Physical Therapy Essay Example for Free

personal Therapy EssayThe major that I will be going into in the next four years is Physical Therapy. Physical Therapy is basically a health c be profession, that provides therapy for those who have been injured, have a physical disability or for those who are experiencing minor pains in their body. I chose to hold back into Physical Therapy for many different reasons. I first thought of being a Physical Therapist when I realized that I was a pass on type of person, meaning that I like to die hard while being active. I then discovered that a divide of Physical Therapists work for college and professional sport teams and that to me was very exciting considering I want to play in the NFL one day. For the past year I have been interested in becoming a Physical Therapist. Everyone that I have talked to about my decision on choosing this force field has been very supportive and has said that it is perfect for me. There are many different courses you must take to become a Physic al Therapist such as, Biology, health sciences, kinesiology and ATC.Hearing from past students that were involved in the Physical Therapy field, they have told me that it takes a lot of hard work to really advance in the field. A major assignment when youre entering the Physical Therapy field is learning the human body and a project that involves learning the human body is having to observe a diseased body. This project will benefit me in the field because it gives me a broad look on the way the human body is and looks inside.Being that you have to know the muscular system and the skeletal system, discover a body will let you take a deeper look into how the body looks and will teach you everything you need to know when youre working with a live person. Being a Physical Therapist has really advanced throughout the years and therapists have now been considered doctors. Being a doctor is a very difficult thing to do, having to get your masters and then your working for your doctorates degree requires a lot of time and a lot of work.Being a Physical Therapist depending on how sophisticated you get, can bring in a lot of money. Also it can open up a lot of job opportunities. Whether you choose to work for a team or work for an office, you can eventually open up your own business with the right take of education. Another positive thing about Being a Physical Therapist is that you know how to treat injured people, so god forbid someone in your family gets injured you can treat them without orrying about some other person making things worse. A negative part about being in this field is that it will take up a lot of your time either at school or when youre actually working. If youre getting involved with a professional team then you also have to consider the traveling part of the business, going from state to state every hebdomad during the season. Also it will require a lot of money to go far into your major.College will give me the resources and the knowledge th at I need to know in order to do well with patients. You must have a masters or doctorate degree to become a physical therapist. A youthful study has shown that about there was about 199,000 jobs in the US for being a Physical Therapist. Athletic Training is a career that is very standardized to Physical Therapy and both degrees can be used for each other. The average Physical Therapist gets paid about 78,000 dollars a year.

Starbucks Corporate Strategy Essay Example for Free

Starbucks Corporate Strategy EssayStarbucks Corporate Strategy Corporate Strategy fundamentally is concerned with the alternative of businesses in which the company should compete and with the development and coordination of that portfolio of business. 1 In the case of Starbucks the corporate strategy they have implemented is unique to their industry which has allowed them to differentiate from their competitors and is summarized best by Howard Schultz CEO of Starbucks, Were in the people business serving coffee,2 in high spirits quality specialty coffee and related products in a European cafe environment. It is clear Starbucks is in a offset strategy utilizing three key techniques that support its Mission, to inspire and nurture the human spirit one person, one shape and one neighbourhood at a time3. Vertical Integration Tying in with Starbucks Mission, the companies vertical integration with its supply chain from roasting its aver coffee in one of two of its plants to its involvement with developing and fostering strategic partnerships with local coffee farmers may be the most all-important(a) growth strategy the company focuses on.Quality and corporate social responsibility are the pillars of Starbucks vertical integration is the key component to insuring both of these fundamental characteristics of Starbucks are managed. diversification Starbucks has created related diversification into wholesale distribution by developing coffee based branded products with Pepsi-Cola and Dreyers Inc. that can be sold in food product stores. The company is also expanding into non-related industries by creating an entertainment division focusing on the music and movie industry.As Starbucks expands diversification will become as important as its vertical integration as it moves through the product lifecycle in the coffee industry. (See Appendix A) Horizontal Integration Starbucks has expanded with horizontal integration by acquiring Seattles Best Coffee and Torre azione Italia Coffee. With the increased competition and new entrants in the coffee industry horizontal integration may become a greater focus for Starbucks. Starbucks Business StrategyAt the business level, the strategic issues are less about the coordination of operating units and more about developing and sustaining a warring advantage4. In order to understand the Coffee Industrys competitive advantage the use of Porters five Competitive Forces Model should be utilized. (appendix b) Starbucks has gained its competitive advantage by the use of diversification. The company has focused, through vertical integration corporate strategy, on providing the highest quality coffee products in a sustainable dedicate that is highly identifiable by its customer base.The use of their innovative marketing design with their European Cafe feel and creative diversification with its products has allowed it to be assort as, the most dynamic retail brand conceived over the last two decades5 Starbu cks faces a high degree of rivalry and a medium degree of buyer power (appendix b). The coffee industry also retains many characteristics of having high Consumer Market Segmentation, which can be supported by the relatively large span in the price for a cup of coffee and the varying degree in which certain coffee chains are found in certain contingent geographic regions and outlets.Starbucks has found a way to incorporate a broad strategy attracting a broad consumer despite the high prices of its products6. This supports that their differentiation strategy is emotive and it is clear consumers can identify the high quality of their products and the overall experience of visiting one of their locations. With a high threat of new entrants (appendix b) and the presence of high Consumer Market Segmentation, Starbucks strong differentiation strategy will allow it to remain competitive in light of this high threat.

