A Discussion of Tim Walkers Work free essay sample

Walkers’ upbringing in Guildford, surrounded by country has left in him with a feeling of love when it comes to Britain’s landscapes that he wants to show it off in his images, in any which way he can. This essay compares and contrast two works by Tim Walker that are identifiable as his signature style, however individually differ in diverse ways to each other. Taking into consideration the ideas behind the image and how and where he draws his inspiration from to create images that inspire others. His style so unique and recognisable, this essay will take into consideration the historical and social contexts to his works and if his style is a reflection of his inner self, childhood and naturally occurring ideas, or if this style is something he created and now lives within. After graduating from Exeter College of Art, where he studied photography for 3 years, Walker worked as a freelance photography assistant in London. We will write a custom essay sample on A Discussion of Tim Walkers Work or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page However, it was his move to New York and assisting the photographer Richard Avedon that may have forwarded his career so that at the very early age of 25 he had shot his first fashion story for Vogue. Today a London based photographer, Tim Walker is at the top of his profession and internationally known for his cutting- edge fashion photography; taking fashion further so that fashion becomes seconded to fantasy and surrealism. Walkers innovative photography places him in the midst of the most creative and imaginative photographers out there today. ‘Tim sees pictures in front of him which are not yet there’ (DERRICK, 2008, p124. It is the detailed planning of every image and the ideas that starts the process of the final images he is famous for; for each project of Tim’s, you’ll be able to find a scrapbook full of clippings and ideas found from anywhere. ‘My ideas for all my photographs come from any number of places; a film, or a book I’m reading, a story someone tells me. I take loads of visual references and put them into scrapbooks. I’ve got hundreds of them. ’ (WALKER, 2009, [WWW]) It is these scrapbooks that have provided inspiration for a number of Tim’s shoots. But it’s to be remembered that the inspiration has come from things that have already been, but that he took interest in. ‘I don’t believe in originality. You take inspiration from whatever moves you and you find your own voice in those things’ (WALKER, 2008, p242) Tim Walker saying this, is almost find ironic because his pictures are often named original. However, if it is replicated from/inspired by something/anything he may have seen before- as like most pictures- it can only be your take with your voice on it. However Walker’s inspiration doesn’t stop at that, he also looks to photographers before him for inspiration. Cecil Beaton took so many photographs that purely to me represent the joy one gets from creating fantasy† (WALKER TIM, 2009, [WWW]) The opening to Tim Walkers book Pictures, like all others, start with a foreword. However, unlike all others Tim has handwritten his as if it was just another page in his scrapbook. Located only six pages in after only the credits and title, this is really the very first thing you see in the book and it gives great indication to the style of the book and if you did not know much about Tim beforehand; a great introduction to him, his style and how he thinks. Not only is it the actually content of the foreword: ‘as you tour your imagination you want to photograph what you are seeing†¦you are SO very keen to be able to show what you’ve seen that it somehow becomes true, and the picture you end up taking becomes a souvenir, a piece of proof brought back [all the way] from the daydream. ’ (WALKER, 2008, P6) But the design and the layout of the page also: He cleverly drops the control of the layout, slanting the writing just as he talks about his mind drifting. It’s a clever play on the typography that as we read, we too feel as if we’ve sunken into this relaxed state of daydreaming. The way Tim describes in depth the path he often goes on that lands him at the conclusion of an image shows deeply how creative it often is, usually because it begins with something as simple as walking round a clothes store. The pictures he takes then become a snapshot almost, and a gift he shares with us from his imagination†¦from his daydream. Tim’s childhood plays a big part in the ‘fun’ many of his images are filled with. ‘He draws upon his childhood to construct sets for his images that are witty and playful yet sufficiently sophisticated enough to perform for his fashion clients. (THOMAS, 2008, [WWW]) Bringing such essences of an adolescent age into something quite professional could be risky, but it is this that give’s Tim’s pictures that exciting, magical vibe. Tim Walker says in an ICP awards interview, ‘fashion is the dream department for photography and I’ve always been a daydreamer. Tim’s pictures relate to and reflect a time in the 1940’s era and the time of the Neo-Romantic artists, that happened at a time of Britain’s ‘dark hours’. Today, although we might not be in the middle of Second World War, the world is in a state of uncertainty. For Walker, it may just be that creativity in fashion photography and the understanding of make believe places in his imaginations may just be the sort of images that the world need to see, to remember themselves, how magical and escapist day-dreaming can be. The first image of Tim Walkers I have chosen is this one titled ‘Lily Cole on fish hook. ’ Surrealism is a big factor in the creation of a Tim Walker shoot and it is the surrealism in this image that makes it so striking. It grabs your attention straight away and with little effort in the actual design of the image. Although the content is completely random, the image works in so many different ways that you almost don’t recognise it until a few moments after looking. The whole image looks calm; the stillness of the water, the sunlight reflected off of it, the grip of her hands on the hook, her expression. This image is magical, because it looks right, for something that shouldn’t ever be. The shoot was located in Northumberland, England and the location only helps set this calm relaxed scene as well as adding to that ‘very English’ feeling he often brings forth to many of his images. Recreational fishing is fishing for pleasure, with the fisher not really too interested in catching fish, but for the tranquillity and relaxation of it. This shoot, is extremely reflective of this, oozing tranquillity with the colours and calmness. Lily allowing her tip toes to play with the surface of the water, creating disturbance in it, works well within the image; it doesn’t have a negative effect on it, but almost brings her as a model to life. This was not Lily’s first shoot with Tim, and posing as bait on a giant fish hook was nothing out of the ordinary madness. He loved working with the English model, who first posed for him at the age of 15. ‘Some Models know how to stitch and weave themselves into a picture. Lily instinctively knows how to become part of it. ’ (WALKER, 2008, p124) In this image of Lily on the hook, she really does own it; she pulls of her ‘act’ as bait, attracting the fish just with her stance and beauty, and looking calm and really engaged with the photographer. She’s wearing a random collaboration of 3 tutus and her hair fizzed up to mirror them. Although quite dainty and delicate in body, she looks strong and very in control ironic to her state as bait. But this works nicely as the setting of the lake and the fields in the background add to that gentle voice the image has, balancing it nicely. The second image is one that Walker had designed for Italian