consumers and independent artists can easy to access and experiment or even expand the technology much faster. >> http://web.mit.edu/comm-forum/papers/furniss.html INDEX (1) Inverse kinematics: It is the process of determining the parameters of a jointed flexible object such as joints of creature models including humanoid type in order to achieve a desired pose. Inverse kinematics is a type of motion planning. Inverse kinematics are also relevant to game programming and 3D animation, where a common use is making sure 3D characters connect physically to the world, such as feet landing firmly on top of terrain. >> http://en.wikipedia.org/wiki/Inverse_kinematics (2) Frame buffer: It is a video output device that drives a video display from a memory buffer containing a complete frame of data. >> http://en.wikipedia.org/wiki/Framebuffer (3) The Gypsy: It was the worlds first Inertial Gyroscopic Motion Capture System (Gypsy) . Gypsy was able to capture movement using inertial sensors or gyros attached to lycra suit, it records simultaneous action and reaction of performance. It uses 19 customized Inertia Cube (TM) gyroscopic sensors for detecting nuance of movement and optimizing data output, while global translation system promotes precision of actor positioning and can be enhanced by addition of optional ultrasonic tracking technology. System also allows actors to touch or hug without occlusion. >> http://news.thomasnet.com/fullstory/528380 (4) Bandwidth: bandwidth is often used as a synonym for data transfer rate the amount of data that can be carried from one point to another in a given time period (usually a second). >> http://searchenterprisewan.techtarget.com/sDefinition/0,,sid200_gci211634,00.html (5) CGI: It is a short term of Computer-Generated Imagery, this is the application of the field of computer graphics or, more specifically, 3D computer graphics to special effects in films, television programs, commercials, simulators and simulation generally, and printed media. Video games usually use real-time computer graphics (rarely referred to as CGI), but may also include pre-rendered cut scenes and intro movies (or full motion videos) that would be typical CGI applications. >> http://en.wikipedia.org/wiki/Computer-generated_imagery (6) Interocular distance: The distance between the centers of rotation of the eyeballs of an individual or between the oculars of optical instruments. >> http://www.thefreedictionary.com/interocular+distance