Advantages Of Bus Topology Computer Science Essay

Advantages Of Bus Topology Computer Science EssayA topographic anatomy is defined as the layout of the interlocking i.e. how the invitees are connected. This describes how the meshwork bodilyly looks or how the meshing is physically designed. The concept of a topographic anatomy is important because each mesh topology card is designed to work with a specific regional anatomy. Conversely, if your intercommunicate production line is already installed and you want to use existing wi yell, you must select your network cards ground on the preexisting physical analysis situs. Ideally, you can design your network from scratch. Then you can choose your topology, cabling, and network cards based on what surpass meets your needs.Physically, a bus topology uses a linear segment of cable to connect all network devices. Devices typically connect to the bus (the cable) through T-connectors. At each end of the bus are terminators. Each terminator absorbs the forecast when it reaches t he end of the cable. Without a terminator, a signal would bounce back and cause network errors.The physical bus topology uses a dianoetic bus to transmit data on the cable in both directions. In a uniform bus topology, only one transmission can occur at any given moment. Otherwise, two transmissions would collide and cause network errors. Termination ensures that the signal is removed from the cable when it reaches either end, preventing possible network errors.Fig. 4.1 Bus TopologyAdvantages of Bus Topology The benefits of a bus topology include the following1. This is little expensive topology because it requires less cable for networkingbecause using only one cable it is possible to connect many computers.2. It is an easy way to network a small number of computers.Disadvantages of Bus Topology The drawbacks of a bus topology include the following1. One break in cable cause accurate failure in network.2. It is very arduous to correct the errors because the cable is non relat ed to onlyone machine.3. On a medium-sized to large network, reconfiguration is more difficult than thecable Management of a star topology.Star TopologyThe star topology looks like a star. The hub is at the center of the star, and all devices attach to the hub via a cable. Logically, the physical star topology operates as a legitimate bus topology by sending the data signal to all customers at once. The hub at the center of the star works as a signal splitter, which means the signal is split and sent to all computers at the same time, with one exception-it is not sent back to the computer from which the signal sent. The signal is terminated at each network card, thereby preventing the signal from accidentally reente ringing the network. If this were to happen, data packets would travel the network endlessly-seriously slowing down network performance.Fig. 4.2 Star TopologyAdvantages of Star Topology The benefits of a star topology include the following1. A star topology is more faul t tolerant than other topologies, because a cablebreak does not bring down the entire network.2. Reconfiguring the network, or adding pommels, is easy because each nodeconnects to the primeval hub independent of other nodes.3. Isolating cable failures is easy because each node connects independently to thecentral hub.Disadvantages of Star Topology The disadvantages of a star topology are1. If the central hub fails, the entire network becomes unavailable.2. This topology is more expensive than others to install because of the additionalcable and equipment involved.Ring TopologyPhysically, the ring topology is shaped in a ring. Cables pass from computer to computer until the ring is complete. When data is transmitted, each workstation receives the signal and then passes it on when the workstation is done with the data. Other than Fiber Distributed selective information Interface (FDDI), no current networks use a physical ring topology, because a break in the ring makes the entire n etwork unavailable. Logically, a ring topology works by passing the signal, traditionally called a token, from one node to another until it reaches all the way around the ring. Token-passing schemes use the logical ring topology.Fig. 4.3 Ring TopologyAdvantages of Ring Topology A logical ring topology ensures access to the network without the risk of collisions, which can occur in logical star or bus topologies.Disadvantages of Ring Topology The drawbacks of a ring topology include the following1. If there is a break in the cable of a physical ring topology, the network becomesunavailable.2. Physical ring topologies are difficult to troubleshoot.3. Physical ring topologies are hard to reconfigure.4. There is limited represent for ring networks.5. The costs for a ring network are significantly higher(prenominal) than for star or bus.Tree TopologyAlso known as a pecking order network, The type of network topology in which a central root node (the top take of the hierarchy) is conne cted to one or more other nodes that are one level lower in the hierarchy (i.e., the second level) with a point-to-point link between each of the second level nodes and the top level central root node,Fig. 4.4 Tree TopologyWhile each of the second level nodes that are connected to the top level central root node will also have one or more other nodes that are one level lower in the hierarchy (i.e., the third level) connected to it, also with a point-to-point link, the top level central root node being the only node that has no other node above it in the hierarchy (The hierarchy of the tree is symmetrical.) Each node in the network having a specific fixed number, of nodes connected to it at the bordering lower level in the hierarchy, the number, being referred to as the branching factor of the hierarchical tree. This tree has individual peripheral nodes.1.) A network that is based upon the physical hierarchical topology must have at least three levels in the hierarchy of the tree, s ince a network with a central root node and only one hierarchical level below it would exhibit the physical topology of a star.2.) A network that is based upon the physical hierarchical topology and with a branching factor of 1 would be classified as a physical linear topology.3.) The branching factor, f, is independent of the total number of nodes in the network and, therefore, if the nodes in the network require ports for connection to other nodes the total number of ports per node may be unbroken low even though the total number of nodes is large this makes the effect of the cost of adding ports to each node totally dependent upon the branching factor and may therefore be kept as low as required without any effect upon the total number of nodes that are possible.4.) The total number of point-to-point links in a network that is based upon the physical hierarchical topology will be one less than the total number of nodes in the network.5.) If the nodes in a network that is based upon the physical hierarchical topology are required to perform any processing upon the data that is transmitted between nodes in the network, the nodes that are at higher levels in the hierarchy will be required to perform more processing operations on behalf of other nodes than the nodes that are lower in the hierarchy. such a type of network topology is very useful and highly recommendedMesh TopologyMeshThe value of fully meshed networks is proportional to the great power of the number of subscribers, assuming that communicating groups of any two endpoints, up to and including all the endpoints, is approximated by Reeds Law.Fig. 4.5.1 Fully connected mesh topologyThe number of connections in a full mesh = n(n 1) / 2Fully connectedNote The physical fully connected mesh topology is generally too costly and hard for practical networks, although the topology is used when there are only a small number of nodes to be interconnected.Fig. 4.5.2 part connected mesh topologyPartially connectedThe type of network topology in which some of the nodes of the network are connected to more than one other node in the network with a point-to-point link this makes it possible to take advantage of some of the redundancy that is provided by a physical fully connected mesh topology without the disbursal and complexity required for a connection between every node in the network.In most practical networks that are based upon the physical partially connected mesh topology, all of the data that is transmitted between nodes in the network takes the shortest path (or an approximation of the shortest path) between nodes, except in the case of a failure or break in one of the links, in which case the data takes an alternative path to the destination. This requires that the nodes of the network possess some type of logical routing algorithm to determine the correct path to use at any particular time.