Vogue. The image named ‘Eglingham Stream’ was shot in Northumberland, England, 2004. The image shows a bedroom with a stream running through it from the fireplace. The room is cluttered, and filled with clear personal belongings of somebody. The contents of the coat stand and the drinks trolley-in which the whiskey is the most noticeable bottle-all refer to the occupant being a man. The fishes on the stone and those in the basket on the table suggest that the person that lives her is a man that has a fond passion for fishing. These objects that the viewer initially notices, cleverly lead them to be mysterious as to what the image is showing us. When looking further into the image, we notice smaller details such as the images framed on the wall that are not of any family members or portraits of him, but of horses and landscapes. This could suggest that he has no family members and is possibly quite a reserved man and this is strengthened by the big matter of his room being right by the lake. It raises questions as to how obsessed this man actually is with fishing, that he has moved his bedroom to live within meters of the lake. Although, there are some signifiers that suggest that a woman is present: the pink bedding and net chiffon, the frill trimmed lamps and the two tooth brushes on the chest of drawers. There is also a small portrait of a young boy in the frame above the fireplace. Because of how out of place this looks as the only one, it seems to be a ‘woman’s touch’, as do the shells on top of the fireplace. The image as a whole has a romantic, feminine and fantastical feel-created by the lighting and whispery stream-that is signature to Walkers style. The shoot seems to be set in the twilight hour, or in the early evening, indicated by the bluely tint to the night and the 3 lamps in the room being on. The absence in the room could well just mean that the man is off fishing with his dog shown by the empty dog basket. There are many things about both the images that make them similar when talking about them in context of Walkers style. Both images were shot in Northumberland in the same year and although it isn’t stated, the lake that we see Lily suspended above is likely to be part of the stream that is present in the second image. The images both have strong fishing references to them: Lily is suspended on a giant fishing hook, and the setting of the second is the home of someone completely obsessed with fishing. The images are not part of the same set or story, and do not look it either. However, contextually, they seem to work hand in hand. Having the countryside and fields in the background that run our eyes to the edge of the Fish Hook image just above the halfway line is similar in comparison to the way the Eglingham Stream image is cut off. This image is split by the striking pink/reddish colour of the walls meeting the grey wet slate form the stream that make the bedroom floor. Both splitting factors are of natural earthly objects; possibly representing that county, earthly, English vibe Walker has been known to create in many of his images. There is a terrible truthfulness about photography that the ideas which might work in a painting or a sketch won’t necessarily work in a photograph’ (UNKNOWN, 2008, p254. ) This statement is from Tim Walkers book Pictures and although this was not said in reference to Walkers work, it almost seems as if this is something he fights hard to overcome in his own pictures. He doesn’t let the normal be a limi t, he combines familiarity with fantasy and imagination to create what has never been seen before. This is what gives them that edge over many other fantastic editorials, and sketching ideas to visualise them is a big thing with Tim Walker; something he prides his work upon. Despite all their similarities, the images are in fact very different and not only of location and setting, but of story and design. In the first image of Lily on the hook, that is the surrealism; this beautiful girl dressed in a random combination of tutus with huge frizzy ginger hair hanging on a fishing hook. This is what we are supposed to look at and see the dreamlike, far from ordinary image in front of us. In the second image, the stream running out of the fire place through the middle of the room is also surreal, but that’s not only what the image is about. It’s about the story the scene creates. Yes you look at the stream and think ‘wow’ and begin to question it, but it doesn’t stop there, your questioning goes on to the room and what the contents of it mean. The images also differ in terms of layout. The first is portrait and works better in this format as it allows the full size of the hook to be appreciated. If this was on a landscape layout, the surrealism of the hook may not be fully valued due to it physically having to be shrunk on the page. However, the double page landscape layout for the second image allows a full viewing of the room and many details and objects to be noticed. This image in a portrait layout would not be successful as the image would have to be shrunken or cropped- both having negative effects on the way the image is viewed. The subject matter and the use of a model being used in the first image but not in the second is another differing factor between them both. Lily as a model is the subject in Figure 2 that the viewer connects with; she gives the image that presence so that when we look at it, it’s not just a picture, it’s a situation that we feel as if we are now part of. In Figure 3, Tim Walker is successful in including the viewer, but in a very different way and without using any models; we are invited to look into somebody’s bedroom while they are not there and just by looking at the photograph, the viewer becomes an intruder. But this intrusion plays as a foundation for the story behind the image, the one we seek out and uncover more of the more we look at it. Although the lamps warm up the image, it still has this cold feel created by the grey stones, real flowing stream and lack of natural light. The absence of anybody in the room assists in creating this ‘chill-in- the-air’ feeling. Figure 2, where Lily is standing on a large fishing hook, has a surprisingly warm tone to it and this may be due to her relaxed pose and the warming colours present in the image: The ginger of her hair, the red of her tutu and the fishing tackle and the brown/copper of the lake. The colours are softened by the sunlight adding to that warm tone. ‘Photography is a bit like cooking: you take the ingredients out of the cupboard and mix them up- old pictures, characters, colours, landscapes, to create something that is in your imagination that surprises you. ’ (WALKER, 2009, P208) It is clear to see that Walker uses certain ingredients in both of these images; fantasy and surrealism become like the salt and pepper; the underlying flavour and present always. After looking at Lily On The Hook and Eglingham Stream in comparison to each other, many similarities are because of Walkers ‘style’ that are consistent throughout. Even though both are editorials, contently, technically and visually, there is a big difference between them. Creatively, they are alike. These are just two out of hundreds of Tim Walkers photographs, but as like all of his images, there will always be something magical, fantastical or romantic to hint that the image was photographed by Walker. The images are real in their own terms; that is what they are. As a fashion photographer you are a documentary photographer within a fantasy land. ’ (WALKER, 2009, p210) By Walker referring to himself as a documentary photographer within a fantasy land gives us a clear insight to how he sees fashion photography; in a childlike day-dream way. He escapes to this place in which his imagination can be real and he sees his job as a photographer to document this.

