Anabolic Steroids in the Enhancement of Muscle Development Essay Example for Free

Anabolic Steroids in the Enhancement of Muscle Development Essay People nowadays have been more conscious of their physical appearance. The will of others to be physically fit, enables them to enroll in different programs or even engage themselves in the administration of drugs that help enhance muscle development. One of these drugs is the Anabolic steroid. Anabolic steroids are defined as synthetic substances that are similar to the sex hormones in men. These are used as treatment for other conditions, and may also be used to increase the testosterone level in men. In addition to this, the use of such steroids also enhances the muscle mass of its users. Most of these, if not all, require a prescription upon purchase, for these may have effects on the body of the individual, causing irreversible health problems (National Institute of Drug Abuse, March 2007). These drugs are often used by athletes, bodybuilders, and people who are in need of excellent physical performance. Steroids are known to help in the increasing of the strength, aggressiveness, and body mass of its users. In addition to this, the continuous use of this drug increases the muscle size of users, at the same time helps in the improvement of the physical appearance through the reduction of the body fat (Greater Dallas Council on Alcohol and Drug Abuse, 6 March 2006). The Mayo Clinic website defines that steroids may be administered in a number of different ways. Two of the most common routes of administration were oral and parenteral. For oral administration, these come in the form of tablets (Mayo Clinic, 1 January 2008). They may also be administered parenterally, either through the subcutaneous and intramuscular routes (Greater Dallas Council on Alcohol and Drug Abuse, 6 March 2006). Some of the most common oral steroids used include Oxymetholone (Anadrol), Oxandrolone (Oxandrin), Dianabrol (Methandrostenolone), and Winstrol (Stanozolol). Injectable steroids, on the other hand, include Nandrolone decanoate (Deca-Durabolin), Nandron phenpropionate (Durabolin), Testosterone cypionate (Depo-Testosterone, and Bodlenon undecyclenate (Equipoise) (National Institute on Drug Abuse, April 2000, p2). Steroids help in the increase of muscle development in the body. This occurs when hypogonadal men receive treatments to increase their testosterone levels. The continuous use of anabolic steroids contribute to the increase in muscle mass of the user, most specifically in the mass of the upper part of the body. Furthermore, studies have shown that the administration of these drugs have an effect in the biochemistry and the morphology of the muscles. Biopsies have shown that there was a dramatical increase in the muscle fibers and the average fiber size, especially in the trapezius muscle upon continuous use of the steroid (Kuhn, 2002). The excessive use of anabolic steroids may result in negative effects in the body. Some of its major effects include liver tumors, jaundice, fluid retention, hypertension, trembling, severe acne, nausea, vomiting, diarrhea, muscle cramps, and stunted height. Some people take these symptoms for granted, associating them with another illness other than steroid use. Aside from these effects, there were also gender specific effects of steroid use (ATOD Prevention Center, n. d. ). Even adolescents, when given excessive doses of steroids are greatly affected. Puberty changes arise, with their skeletal system growing prematurely. Men, being the most users of steroids, are also affected. Their testicles tend to shrink, with their sperm count greatly reduced to that of normal. There is also a great risk of baldness and the possible development of breasts, and worse, the risk of acquiring prostate cancer. Women on the other hand, tend to grow facial hair, and have male-pattern baldness tendencies. Steroid administration also results to the stopping or irregularity of the menstrual cycle, and the tendency to be moon-faced. For others, the drug administration may also result in a deeper speaking voice, accompanied by clitoris enlargement (Narconon Trois-Rivieres, 2 April 2008). Aside from all these effects, steroid abuse may also have psychological effects on the user. Depression, irritability, distractions, forgetfulness, paranoia, aggression, and manic episodes are the most common psychological effects of steroid use (ATOD Prevention Center, n. d. ). The continued use results in the sudden change in an individuals way of thinking and their urge to hurt other people. The Drugtext website has stated that a test was made on three cases, marking their changes on their steroid use. All three resulted in a higher rate of aggression rates with the use of steroids, as compared to those who do not use the drug (Williamson, 1994). With the given data, it is just but necessary for people to learn how to control the use of these drugs. More lives may be saved, and addictions may be avoided. Let us all contribute to the upheaval of a healthy environment towards a drug-free life. Works Cited â€Å"Anabolic Steroid Abuse. † National Institute on Drug Abuse Research Report Series 4 (2000): 1- 8. â€Å"Drug Rehabilitation Center: Steroids. † 2 April 2008. Narconon Trois-Rivieres. 8 April 2008 http://www. narconon. ca/steroids. htm. Kuh, Cynthia M. â€Å"Anabolic Steroids. † 2002. Recent Progress in Hormone Research. 8 April 2008 http://rphr. endojournals. org/cgi/content/full/57/1/411. â€Å"NIDA: InfoFacts: Steroids (Anabolic-Androgenic). † January 2, 2008 National Institute On Drug Abuse. Retrieved 7 April 2008 http://www. nida. nih. gov/Infofacts/Steroids. html. â€Å"Steroids. † ATOD Prevention Center. 8 April 2008 http://www. umes. edu/atod/abuse/drugs/steroids. htm. â€Å"Steroids. † 6 March 2006. Greater Dallas Council on Alcohol and Drug Abuse. Retrieved 7 April 2008 http://www. gdcada. org/statistics/steroids. htm Williamson, Doug. â€Å"The Psychological Effects of Anabolic Steroids. † The International Journal of Drug Policy 5. 1 (1994): 8 April 2006 http://www. drugtext. org/library/articles/945104. htm.