Analysing the Payback Period when making an investment

Analysing the Payback Period when making an enthronisationPayback Period is the length of time necessary before the total of the currency inf emits veritable from the endure is equal to the master copy immediate payment outlay i.e. the length of time the investment coachs to return its sign crown. In yet another definition, it is the ratio of initial fixed investment over annual elucidate notes flows. The decision criterion is that if the retribution catamenia is less than some minimal accepted payback period that is set as a threshold, the proposal is accepted. If the period is more than the cut-off period, the project is rejected. For ranking decisions, projects with shorter payback periods get preference over those that take longer. The side by side(p) is the formula for calculating the payback periodPayback period = division before full recovery + Unrecovered cost at start of the yearOf the original investment Total cash flow in yearThe payback criterion is a rou gh measure of risk. It reflects the liquidity of a project and because the more liquid the project the higher the chance of recovering the initial investment. A project with short payback period but with a low rate of return is preferred over projects with long payback period and high rate of return reason being that the firm may be in need of quick returns of its invested cash. This is the reason behind its preference by firms with liquidity problems.Payback period is the investment appraisal method of choice for firms that bring out products that are prone to obsolescence. Since these products last for only a year or two eld, their payback period must be short for the firm to eat recouped its initial capital. It is therefore preferred in situations when time is of relatively high importance.The method is easy to understand and the calculation involves simplified steps. It only considers the top cash flows and cumulating them to determine when they equal the cost of the projec t. It automatically adjusts for the uncertainty of later cash flows by ignoring them. the main interest is only the initial capital and the time interpreted to that point hence cash flows generated after the payback period arent considered.In spite of the above advantages, payback period has some drawbacks. The method fails to consider the cash flows after the payback period and consequently not ideal viable for measuring the actual profitability of a project. It also does not take into depict the magnitude or timing of recoveries during the payback period and considers the recovery period as a whole. This is particularly bad since most investments tend to pick up demoralize cash flows in earlier days and higher cash flows as the project matures.The payback period ignores the time value of money. This implies that it ignores financing costs of investments. sequence value of money is essential in considering the productivity of a project because it considers present cash flows a s equal to future(a) ones. The method ignores the scale of investment and recommends an arbitrary cut-off point. There is no objectivity in establishing cut-off points across different firms frankincense bringing inconsistency. This is not to add that quick payback does not needs mean good investment.The method discriminates against long-term projects such as research and development and new product development. These types of projects normally require huge initial outlays and take long to give returns and yet they are so critical to any firm interested in enhancing its competitiveness in the industry. In addition, it does not have an inherent mechanism to highlight differences in investments useful life. Such differences are very essential and relying on payback can lead to incorrect decisions. disdain the disadvantages of the payback method, it is widely used in practice though often only as a supplement to more sophisticated methods. It is favored because of its ease and most investors take it as the conventional one.Net Present ValueNet Present Value (NPV) is the difference between the value of an investment and its cost. It represents the economical worth of the project in terms of todays dollar. A zero NPV means that the project cash flows are enough to repay the invested funds and provide the required rate of return on such capital. For positive NPV projects, excess cash accrues to shareholders and therefore their position is improved. Positive NPV projects result in an increase in the food market price of ordinary shares while negative NPV projects cause erosion of shareholders wealthiness. It is calculated asPresent value of future net cash flows (PV) Initial investment (Io).The decision a criterion is that if the sum of these discounted cash flows is equal or greater than zero the project is accepted. Otherwise, the project is not accepted. In the case of mutually exclusive projects, the project with the highest NPV if it is positive gets ac ceptance. That way, the shareholders wealth is boosted to a maximum.AdvantagesThe method uses the relevant cost approach by concentrating