Free Essays on Early History Of Judaism

Early History of Judaism It has been argued that Judaism can be seen not only as a single religion, but also as a group of similar religions. It has also been pointed-out that through all the trials and tribulations that Judaism has suffered through, that there have been common themes that have proven omni-pervasive. Any institution with roots as ancient and varied as the religion of the Jews is bound to have a few variations, especially when most of its history takes place in the political and theological hot spot of the Middle East. In this discussion, many facets of Judaism will be examined, primarily in the three temporal subdivisions labeled the Tribal / Pre-Monarchy Period, the Divided Monarchy, and the Hasmonean / Maccabean and Roman Era. Among all the time periods where the religion has been split, these three seem to be the most representative of the forces responsible. As for a common thread seen throughout all Judaism, the area of focus here is the place associated with the religion: Jerusalem. This topic will be covered in detail first, and then the multiple Judaism arguments will be presented. In this way, it is possible to keep a common focus in mind when reading about all the other situations in which the religion has found itself. A brief conclusion follows the discussion. A Place to Call Home No other religion has ever been so attached to its birthplace as Judaism. Perhaps this is because Jews have been exiled and restricted from this place for most of their history. Jerusalem is not only home to Judaism, but to the Muslim and Christian religions as well. Historically this has made it quite a busy place for the various groups. Jerusalem is where the temple of the Jews once stood; the only place on the whole Earth where one could leave the confines of day-to-day life and get closer to God. In 586 BCE when the temple was destroyed, no Jew would have denied Jerusalem as being the ge... Free Essays on Early History Of Judaism Free Essays on Early History Of Judaism Early History of Judaism It has been argued that Judaism can be seen not only as a single religion, but also as a group of similar religions. It has also been pointed-out that through all the trials and tribulations that Judaism has suffered through, that there have been common themes that have proven omni-pervasive. Any institution with roots as ancient and varied as the religion of the Jews is bound to have a few variations, especially when most of its history takes place in the political and theological hot spot of the Middle East. In this discussion, many facets of Judaism will be examined, primarily in the three temporal subdivisions labeled the Tribal / Pre-Monarchy Period, the Divided Monarchy, and the Hasmonean / Maccabean and Roman Era. Among all the time periods where the religion has been split, these three seem to be the most representative of the forces responsible. As for a common thread seen throughout all Judaism, the area of focus here is the place associated with the religion: Jerusalem. This topic will be covered in detail first, and then the multiple Judaism arguments will be presented. In this way, it is possible to keep a common focus in mind when reading about all the other situations in which the religion has found itself. A brief conclusion follows the discussion. A Place to Call Home No other religion has ever been so attached to its birthplace as Judaism. Perhaps this is because Jews have been exiled and restricted from this place for most of their history. Jerusalem is not only home to Judaism, but to the Muslim and Christian religions as well. Historically this has made it quite a busy place for the various groups. Jerusalem is where the temple of the Jews once stood; the only place on the whole Earth where one could leave the confines of day-to-day life and get closer to God. In 586 BCE when the temple was destroyed, no Jew would have denied Jerusalem as being the ge...

Nursing Essay Example | Topics and Well Written Essays - 500 words - 11

Nursing - Essay Example It provides the anticipated levels of education that nurses in the country should conform to. This is clearly spelt out in recommendations 4, 5 and 6. In order to ensure that I align myself with these recommendations, I will endeavor to earn my degree in the next two years. A degree forms the foundation of the advancement in career to the higher levels. After the degree, I look forward to a work experience of between three and five years. After this, I will go for the master’s degree. I strongly belief that there is need to balance between work experience and level of study. Upon completion of the Master’s, then I will get in for PhD in the next one or two years. Increasing the level of education will have far-reaching implications towards becoming a proficient nurse. The essence of gaining some experience in practice of nursing is geared towards providing a broad understanding of the profession. Theory and practice have many differences, of which I endeavor to explore. Education is very important because it will help me to explore the experience that I will have met in practice. This is the reason I am convinced that education and practice should go hand in hand; this is because they are complementary in nature. Education will also open me to new ideas and techniques that were not fully explored at the Bachelor’s level. Additionally, further education will open my mind in order to engage in research that will help promote nursing profession. My role in nursing will be facilitated by higher education. At the beginning of my career as a junior nurse, I will have the basic nursing tasks to conduct. With additional experience and higher education, my roles will have to change, for example, I will endeavor to specialize in research. Therefore, at the beginning I will have to work under a known researcher but later on will develop projects of my own. Having completed my master’s and PhD, engaging in research

3D Graphing Engine Term Paper Example | Topics and Well Written Essays - 10000 words

3D Graphing Engine - Term Paper Example Nowadays geometry engines are called Vertex Shaders since they are programmable and can run so-called (vertex) shader programs to compute and animate the geometry of a scene. Every vertex that needs to be calculated can contain a lot of information, such as an x, y, z coordinate (a 3-dimensional position), texture coordinates, Normal Information (what direction the vertex faces), an identifier (which triangle it belongs to), Skinning parameters, lighting values or just about anything else. However, vertex processing alone does not result in a visible picture.   So as to see all the triangles made up of all the vertices that the vertex shaders have calculated, they need to be colored. Certainly, the invisible object that is a result of the geometry processing needs to be â€Å"wallpapered† so it becomes visible.   To be able to do this, the polygons need to be converted into pixels; this is done during the triangle setup. The pixels are then dealt with in the pixel shaders and pixel pipelines. The color value of a pixel is looked upon a texture; this texture exists in graphics memory as a bitmap that was designed by the 3D artist.   Textures can be available in different resolutions. Higher resolution textures look better; however, use more memory space and more memory bandwidth than lower resolution textures.   For far away objects, this would not only result in wasted processing cycles, but it could also lead to display anomalies. As a result of this, t extures are usually available in different resolutions.   If textures of different resolutions are combined on one object then this is referred to as mip-mapping. This mip-mapping can produce visible borders between the two textures of different resolutions, called mipmap banding.   Moreover, this mipmap banding can be minimized using different filtering techniques. Filtering means that for every pixel to be colored, more than one texel on the texture is looked up and the average is calculated and applied to the pixel.  