Illustrate the theme of isolation in Of Mice and Men by John Steinbeck Essay Example for Free

Illustrate the theme of isolation in Of Mice and Men by John Steinbeck Essay In the novel Of Mice and Men which was set in the 1930s I believe that John Steinbeck Illustrated loneliness and solitude in many places. The seclusion in those times was due to mainly discrimination and injustice. The life of a customary worker would be very difficult, therefore people worked for others on their farms. The wages were not proportional to the amount of labour and in addition the accommodation was barely habitable, this was unjust. The two focal characters George and Lennie have a sturdy bond and companionship. The other characters in the story are missing a true acquaintance and are envious of the two men. They have never before seen two men unite together like that before. All the other characters in the book are all abandoned and dejected apart from Slim. George and Lennie were wedged together through thick and thin, through good and bad and they knew they needed each other. This was revealed as George Said Guys like us that live on ranches, are the loneliest guys in the world. This meaning that if not for each other they would be like the others on the ranch, discontented and lonesome. The others on the ranch had recognised this, as their fellow workers said Funny how you an him string together. This had highlighted the unusualness of the situation and the migrant lifestyle of the 1930s. While the whole ranch suffers from loneliness there are a few individual cases that are emphasised throughout the whole book. There are three main people in the book who suffer, Crooks, Candy and Curleys Wife. They all suffer injustice in the form of prejudice and discrimination. Candy was thought of as an outcast as he has no longer got the physical ability due to his age; and his physical disability does not help his cause. Candy had one true friend nevertheless, his dog. Once the dog was killed by Carlson, Candy was forced to seek friendship in another form. He knew that he was going to be given his marching orders shortly, as he said theyll call me purty soon. While he was in the bunk house one day, he over heard George and Lennie talk about their lifelong dream. Candy decided to help George and Lennie accomplish their dreams. Candy had presented to facilitate in the form of money and manual labour. This was a move of desperation but worked as the two men accepted Candys offer. Candy basically tried to buy friendship, this does not always produce true friends. Crooks a black man who faced isolation from the racist community. Crooks is not allowed to socially interact with others around him because of his colour which is similar to Lennies situation as Lennie was unable to interact with people due to his mental condition. Crooks is restricted from doing customary things along side the white. He recognises how he has been treated and acts towards the white people who have affronted him how he himself is being treated. Crooks is also an envious man. He is extremely resentful of George and Lennies tight friendship as Crooks says to Lennie while in the barn together well, spose, jus spose he dont come back. Whatll you do then? this was asked because Crooks did not have any friends and did not know how it would feel to lose them unexpectedly. Knowing that Lennie was mentally ill, Crooks decided to torture him because he wanted to ease some anger because he was discarded and unwanted by the others. Crooks is so lonely and striving for a good life he will do anything to live peacefully.