only on incremental cash flows. It measures the shortfalls or excess of cash flows and assumes that the cash flows obtained are reinvested is at the present rate of return. This is more appropriate in conditions of capital rationing. The result represents increase to a shareholders wealth expressed in present-day terms.The method considers the time value of money. This is important because cash flows obtained today are not the same as those obtained five years from now. This is because the method considers the time value of money and the relevant cash flows uses the cost of capital of the company as a discounting factor. Additionally, it considers cash flows for the entire project life. It is thus more comprehensive and reliable in appraising long-term projects.However, the results and procedures involved in calculating NPV arent easily understood by nonprofessionals. The cost of capital is laborious to calculate especially due to the effect of inflation and the fact that some industries lack sufficient data to base their calculations. The method requires a detailed long-term forecast of a projects cash flows, which is a very subjective exercise.Twice limited should consider using NPV in their appraisal because as compared to other capital appraisals, it expresses in absolute terms the expected economic contribution of the project. Its results shows the present worth in future cash flows after discounting them with the firms cost of capital.Assessing the five projects beneath the payback period, the five proposals for the new holiday are as follows.Climb projectThe initial investment is 1,760,000Year Net cash flows Cumulative cash flows2011 1,040,000.00 1,040,000.002012 780,000.00 1,820,000.002013 520,000.00 2,340,000.00Payback period = 1+ (1,760,000-1,040,000)/780,000= 1.92 yearsPaddle projectInitial investment is 1,640, 000Year Net cash flows Cumulative cash flows2011 770,000.00 770,000.002012 770,000.00 1,540,000.002013 770,000.00 2,310,000.00Payback period = 2+ (1,640,000-1,540,000)/770,000= 2.13 yearsRappel projectInitial investment is 1,130,000Year Net cash flows Cumulative cash flows2011 740,000.00 740,000.002012 240,000.00 980,000.002013 590,000.00 1,570,000.00Payback period = 2+ (1,130,000-980,000)/590,000= 2.25 yearsSwim projectInitial investment is 1,030,000Year Net cash flows Cumulative cash flows2011 480,000.00 480,000.002012 480,000.00 960,000.002013 480,000.00 1,440,000.00Payback period = 2+ (1,030,000-960,000)/480,000= 2.15 years blow projectInitial investment is 280,000Year Net cash flows Cumulative cash flows2011 100,000.00 100,000.002012 130,000.00 230,000.002013 100,000.00 330,000.00Payback period = 2+ (280,000-230,000)/100,000= 2.5 yearsThe summary of projects payback periods is as follows. go steady Number of yearsClimb 1.92Paddle 2.13Rappel 2.25Swim 2.15Float 2.50Ba sed on the ranking decisions, Twice limited should accept and implement totter holiday project. It has the shortest payback period and this means that the project will recover its initial cost within 1 year and 11 months.Under NPV, the projects net cash flows use the cost of capital as a discounting factor within the period of three years. The general calculation of NPV is Present value of future net cash flows (PV) Initial investment (Io). The following are NPV of the proposalsClimb projectYear 2011 2012 2013Net cash flows 1,040,000.00 780,000.00 520,000.00PVIF8%, 3 0.9259 0.8573 0.7938PV 962,962.96 668,724.28 412,792.77NPV = 962,962.96 + 668,724.28 + 412,792.77 1,760,000= 284,480.01Paddle projectYear 2011 2012 2013Net cash flows 770,000.00 770,000.00 770,000.00PVIF8%, 3 0.9259 0.8573 0.7938PV 712,962.96 660,150.89 611,250.82NPV = 712,962.96 + 660,150.89 + 611,250.83 1,640,000= 344,364.68Rappel projectYear 2011 2012 2013Net cash flows 740,000.00 240,000.00 590,000.00PVI F8%, 3 0.9259 0.8573 0.7938PV 685,185.18 205,761.31 468,361.02NPV = 685,185.19 + 205,761.32 + 468,361.02 1,130,000= 229,307.52Swim projectYear 2011 2012 2013Net cash flows 480,000.00 480,000.00 480,000.00PVIF8%,3 0.9259 0.8573 0.7938PV 444444.44 411522.63 381039.47NPV = 444,444.44 + 411,522.63 + 381,039.47- 1,030,000= 207,006.55Float projectYear 2011 2012 2013Net cash flows 100,000.00 130,000.00 100,000.00PVIF8%, 3 0.9259 0.8573 0.7938PV 92592.59 111454.04 79383.22NPV = 92,592.59 +11,454.04 + 79,383.22= 3,429.86Twice limited should accept Paddle holiday project because it ranks the highest NPV of 344,364.68. This indicates that after proper analysis of the net cash inflow, paddle project would generate over the three the above value and shareholder wealth will be improved. According to the payback period, rise project has the shortest recovery period and if the company was only using it for capital appraisal, the Twice limited could accept. NPV is more realistic because it considers time value of money as it discounts the net cash flows. The result shows the present value of a particular project in present-day using future cash flows. NPV method is regarded as superior in terms of project appraisal and Twice limited have to accept paddle project and discard climb project as proposed by payback period.