WRITE A sidebar, along the lines of the sidebar in HK Chs. for one of Essay

WRITE A sidebar, along the lines of the sidebar in HK Chs. for one of the HK chapters - Essay Example But South Koreans were able to surmount their obstacles through creative inputs of their citizens and contribution from International Monetary Fund or IMF. IMF’s bailout package of $57 billion had come with huge conditions. The structural reforms were implemented in the form of massive layoff, shutting off of banks, control of IMF vis-Ã  -vis decision making in tax rates, interest rates of central banks. These had huge cascading ramifications on the people at large. They were force to liberalize their economic policy to facilitate foreign market entry, cutting taxes and drastically reducing government spending at the cost of public welfare. But Korean people were not prepared to take the economic depression placidly. They came to the rescue of their country through personal commitment and proactive participation. This was one of the most unique and exemplary exhibition of patriotism. The citizens of Korea donated gold from their personal collection of jewellery to the movement and collected whopping $2.2 billion from 3.5 million Korean citizens. Huge queue of the enthusiastic citizens could be seen at various collection centres. Eight tonnes of gold was collected in first week (bbc.com) Koreans were very sensitive to their country’s vulnerability to the exploits of IMF which had forced them to liberalize their economy for foreign market. They showed their resentment by reducing their imports by promoting goods made in their country only. They focused on strong manufacturing exports to improve their economic conditions (koreatimes.com). Koreans have been renowned for their love of their country. In 107, when Korea was overwhelmed with national debt of 13 million won1, ‘National Debt Repayment Movement’ had come to the fore and collected 190,000 won. The Korean culture greatly takes pride in their national heritage and likes to be proactive participant in its nation building processes. Through innovative measures and people’s participation, South

Internet Of Things

Internet Of Things The Internet of Things is the idea that ordinary everyday objects can, with the addition of sensors and communications interfaces, be made Smart. In this context Smart means that they are able to communicate useful information regarding their current state, their location and the environment they exist in. The technology behind this idea has been applied to areas such as energy efficiency [6], a virtual lost property office [7], tachographs for individual road charging [8], RFID systems in logistics [5] and bar codes on supermarket products that can be read by mobile phone applications to give nutritional information, allergy warnings or ethical information [9]. However, in this paper we shall be investigating the Internet of Things from the perspective of its application in what have become known as Smart Homes and more specifically how issues relating to Human Computer Interaction (HCI) have been considered when developing products and appliances therein. First we shall provide a b ackground to the subject, highlighting its origins and noting key technical themes. Following this we shall look in more depth at studies relating to key HCI concerns we have identified. The first of these concerns is the design, usability and acceptance of interfaces on Smart appliances. The second concern is the impact of security and personal privacy considerations on the perception and acceptance of Smart Homes technology. Finally, in our conclusion we will show that [TBC when conclusion can be added] Background The term Internet of Things represents a vision in which the virtual world of the Internet is extended into the physical world of everyday objects. A concept first put forward by Mark Weiser in a 1991 article for Scientific American [1], it stems from the idea that the continuing trend for reductions in price, size and energy consumption of electronic components, microprocessors and communications modules will lead to a truly ubiquitous computing experience. The term itself is attributed to Kevin Ashton, co-founder of MITs Auto-ID Center [2], which was set up to design, develop and propagate open standards for Radio Frequency Identification (RFID) infrastructure. Using sensors, it is envisioned that objects become context aware or Smart and that built-in networking capabilities enable these Smart objects to communicate their current state both to people and other systems via internet services. Such developments have been widely recognised both by governments and international bodies as important and potentially disruptive. The Internet of Things was included in the US National Intelligence Council list of 6 Disruptive Civil Technologies [17] in 2008, whilst an EU Commission action plan [4] saw the evolution of the Internet taking it from a network of interconnected computers to a network of interconnected objects. This vision mirrors that of the International Telecommunications Union which views the Internet of Things as a development that means ÂÂ  from anytime, anyplace connectivity for anyone, we will now have connectivity for anything [20]. Applications include energy efficiency and conservation [6], a virtual lost property office [7], tachographs for individual traffic costs [8], RFID tagging in logistics [5] and barcodes in supermarkets that can be read by mobile phones [9] [13] to supply information such as allergy warnings or nutritional details. However, ther e is the potential to impact on any field that would benefit from remote, automated observation and data collection, efficient control management or real-time interpretation of data from the physical world [5]. Much of the research into the Internet of Things has been from a strictly engineering perspective and as such follows a Design Science approach that is very much machine focused. Examples of this research can be found in [10] and [18] where it has been additionally described as following either a Things oriented perspective or an Internet oriented perspective. This is a reflection that the word Internet acts both as a metaphor for connectedness and also, in a stricter technical sense, to signify the use of IP (Internet Protocol) as a basis for communication. Things oriented initiatives are largely those originating from the Auto-ID Center, which promote the use of RFID tags and a global Electronic Product Code (EPC). RFID tags are the combination of a small microchip attached to a wireless antenna in a package usually similar to an adhesive sticker. RFID tagged objects are not Smart in and of themselves but rather they require a reader to aggregate and interpret information they gather and sit between themselves and the applications making use of their data. The development and adoption of an EPC network [11] and EPCIS standards aims to provide the infrastructure to uniquely identify RFID tagged objects and simplify the processing and exchange of the data they capture. This will be helped by the creation of Wireless Sensor Networks enabled through advances in energy efficient multi-hop Wireless Personal Area networks (WPAN) [21]. RFID systems have the advantage of being very small size and very low cost [18] and are considered good for c losed loop applications e.g. logistics within a single organisation such UPS or FedEx rather than open loop applications such as supply chain that have greater complexity problems [10]. ÂÂ  There are, however, major practical issues relating to scalability and confidentiality. Internet Protocol (IP) enables Smart objects to be fully connected as Internet nodes. However, the requirements for processing and power consumption are currently prescriptive with regards to implementing a TCP/IP stack and wireless communications into RFID tags. Research into technologies that overcome these issues forms the Internet oriented approach and promotes the idea of Unique, Universal or Ubiquitous ID (uID) architectures. It also includes artefacts that have alternatively been termed the Web of Things [16], as a refinement of Internet of Things. A Service Oriented Architecture (SOA) approach, allowing for the decomposition of complex and monolithic systems into applications consisting of an ecosystem of simpler and well defined components [18] has been adopted in the development of middleware to bridge this gap. Middleware describes the software layer(s) sitting between and acting as a communications link between applications and low level objects. One such example is the S OCRADES Integration Architecture [29] in which Enterprise Resource Planning (ERP) application developers can query networked devices to find the most suitable one to provide the required service based on its real-time environmental context. Alternative middleware approaches include Fosstrak [26] an open source RFID infrastructure implementing EPC Network specifications and e-SENSE [25] that uses wireless sensors to capture ambient intelligence. A more ad-hoc Web of Things approach [27] applies REST (Representational State Transfer) [30] use of the Web as application platform to devices. In this model Smart objects are embedded with a small HTTP server [15] [16] or use a middleware gateway to transmit XML or JSON data. One outcome of this is the potential for real-time Mashups (user generated composite applications) of physical objects with Web 2.0 services. Examples include tracking the flight paths of planes around Zurich [14] or measuring energy consumption of appliances [16]. In the future this could mean an RSS or Twitter feed from your fridge updating you on the status of its contents. Mattern and Fleorkemeier [10] have identified twelve major challenges they consider important to the ongoing development of an Internet of Things. Amongst these are two that form the basis of our investigations and provide the focus of the remainder of this paper. The reason we have settled on these two challenges is that we have identified them as relating most directly to the Human Computer Interaction (HCI) issues that are the focus of our studies. These two challenges are: Arrive Operate The idea that Smart objects should not be perceived as computers and that there should be no need for user configuration, rather they should just work. For the applications we shall study in more detail this is most clearly manifested in the choices made when designing the user interface. Security personal privacy The understanding that a wider Internet of Things will inherit all the privacy issues associated with the existing Internet and in addition will have to concerns regarding the authentication of other communication partners where each partner is either a Smart object or a service.