Strategies and Definitions of 3D Animation

Strategies and commentarys of 3D Animation2.1 Definition of Animation2.1.1 A Technical Definition of AnimationVarious definitions of vitality pull round that cover practiced, physiological, through to philosophical aspects. In a technical scent bring kayoed, Myers (1999, Online) describes sprightliness, the form that we have become familiar with, as a series of drawings that ar coupled together and photographed. The drawings have been s start outly changed between individualized frames so when they are played back in rapid succession there appears to be unseamed run within the drawings(Myers 1999, Online).Jonsson (1978, p. 2) also describes vivification-time in a technical senseA strip of movie film consists of still pictures called frames each peerless slightly disparate from the champion preceding it. When the film is projected and run continuously these still pictures give an semblance of movement (Jonsson 1978, p. 2).Morrison (1994, p. 5) simply defines, life story as the illusion of movementThis illusion of movement can be achieved by quickly displaying a series of images that appearing slight incremental changes in one of the depicted objects. If you play back these images fast enough, the eye will perceive movement (Morrison 1994, p. 5).It is safe for one to conclude that support and apparent movement picture in general, when viewed by a human is an illusion, the rapid succession of ordered singular frames tricking the viewers eye into perceiving there is an apparent seamless movement. This technical definition of aliveness is closely linked to the taradiddle and phylogenesis of crusade picture, also to human physiology and how the eye and the brain perceive movement.2.1.2 The Beginnings of the Motion go outAnimation cannot be achieved without premier(prenominal) understanding a fundamental linguistic rule of the human eye the persistence of vision(James 2002, Online). Animation literature shows that the appreciation of this principle is not only linked with the history of lifetime and motion picture alone much earlier, beginning long ago in our past.Since the beginnings of quantify, human beings have tried to capture a sense of motion in their art(James 2002, Online). Williams (2001) points out several examples a 35,000 year old pre-historic cave painting of a boar in Northern Spain displaying four pairs of legs to show motion(Williams 2001, p. 11). Egyptian temple paintings of figures that progressively changed position(Williams 2001, p. 12). Ancient Greek decorated pots with figures in successive stages of action. Spinning the pot would create a sense of motion(Williams 2001, p. 12). Other examples are cave and wall paintings, medieval tapestries, scrolls, and paintings which all tell continuous storiesand some of which attempt to illustrate repetitive motions(James 2002, Online).Theories that were born in the ancient world by classical scholars were to prove very important in the genesis of sus tenance, as The Private Lessons expect (2002, Online) points out. It identifies historical figures such as the Greek Aristotle (384-322 BC), who observed light and motion after effects, dating back to 340 BC (The Private Lessons Channel 2002, Online).The Private Lessons Channel (2002, Online) then points out that later, in 130 AD, Greek lotus-eater and geographer Ptolemy (100-178 AD) discovered the aforementioned persistence of vision. In elaborating a point do by Thomas (1964, p. 8), one can see how these ancient scholars came to such discoveries hypothesise a torch lighted with fire, being whisked around in a circular motion in the darkness, the eye seeing a continuous unp mortifieded circle of light. This type of phenomenon must have been kn let to the ancients(Thomas 1964, p. 8).2.1.3 A Physiological Definition of Animation The Persistence of VisionWhile there is evidence of a fascination with the visual documentation of movement and narrative in prehistoric and classical p eriods, it was not until these notions were later revisited by 19th century inventors, that modern animation principles emerged. One of these inventors was the Frenchman Peter Mark Roget, also the author of the famous Rogets Thesaurus, who in the 1820s rediscovered the vital principle, the persistence of vision(Williams 2001, p. 13).Williams (2001, p. 13) explains the persistence of vision on the following wayThis principle rests on the fact that that our eyes temporarily retain the image of anything theyve just seen. If this wasnt so, we would never get the illusion of an unbroken connection in a series of images, and n either movies nor animation would be possible. Many people dont realise the movies dont actually move, and that they are still images that appear to move when they are projected in a series (Williams 2001, p. 13).Jonsson (1978, p. 2) gives a more physiologically oriented explanationWhat makes this possible is a quality of our brain called persistence of vision that is although the frame we are see at any given moment is in fact still, the image burns itself onto our retina, so that it remains with us for a small fraction of time while we view the next one and if the difference seems to be a reasonable follow-on, an illusion is created (Jonsson 1978, p. 2).Concluding that technical and physiological aspects work hand-in-hand in motion picture, Jonsson (1978, p. 2) explains that for the eye to record an apparent continuous seamless movement, a certain relative frequency of frames per second needs to be displayed. Morrison (1994, p. 5) states that human visual acuity is low enough that only 12-15 distinct pictures (or frames) need to be displayed per second to elevate the illusion of movement.The Private Lessons Channel (2002, Online) states that the number of frames per second, or fps, directly correlates to how smooth the movement appears. If the frame rate is too slow, the motion will look awkward and jerky. If the frame rate is too high the motion will blur(The Private Lessons Channel 2002, Online). For the eye to record a normal, continuous movement that is not too fast, and not too slow there needs to be a frequency of around 24 to 30 fps displayed by a projector. Jonsson (1978, p. 2), states that this is the sole principle by which twain live-action and animated films work. 24 fps is employ in cinema, 25 fps is go ford for PAL goggle box (Europe and Australia), and 30 fps is used for NTSC television (America and Japan).In relation to the illusion of movement and persistence of vision, both rise up (1998 p. 10) and Furniss (1998 p. 5) portrays the view of well-known Scottish-born animation identity Norman McClarenAnimation is not the art of drawings that move, but rather the art of movements that are drawn. What happens between each frame is more important than what happens on each frame Animation is therefore the art of manipulating the invisible interstices that lie between the frames (McClaren qtd. in Fu rniss 1998 p. 5).James (2002, Online) states that Roget demonstrated the persistence of vision principle in his invention, the thaumatrope. James (2002, Online) and Williams (2001, p. 13), describe it as a disc held between two pieces of string, which was attached to both of the disc edges. Each flat side of the disc had different images one a bird, the separate an empty birdcage. Twirling of the disc with the pulling of the string results in the bird appearing to be in the cage. This proved that the eye retains images when it is undefendable to a series of pictures, one at a time(James 2002, Online). The Private Lessons Channel (2002, Online) notes that two other inventors are credited with this invention, the Frenchman Dr. John Ayrton, and Englishman Dr. Fitton, depending on the source.2.1.4 The Early development of the Motion PictureCrucial to the evolution of Animation and indeed Motion Picture were other related inventions. James (2002, Online) describes other optical device s of a same nature to the thaumatrope, such as the phenakistoscopeinvented in 1826 by Joseph Plateau, and the zoetropeinvented in 1860 by Pierre Desvignes. Williams (2001, p. 14) mentions another similar invention, the praxinoscope, invented by the Frenchman Emile Reynaud in 1877.Clark (1979, p. 8) states that these contraptions relied for their effect on either an endless paper band or a cardboard disc bearing series of pictures drawn in progressive stages of an action. Viewed in considerationittently through slots or excogitateed in mirrors the drawings came to life and appeared to move(Clark 1979, p. 8). Another invention included the flipbook, or kineograph pad, first appearing in 1868.Another important invention relevant to Motion Picture was photography. The first photographs were taken in the late 1820s by a Frenchman, Nicphore Nipce(Thomas 1964, p. 6). In the 1870s Sir Charles Wheatstones moving picture stereoviewerwas created to view a series of actual photographs in orde red succession (Thomas 1964, p. 16).Thomas (1964, p. 18) points out that the first to capture and record a sequence of images, was the English/American Eadweard J. Muybridge, where he famously captured a buck and carriage trotting. He then played the captured images back in a cover device, known as the zoopraxiscope.Another important revolution in the evolution of the Motion Picture was that of nitrate pic film invented by H.W. Goodwin in 1887. Nitrate celluloid film was a chemical combination of gun like and gum camphor(McLaughlin 2001, Online). Thomas (1964, p. 29) acknowledges the birth of Cinema to the famous American inventor Thomas A. Edison, and the Scot William Kennedy Laurie Dickson. In 1892 Edison and Dickson succeeded in building a camera capable of pickings moving pictures at a rate of forty-six per second on Eastman celluloid film(Thomas 1964, p. 29). Edisons and Dicksons viewing device, influenced by Austrian Ottomar Anschtz, was named the kinetoscope. Thomas (1964 , p. 29) describes it as a viewing cabinet by means of which only one person could view a film at a time. As the images were not projected, the viewer had to use a small eyepiece to look into the cabinet in order to see the moving images.Instigated and influenced by the work Edison and Dickson, other inventors set about evolving the kinetoscoperesulting in viewing devices with the ability to project images. The most well-known of these inventors were the Lumire brothers, who in 1895 designed a camera and projector which they call the cinmatographe(Thomas 1964, p. 30). The Lumire brothers became the first to give a public exhibition of moving pictures(Thomas 1964, p. 30), which they held on the 28th of December 1895, at the Grand Caf in Paris. It is interesting to note that Estonian animator Priit Prn in his surrealist-inspired short film 1895, pays tribute to the Lumire brothers, and invention of the cinmatographe. Thomas (1964, p. 31), concludes that the interest shown by the publi c in these first cinema shows gave rise to a rapid growth in a new industry. In time, with the advent and advancement of various technologies and techniques, the first true animated films were born.2.1.5 A Philosophical Definition and Discussion of AnimationAnimation is the art of bringing something to life. How its brought to life can be done any number of different ways, simply states Ludwin (1998, Online). Bringing something to life is indeed a very important theme in animation. To better understand the definition of animation, it is useful to find out the original term from which the countersign animation derives. Wells (1998, p. 10) notes that animation derives from the latin word animare, which means to give life to, and that the animated film largely means the artificial creation of the illusion of movement in inanimate lines and forms. The famous Zagreb School of Croatia relates the definition of to animate back to this original meaning. They suggest, that to animate is to give life and soul to a design, not through the copying but through the transformation of reality(Wells 1998, p. 10). When youre animating and moving an object, youre instilling life in something(Lubin 2003).This leads us onto animators philosophies, ideologies and animation aesthetics. There are some(prenominal) differences in philosophy among animators and opinion of what the essence of animation actually is. One interesting example illustrating the philosophical differences of opinion is with respect to the extent of which animation should reflect real-life. For instance, the copying of real-life movements using motion capture techniques, are not favoured by all animators. Stefan Marjoram of the Aardman studio notes that motion capture is alright in sports games, but it doesnt necessarily make you a good animator. Animations not about copying real life, after all a lot of people use motion capture for that. For me animation is about exaggerating real life(Ricketts 2002, p. 51). Lubin (2003) agreesThats absolutely right. I mean if youre doing a game and you want to get Tiger Woodsswing, fine. But Motion grip which is only about animating humanoid animation, why bother? Just get real actors (Lubin 2003).When asked the question on what the public lore of Animation is, tomcat Lubin in an interview on 1 April 2003 stated that it depends on who you askand it depends on the show. Some animation would be dismissed as stuff for something to baby-sitlittle kids with, whilst other animation has a broader market encompassing all age groups. I think the public has a very broad view of it depending on their interests(Lubin 2003). Lubin (2003) also pointed out that animation has been successful for a really long time, and he stated that it was telling that the Academy Awards now, in the last few years, actually gives an Oscar for the best consume in animation. This has to do with the publics perception of animation as a viable stand alone(Lubin 2003).Animation at it s most creative, is a truly beautiful artform(White 1988, p. 9). The term art