Involvement Of K+ In Leaf Movements During Suntracking :: essays research papers

Involvement of K+ in Leaf Movements During Suntracking Introduction   Ã‚  Ã‚  Ã‚  Ã‚  Many plants orient their leaves in response to directional light signals. Heliotropic movements, or movements that are affected by the sun, are common among plants belonging to the families Malvaceae, Fabaceae, Nyctaginaceae, and Oxalidaceae. The leaves of many plants, including Crotalaria pallida, exhibit diaheliotropic movement. C. pallida is a woody shrub native to South Africa. Its trifoliate leaves are connected to the petiole by 3-4 mm long pulvinules (Schmalstig). In diaheliotropic movement, the plant’s leaves are oriented perpendicular to the sun’s rays, thereby maximizing the interception of photosynthetically active radiation (PAR). In some plants, but not all, his response occurs particularly during the morning and late afternoon, when the light is coming at more of an angle and the water stress is not as severe (Donahue and Vogelmann). Under these conditions the lamina of the leaf is within less than 15 ° from the normal to the sun. Many plants that exhibit diaheliotropic movements also show paraheliotropic response as well. Paraheliotropism minimizes water loss by reducing the amount of light absorbed by the leaves; the leaves orient themselves parallel to the sun’s rays. Plants that exhibit paraheliotropic behavior usually do so at midday, when the sun’s rays are perpendicular to the ground. This reorientation takes place only in leaves of plants that are capable of nastic light-driven movements, such as the trifoliate leaf of Erythrina spp. (Herbert 1984). However, this phenomenon has been observed in other legume species that exhibit diaheliotropic leaf movement as well. Their movement is temporarily transformed from diaheliotropic to paraheliotropic. In doing so, the interception of solar radiation is maximized during the morning and late afternoon, and minimized during midday. The leaves of Crotalaria pallida also exhibit nyctinastic, or sleep, movements, in which the leaves fold down at night. The solar tracking may also provide a competitive advantage during early growth, since there is little shading, and also by intercepting more radiant heat in the early morning, thus raising leaf temperature nearer the optimum for photosynthesis.   Ã‚  Ã‚  Ã‚  Ã‚  Integral to understanding the heliotropic movements of a plant is determining how the leaf detects the angle at which the light is incident upon it, how this perception is transduced to the pulvinus, and finally, how this signal can effect a physiological response (Donahue and Vogelmann).   Ã‚  Ã‚  Ã‚  Ã‚  In the species Crotalaria pallida, blue light seems to be the wavelength that stimulates these leaf movements (Scmalstig). It has been implicated in the photonastic unfolding of leaves and in the diaheliotropic response in Mactroptilium atropurpureum and Lupinus succulentus (Schwartz, Gilboa, and Koller 1987). However, the light receptor involved can not be determined from Involvement Of K+ In Leaf Movements During Suntracking :: essays research papers Involvement of K+ in Leaf Movements During Suntracking Introduction   Ã‚  Ã‚  Ã‚  Ã‚  Many plants orient their leaves in response to directional light signals. Heliotropic movements, or movements that are affected by the sun, are common among plants belonging to the families Malvaceae, Fabaceae, Nyctaginaceae, and Oxalidaceae. The leaves of many plants, including Crotalaria pallida, exhibit diaheliotropic movement. C. pallida is a woody shrub native to South Africa. Its trifoliate leaves are connected to the petiole by 3-4 mm long pulvinules (Schmalstig). In diaheliotropic movement, the plant’s leaves are oriented perpendicular to the sun’s rays, thereby maximizing the interception of photosynthetically active radiation (PAR). In some plants, but not all, his response occurs particularly during the morning and late afternoon, when the light is coming at more of an angle and the water stress is not as severe (Donahue and Vogelmann). Under these conditions the lamina of the leaf is within less than 15 ° from the normal to the sun. Many plants that exhibit diaheliotropic movements also show paraheliotropic response as well. Paraheliotropism minimizes water loss by reducing the amount of light absorbed by the leaves; the leaves orient themselves parallel to the sun’s rays. Plants that exhibit paraheliotropic behavior usually do so at midday, when the sun’s rays are perpendicular to the ground. This reorientation takes place only in leaves of plants that are capable of nastic light-driven movements, such as the trifoliate leaf of Erythrina spp. (Herbert 1984). However, this phenomenon has been observed in other legume species that exhibit diaheliotropic leaf movement as well. Their movement is temporarily transformed from diaheliotropic to paraheliotropic. In doing so, the interception of solar radiation is maximized during the morning and late afternoon, and minimized during midday. The leaves of Crotalaria pallida also exhibit nyctinastic, or sleep, movements, in which the leaves fold down at night. The solar tracking may also provide a competitive advantage during early growth, since there is little shading, and also by intercepting more radiant heat in the early morning, thus raising leaf temperature nearer the optimum for photosynthesis.   Ã‚  Ã‚  Ã‚  Ã‚  Integral to understanding the heliotropic movements of a plant is determining how the leaf detects the angle at which the light is incident upon it, how this perception is transduced to the pulvinus, and finally, how this signal can effect a physiological response (Donahue and Vogelmann).   Ã‚  Ã‚  Ã‚  Ã‚  In the species Crotalaria pallida, blue light seems to be the wavelength that stimulates these leaf movements (Scmalstig). It has been implicated in the photonastic unfolding of leaves and in the diaheliotropic response in Mactroptilium atropurpureum and Lupinus succulentus (Schwartz, Gilboa, and Koller 1987). However, the light receptor involved can not be determined from

Do People in Public Life Have a Right to Privacy? Essay

People, famous or not, have a right to privacy, which is a basic human right. Although some of them have voluntarily made themselves known to the world, they are still entitled to live a life without others following them all the time, eavesdropping on what they say and being under surveillance. However, in the case of politicians or other powerful people, the right to privacy comes into conflict with another right, the public’s right to know. The entitlement and the necessity to get informed are essential to guarantee democracy; this can only be achieved by the freedom of the press. Therefore the right to privacy of certain politicians sometimes has to be neglected to ensure a rightful running of our country. But do we need to get informed about everything there is? We have to distinguish between famous people. Basically there are those who were seeking a public life – or at least knew to some extent what they were going into – and those who were not. Politicians, athletes, actors, musicians, entertainers and members of royalty belong to the former. The latter are ordinary citizens who become significant, because of their extraordinary experiences, for example victims of crimes or tragedies, but also criminals. The amount of ordinary citizens who receive their celebrity status unwillingly is quite big and the privacy of those people needs to be especially respected and maintained. Names, addresses or pictures that could lead to the identification of a person should never be made public. It is not of interest for the readers, and it usually does not make a difference for them, what the name of someone is, but for the one concerned publication of identity could mean embarrassment and harassment. Suspected criminals, for instance, could lose their jobs, their families could break up or their whole lives could get destroyed, even when they are innocent. Apart from that, as soon as someone is well known, they are pursued and harassed by journalists demanding interviews. Also in cases where a family just had to experience the loss of a dear person, the press usually shows little respect for that. While we tend to despise the way the press is treating ordinary people and feel the justification for their right to privacy, we have problems applying the same to people who were seeking a public role. In those cases we tend to think we have a right to the invasion of their privacy, since they have put themselves into the public eye on purpose. We demand to know about their personal lives, but we don’t see that this interest is only greediness for amusement. The press is using this human phenomenon and is sacrificing individual privacy for the entertainment of a general public to increase the circulation of a paper. We are satisfying our voyeurism and we even claim that we have a right to it, but by that we submit ourselves to the tabloid values of a mainstream media and put that under the cover of public interest. What is public interest? Journalists usually widen this term to use it as an excuse for all forms of reporting, in order to cover up every detail of one’s life. But public interest is not necessarily what the public is interested in, which is usually sex and crime; it is not what increases the circulation of a paper; it is not gossip. Public interest is the necessity to have access to essential information that allows us to keep a critical eye on our society. A person’s personal lives or gossip about it is not news and not of public interest. But unfortunately, reports about politicians’ sex lives are more popular than reports about someone’s policies and public actions. The position of politicians in the eye of the public is especially difficult to judge. On the one hand politicians use their happy family and home in campaigns, on the other hand we know personal particulars and behaviour have nothing to do with competence in running a country and private details, even if completely irrelevant, can still ruin careers. Sometimes only due to the intrusion of privacy, corruption or similar crimes can be made public, but at the same time not everything in one’s life is connected to one’s office. When personal morality and family values are deliberately used by politicians  as a reason for them to be elected, they have chosen to make it a public issue rather than a private one. This is a sad fact, but it does not justify intrusion of the personal lives of all politicians. A politician still is, like everyone else, entitled to privacy. Unfortunately, the press and the public seem to have grown bored covering politicians who aren’t celebrities and so personal gossip wins over public issues. Since their private lives are so closely observed, politicians are concentrating a lot on their image and consequently they have less time to spend on their actual job. This close scrutiny is not only humiliating, it also makes poor political performances more likely. If the public lost its big interest in private lives, political coverage and also politicians themselves would have to focus more on policies and actions. Everyone would have to stop making privacy an issue, which has no place in politics. However, competence seems to count less and less nowadays and politicians are rather supposed to have a good character. People are inclined to think that one who betrays his wife also betrays his country, which generally not the case. But character is not determinable by personal behaviour and moreover there is no connection between private morality and someone’s ability to do a job well. Would we rather have a morally integer, but less competent person in power? A lot of good leaders of the past would probable fail today, for example Kennedy, who committed adultery, or Kreisky, who had a speech impediment. Many talented people do not manage to reach a high position today, because they have no blameless personal lives and many are kept from seeking a public office, because they fear the intrusion of privacy. Politicians have to be observed in some respects. The press, being independent from any authorities, plays an important role in informing the public; it is the instrument that can expose corruption, wasting of taxes, hidden agendas or other crimes by examining actions and words of politicians. Naturally, there is no clear dividing line between public and private matter. Generally you can say, everything that has to do with the particular person’s profession has a public interest justification and can  thus be reported about. Intrusion of privacy should only be allowed in cases where privacy is strongly connected to the public office. Any other information revealed, which is irrelevant to the politician’s skills and competence, is not irrelevant to the image one has of that person. It just prejudices people against them and this can clearly not be in the public interest. Watergate, for instance, was one example of a journalist revealing illegal political actions, but h ere only information connected with the person’s profession was made public. Clinton’s sex-affair, however, was an example of going too far into privacy. People claimed the whole scandal was not about sex, but about committing perjury, which is not quite true. A perjury of Clinton about a land deal would have probable not interested as many, but this one was about sex, so the interest was enormous. Clinton was asked something he should have never been asked. Private questions – such as: â€Å"Have you ever committed adultery?† – ought definitely not be put to someone. Because if one refuses an answer to a query like that, it is a signal that there is something to hide. Since you hardly find someone who has never done anything wrong or illegal, it is especially unlikely to find a politician like that. Everyone knows they can’t admit little sins of their youth or sex affairs, because they know it would ruin their careers. So politicians have two possibilities when they are asked questions about their private lives: not answeri ng, the same as admitting, or lying. For celebrities, other than politicians, it is even more difficult to argue for their right to privacy, since so many of them use their status of being popular and seem to enjoy sharing private details and creating sensational news to stay well known or to make money. Publicity should be expected by them and loss of privacy is said to be the prize for fame. But does every skier, musician or actor really just want to be in the public eye? Is not also imaginable that a tennis player just loves to play tennis and detests being on television? We can reduce those people to the fact that they are famous, but it would show little acknowledgement for their talents or abilities. After all, the celebrity status is in many cases just by-product of someone’s success in a particular field. Fame does not rob anyone the  right to privacy and journalists go way too far for interviews or pictures of celebrities. Sometimes this has great consequence as in the case of Princess Diana, who died in a car accident after being chased by reporters. We are all obsessed with privacy, protecting our own on the one hand, and invading other people’s privacy on the other hand. If people similar to us, ordinary people, get their privacy invaded, we are outraged. But someone different to us, someone famous, somehow has the duty to uncover everything there is. Since they have voluntarily thrown themselves into the public light, they now belong to the public. Political scandals have shown the need for close observation of public figures, especially if they have power, but in most cases we hypocritically claim to have a right to know about something that is actually none of our business. Privacy is classed as a right under the European Convention of Human Rights and it applies to everyone.