and its related words feature heavily in legion(predicate) a(prenominal) animation definitions and philosophies originating from the birth of modern animation. Winsor McCay the first American animator of the early 1900s, who many have dubbed the father of the animated cartoon, once statedAnimation should be an artwhat you fellows have done with it is making it into a tradenot an art, but a tradebad luck (Crandol 1999, Online).Crandol (1999, Online) points out that McCays warning and prediction inevitably became true. Indeed a studio production system with a streamlined, assembly-line processwas formed out of the necessity to satisfy time, expense and take up factors (Crandol 1999, Online).Wells (1998) also mentions several times that the domination and the proliferation of mass-produced cel animation(p. 35), such as that produced in America and Japan, has led to animation being understood in a limited w ayby society (p. 24). Wells (1998, p. 35) elaborates stating thatThe amount of cheaply produced, highly industrialised cel animation made in the USA and Japan had colonised television schedules, and perhaps, more importantly, the imaginations of viewers (Wells 1998, p. 35).Crandol (1999, Online) also points out that the collective nature of the studio may prevent the artists from receiving the amount of praise an artist working solo garners. Wells (1998, p. 7) makes the point that this type of animation has somewhat diminished animation in the eyes of society as a legitimate artformAnimation has been trivialised and ignored notwithstanding its radical tendencies and self-evident chaste achievements at the technical and aesthetic level. Ironically, the dominance of the cartoon(i.e. traditional celanimation in the style of Disney or Warner Brothers, which is predicated on painting forms and figures directly onto sheets of celluloid which are then photographed) has unfortunately misr epresented and the animated film because it art seems invisible or, more precisely, is taken for granted by its viewers. The cartoon seems come apart of an intimately dismissed popular culture animation, as a term, at least carries with it an aspiration for recognition as an art and, indeed the popular evaluation of other animated forms (Wells 1998, p. 7).Although there appears to be a domination of the of American and Japanese style of animation and its entertainment premise as suggested, affecting the common perception of animation, large difference in styles and approaches have occurred and do exist. In an interview with an animation Domain Expert on 1 May 2003, he made the point that European animation, due to the many various nations and peoples, have contributed a large number of diverse artistic visual styles, contrasting to the American or Japanese styles. He also stated that many animated works are not always of the purely entertainment premise. One example he stated was in the communist period of Eastern Europe where animation was state controlled, focusing on allegorical social comment, the animators slipping in their own secret messages in the films past the censors.Even with the domination of industrialised mass-produced animation, and the influences it has on the audience, Crandol (1999, Online) remarks that there have been many animators careful not to let byplay logistics overwhelm the artistic potential of the medium. Crandol (1999, Online) concludes that as long as are creative people working, animation will continue to be the best of both worlds a trade and an art.Tom Lubin, Head of Training at FTI (Film Television Institute), in an interview on 1 April 2003, in response to the question of animation being an art responded I think it is. Well you need art skills to do it. But actually that not as important to me as storytelling. What animation is, is storytelling. Storytelling and its importance to Animation will be specifically discussed and investigated in Chapter 3 The Principles of Storytelling.To give life towas a major inspirational theme in the animation process I went through, so to was the art of animation, as I have personally and purposefully embraced it when conducting the creative animation process. This will be touched upon in part 2 of the dissertation The Self-Reflective Case Study.2.2 The Animation ProcessThe Angus Robertson Dictionary and Thesaurus (1992, p. 788) defines the word process as a series of actions which produce a change or development, and a method of doing or producing something. From these meanings the animation process can be described as what I am researching and childbed in my Honours project the pattern of methods an animator undertakes from start to finish in the creation of an animated work, or animation.Animation and the animation process, like many other disciplines, have undergone a paradigm shift due to technological advancements. Indeed technology has been the catalyst for many paradigm shifts as Utz (1993, p. 16) points out. Due to the ever-increasing approachability and affordability of various technologies, an animators methods, actions and options have changed when implementing the animation process. See Appendix 2 epitome Shift in the Animation Process, for a more detailed discussion of this subject.Referring to these changes in the animation process, animator George Griffin believes the role of the animator in an artistic sense has changed very littleDespite the enormous upheavals in technology, the independent animators artistic role remains essentially the same to draw time, to construct a model of ideas and emotions, using any means available (Griffin qtd. in Laybourne 1998, p. xi).2.3 Types of AnimationFor a description of the various types of animation such as traditional 2D animation, stop-motion animation and computer generated 3D animation, please refer to Appendix 2 Paradigm Shift in the Animation Process.2.4 ConclusionThrough investi gating the various definitions of animation it can be seen that they cover and include many different aspects. The technical definition of animation is closely linked to the history and evolution of motion picture, and this is turn is linked to the understanding of human physiology and how the eye and the brain perceive movement. The different philosophical definitions and viewpoints animators hold also cover many different aspects, varying immensely.This chapter directly relates to the practical component of the Honours project, as described in part 2 of the dissertation The Self-Reflective Case Study. This is due to the fact that when creating the 3D animated pilot and series concept, I related to and strongly agreed with various animation philosophies that were discussed in this chapter e.g. to give life to, as mentioned beforehand. On some occasions these philosophies affected and influenced the way that I would conduct my own practical animation process. A brief investigation o n societys perception of animation subject matter was also relevant for the target audience of the series concept.