How To Get Started Submitting Poems to Publications

How To Get Started Submitting Poems to Publications So you’ve begun a collection of poems, or you’ve been writing for years and hiding them away in a drawer, and you think some of them are worthy of publication, but you don’t quite know where to begin. Heres how to begin submitting your poems for publication. Get Started With Research Begin by reading all the poetry books and periodicals you can get your hands on - use the library, browse the poetry section of your local independent bookstore, go to readings.Keep a publication notebook: When you find poems you admire or a poetry magazine that publishes work similar to your own, write down the editor’s name and the name and address of the journal.Read the journal’s submission guidelines and write down any unusual requirements (double-spacing, more than one copy of submitted poems, whether they accept simultaneous multiple submissions or previously published poems).Read Poets Writers Magazine, Poetry Flash or your local poetry newsletter to find publications calling for submissions.Make up your mind that you are not going to pay reading fees in order to send out your poems for publication. Get Your Poems Publication-Ready Type or print clean copies of your poems on plain white paper, one to a page, and put your copyright date, name and return address at the end of each poem.When you have a good number of poems typed up (say, 20), put them into groups of four or five - either putting together sequences on similar themes, or making a diverse group to show your versatility - your choice.Do this when you are fresh and can keep your distance: read each group of poems as if you were an editor reading them for the first time. Try to understand the effect of your poems as if you had not written them yourself.When you’ve chosen a group of poems to send to a particular publication, reread them once more to be sure you’ve met all the submission requirements. Send Your Poems Out Into the World For most poetry journals, it’s fine to send a group of poems with a self-addressed stamped envelope (SASE) and without a cover letter.Before you seal the envelope, write the titles of each poem you’re submitting, the name of the journal you’re sending them to and the date in your publication notebook.Keep your poems out there being read. If a grouping of poems comes back to you with a rejection note (and many will), do not allow yourself to take it as a personal judgment: find another publication and send them out again within a few days.When a group of poems is returned and the editor has kept one or two for publication, pat yourself on the back and record the acceptance in your publication notebook - then combine the remaining poems with new ones and send them out again. Tips: Don’t try to do this all at once. Work a little on it every day or every other day, but save your time and mental energy for actually reading and writing poetry.If you do write a cover letter, make it a very brief note explaining why you chose their publication to submit your work. You want the editor to focus on your poems, not your publication credits.Don’t get too involved in trying to psych out a particular editor’s preferences. Inevitably, many of your poems will come back to you rejected- and you will occasionally be totally surprised by what a particular editor has chosen.Don’t expect detailed critiques from poetry magazine editors who have not accepted your work for publication.If you want specific responses to your poems, join a workshop, post in an online forum, or go to readings and gather a group of poet-friends to read and comment on each others work.Making this kind of connection in the poetry community may also lead you to publication, becau se lots of reading series and workshops end up publishing anthologies of their members’ poems. What You Need: Stamps#10 envelopesNice plain white paperClean copies of poems

Notes On Theories Of Mass Communications Essays - Free Essays

Notes On Theories Of Mass Communications Essays - Free Essays Notes On Theories Of Mass Communications Essay 1 - GSC2411 (Theories of Mass Communication unit, Monash University, Australia) This is NOT an essay - it is a collection of notes which are the foundation of an 800 word comparison of two articles regarding the place of humanities in university studies, and the roles of mass communication. Part 1 (800 words - 30%) You will be given two short readings by the end of Week 3 of the Semester. Identify the approach or approaches used in each, and with reference to the features and examples of the identified approaches as presented in Subject materials, justify your answer. Andrew Riemer's article, Cannon or Fodder? (The Weekend Australian, 16-17 November 1996) can be identified as having both Idealist and Leavisite approaches within the text. This is indicated in several passages of the text: My colleagues in the Department of English were irresponsibleThey were trivialising the disciplineby allowing undergraduates to sidestep the so-called canonical writersin favour of whatever transient phenomenon or writer of small talent happened to be their latest obsession. They were reprehensible in encouraging their students to impose simple sub-Marxist, sub-feminist templates on complex and mysterious works of literature Milton's Eve reduced to a mere victim of the patriarchy. Alluring though it might be, we cannot recover intellectual integrity by turning back the clock. Cannon or Fodder? (The Weekend Australian, 16-17 November 1996) When looking at the approaches as they are presented in the Subject Materials, one is able to identify them as clearly being both Idealistic and Leavisite. Our Subject Book indicates that the Idealistic view of culture has been conceived in the humanities and in journalism and popular social commentary a realm of moral, spiritual and aesthetic values which exist largely independent and above society. Further, this view states Culture was isolated from society - autonomous because it had to be abstracted from one way of life (pre-industrial) and then transmitted and extended to another (allegedly inferior) way of life to 'save' that society. The Leavisite concept of culture is still common and is firmly bound up in the theory of mass society and mass culture. Mass communications are seen to hold a crucial and privileged place in mass society, taking over the role of creating and distributing the values and information common to a society. Mass culture, unlike high culture, is unable to transcend its time and place and offer any kind of lasting truth to its audiences and, at worst, positively damages them. Critics of Leavis have questioned the narrowing of 'culture' to literature. idealist concept of culture, synonymous with 'high' culture, it carries with it its implied opposite - the denigrated 'mass' culture. a central assumption of the approach is that there exists a natural hierarchy of high culture and mass culture. This is how the idealist approach deals with differences. Media vs. Humanities Simon During The Australian Identified approaches: materialist/Frankfurt School The mainstream perception is that universities produce and teach truth through research while the media produce and communicate quickly consumable information and opinion. The weird, ill-judged consensus that the culture is dumbing down, which the media itself has helped to forge, is an important expression of this belief assuming as it does that the media breeds stupidity. the notion that the media is shallow and deals in opinion while the universities deal in depth and truth is misguided (though by no means simply false). The media are in unacknowledged competition with the humanities. in the interest of truth rather than ideology, they have also undercut the western classics claim on transcendental value to which the mainstream still genuflects. The humanities' old ethical project has been marginalised first by the democratisation of cultural and media consumption, second by the commercialisation of leisure pursuits, and last, by the segmentation of culture into market niches. Reader The central materialist assumption is that it is the material conditions of physical, historical and social being or existence which determine what counts as consciousness. Marx and Engels argued that social problems were political and needed solutions that put social interests ahead of private interests. in direct opposition to idealism The Frankfurt School's critical theory, as it is known, consisted of investigations into sociology, ideology and philosophy in which their aim was a Marxist analysis of contemporary society.

How to Lead Effective Meetings Essay Example | Topics and Well Written Essays - 1250 words

How to Lead Effective Meetings - Essay Example As the discussion highlights  agenda is a list of items that need to be discussed by the participants in order to achieve the objectives of a meeting. Being a form of early warning system, agenda helps the participants of a meeting to be prepared on how to deal with the various topics that will be covered in the meeting. To achieve the goals of the meetings, it is fundamental for the participants to be well prepared before a meeting. Thus, the main role of agenda is to provide the participants with the information in order ensure they are prepared. An agenda works as a time table that is followed by the participants during a meeting.According to the paper findings  an agenda is structured into three major items. The first one is common items that include apologies for absence, minutes of last meeting and matters arising. The second part is specific items that include accounts, special reports and appointments. Thirdly, an agenda has concluding items that includes any other busine ss (AOB) and the date of next meeting. For a meeting to be successful in meeting its aims, all the three items of the agenda must be covered.  Prior to a meeting, Peytons General Supplies department managers ensures adequate preparation. Meeting preparation takes four major steps. First, the managers identify the reasons of holding the meeting. In this way, they ensure that the meetings have clear goals. Secondly, the managers identify who should attend the meeting.

Analysis of Note on Deconstructing the Popular by Stuart Hall Essay

Analysis of Note on Deconstructing the Popular by Stuart Hall - Essay Example In 1980 he wrote an article and proposed the encoding decoding model in reference to media messages. This model helps us understand how cultural texts are produced and transmitted by the industry. He has also contributed to the discussion on hegemony. Stuart defines popular culture as all those things that people do or have, Stuart starts his discussion by discussing periodisation, periodisation is the attempt to divide time in discrete new blocks, popular culture can be dated back in the agrarian society to the industrial society therefore the study of popular culture can be studied in different periods. He says that in the period 1880-1920 there was an increased interest in the study of popular culture. In 1930s this study declined and this was the time there was a decline in Chartism. In his discussion of periodisation he argues that the proper periodisation of popular culture is the profound transformation which was in 1880s and 1920s, this period was a period of deep structural changes. Social change can be defined as the alterations that occur in social system which occur in both the structure and the functions; causes of social change include advancement in technology, ideology, conflict and growth in population. Stuart acknowledges the existence of social change, he says that in the beginning of the 20th century there was the development of a working class audience and this as a result led to the development of a commercial press. In this period there was also the development of new technologies, distribution process and labour processes and this led to a change in the relationship between the dominant and the dominated classes. Stuart says that there has been a struggle over the forms of culture and way of life of the popular class which is evident in this periods of history, conflict is one source of change and according to Stuart the struggle has caused cultural changes, throughout the ages there has been active destruction of particular ways of life and this can be viewed as cultural change. This changes include honour to certain people in the society, He says that magistrates and police were in the past being accorded honour in the past than they are in the present he also argues that people in the present time understand struggle and resistant more than they understand reform and transformation, transformation is the key cause of the process of moralization and demoralization of the people. In his discussion on popular culture, popularity means manipulation and debasements of the culture of the people, people who consume the popular cultures changes them or are put in a state of false consciousness. These means that popular culture plays a major role in shaping peoples culture, the proposed culture provides an alternative culture and this means that the culture industry has the power to reshape what they create. He also says that cultural domination has an effect on people's culture, there is a continuous struggle by the dominant culture to reorganise popular culture and there are cases of resistance and acceptance. Cultural resistance involves cultural struggle which takes many forms. Cultural struggle takes the form of incorporation, distortion, resistance, negotiation and recuperation, this struggle continues to exist. The existence of