Evil From Morals :: essays research papers

Evil From Morals     By textbook definition, roughshod is "What is virtuously wrong, what hinders therealization of good" (Webster). If that is wicked, then what is good? Its "whatis morally excellent, virtuous, well behaved, dutiful." (Webster) Philosophershave argued over what evilness is and why it exists for thousands of years. Theyhave raised questions alike(p) How can there be a God if there is evil? Thesequestions were raised due to Gods nature he is said to be all-powerful, all-knowing and all-good. If this is the case, why doesnt he stop evil? And, sincepeople are supposed to be created in Gods image, why are they capable of moralevil? If one believes that God exists, there can only be one answer evil existsbecause God allows it, and moral evil exists because God has given us freedom ofchoice.     Evil has been looked at in many different ways throughout the years.Philosophers like Socrates and Plato believed evil was a matter of ignorance.Ancient Persians saw good and evil as two principles, "engaged in a perpetualstruggle."(Collier) In reality, evil is merely the absence of good. "The essenceof all reality is good, evil is merely the faulty reflection of reality found ina world of particulars."(Funk & deoxyadenosine monophosphate Wagnalls) There can be many different types ofevil. Two of such types are moral evil and natural evil. Natural evil consistsof things like smart and suffering, while moral evil consists of making baddecisions. "Moral evil depends on the exercise of human will natural evil isindependent of this." (MacGregor) The main divagation between these two evils isthat people are unable to control natural evil, while moral evil depends ontheir will. Some people even secern physical evil is a human necessity "Withoutthe evil of pain, man would not be warned of illness and of danger". (Colliers)In life, there are generation where bad people ar e better off than good people.Why is this? Some say it is a test for the soul, and rewards await us. "Thehuman family is as one, and its members help one another(prenominal) by their good actionsas the also cause suffering to one another for their faults"(Collier). As anexample, take what happened to Jesus. He suffered for all sins of mankind, andthrough this saved them all. unless what of moral evil, which consists of thingslike murder, which people can control? Why does God permit it if theconsequences are undesirable?     To understand why moral evil exists, the pattern of free will must beunderstood. Freedom of choice, or free will is "the power and exercise of

Woodstock: A Peaceful Rock Revolution Essay -- Woodstock History Histo

Woodstock A Peaceful Rock Revolution To some, the 60s were a decade of discovery as Americans first journeyed to the moon. Others remember the prison term as a decade of Americas moral decline with the advent of rock and roll and its representation of sinful, inappropriate ideals. Yet for some(prenominal) people, the 60s symbolized a decade of love and harmony. Hippies exemplified these principles, and in 1969 they gathered at a music festival known as Woodstock to celebrate their music, their love, and their freedom in a concert that has remained on of the most influential all the samets of the 60s. The youth of the 60s were known as the Love generation. They made love promiscuously and clearly, and preferred open to formal marriages. Weekend love-ins, free form gatherings, communal living quarters, and rock festivals were held in response to the love bowel movement. The love movement was the hippie belief for peace and harmony. It reached its peak in the summer of 1967, and b y then it had over 300,000 followers who referred to themselves as the love children or the gentle people. They gathered in San Francisco, the hippie center of the world, during the summers. During these Summers of love, they lived on the streets of Haight-Ashbury, sitting in groups along the street and strumming their guitars (Frike 62). These love children, otherwise known as the hippies were the result of the antiwar movement that was sweeping the nation during the Vietnam war. Hippies were resolutely against the war. They participated loudly, and often violently in countless anti-war protest rallies and marches. They were known to publicly burn draft cards, and some even renounced military service for prison (Hertsgard 124). Hippies were not only antiwar, they were predominantly antiestablishment. The status symbols of their elders were decisively rejected wealth, social position, culture, physical attractiveness, and economic security. They held in disdain, cosmetics, costly j ewelry, nightclubs and restaurants and all other refinements of the affluent society. Wealth meant nothing to them. Personal freedom to express oneself was believed to be the most important thing in life. They were antiauthority, antirace discrimination, and antipollution, in small they were rebels against the society, fighting against the moral standards of America they felt were unjust (Hertsgard 153). Events such... ...peace. They knew about art and nature. They lived for a weekend in the still eye of the hurricane (Woodstock). Works Cited All spirit is but Art Woodstock Music and Art Fair. Vogue. December 1969194-201. Big Woodstock Rock Trip. Time. August 196914b-22. Ewen, David. All the Years of Popular Music. current Jersey Prentice-Hall Inc.,1977. Fass, Don. The Sixties. http//www.sixties.net (19 March 1999). Frike, David. nonaged Epiphanies and Momentary Bummers. Rolling Stone. August 198962-91. Grunwald, Henry. Youth Trip. This Fabulous Century 1960-1970. 1986 ed. Hert sgard, Mark. A Day in the Life The Music and Artistry of the Beatles. New York Dell publishing Groups Inc.,1995. Huges, Rupert. Music Lovers Encyclopedia. New York Doubleday Inc.,1984. Rock Audience Moves to Dusk-to-Dawn Rhythms. New York Times. 18 August 196925. Tired Rock Fans Begin Exodus From Music Fair. New York Times. 20 August 19691-3. What Happened in the Sixties?. http//www.bbhq.com/sixties2.htm (19 March 1999). Woodstock Dawn of the Bigtime. Economist. August 198975. Woodstock Music and Art Fair. Newsweek. August 196988. Woodstock Peace Mecca. Billboard. August 19691,10.