The Inspiration Of Art In Architecture

The Inspiration Of Art In Architecture The essay investigates the inspiration of art in architecture and the links and interchanges between them in the late sixties and early seventies with emphasis on the exchanges between conceptual art and architecture. The basic assumption of the essay is that the rigorous conceptualisation that characterised conceptual artist was transferred into some advanced architectural practices during the late sixties and early seventies. It also discusses about the parameters on which the inspirations are carried further to design process in terms of project conditions. During this process of transforming the art to a design, it passes through the process of adding architectural characteristics. So the essay seeks, how further is the design taken and if it still has the essence of the original art from which it was inspired. The text examines relations and differences between artist Sol Lewitt and architect Peter Eisenman in reference with a few of Eisenmans past works and argues that this dis cussion is still relevant to current practices exploring the potentials of digital based design through the use of parametrics, scripting etc. INTRODUCTION Design should do the same thing in everyday life that art does when encountered : amaze us, scare us or delight us, but certainly open us to new worlds within our daily existence. 1 Aaron Betsky While both art and design can perform a similar role, there is a distinct difference between the two. Art is unladen by boundaries, whereas design takes on the added responsibility of performing a function. The challenge of design is to try and meet the lofty ideals of art while remaining utilitarian. The artists work freed from practicality is more agile and able to freely explore concepts and ideas that will open us to new worlds. Artists are the scientists who research and test concepts; designers are the engineers who translate those discoveries into everyday life. Architects, as designers of spaces, can learn valuable lessons from artists. The same principles that have been tested and found successful in art can become a part of the built environment. Why not have colorful buildings that explode organically like Dale Chihulys glass works? i1 If nothing else, looking at art should remind architects of the artistic possibilities of architecture. This is especially important today, when architecture tends too heavily toward utility. CONCEPTUAL ART I will refer to the kind of art in which I am involved as conceptual art. In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art. This kind of art is not theoretical or illustrative of theories; it is intuitive, it is involved with all types of mental processes and it is purposeless. It is usually free from the dependence on the skill of the artist as a craftsman. It is the objective of the artist who is concerned with conceptual art to make his work mentally interesting to the spectator, and therefore usually he would want it to become emotionally dry. 2 Sol Lewitt By Conceptual art I mean work that firstly makes the immaterial ideas that define its artistic concepts and than secondary its object status and method of production. By conceptual architecture I mean that work which tries to do what conceptual art does while retaining some of the distinctive characteristics of architecture. Sol Lewitt (1928-2007) was a painter and sculptor who helped establish Conceptualism as a dominant art movement in the post war era. He was chosen for this study, first and foremost, because he had a similar relationship with his works that an architect does; he planned the pieces but entrusted their execution to others. This distance meant his works were less dependent on rendering techniques to be successful. In this regard, his works are a step closer to architecture than many artists. Another reason LeWitt was selected was his interest in a conceptual art, rather than a perceptual art. The way his pieces looked was important, but not as important as the concept that created them. Architecture deals with environments, which are inherently perceptual, so moving to a conceptual understanding of architecture, seemed to be an interesting challenge and worthwhile pursuit. Many of Sol LeWitts works were never seen by the artist until their exhibition. As an artist he was revolutionary in that he rarely executed his own works, simply because it was unnecessary. Sol LeWitts written instructions for his wall murals are specific about how they are to be produced. For LeWitt, the role of the artist is to create the concept not the object, or in other words, the concept is the art. Applying the idea of a conceptual art to architecture can be a significant challenge. The wellknown American architect and theorist Peter Eisenman explains the challenges succinctly: It is possible to say that while a conceptual art and a conceptual architecture could be similar in an idea state, there is an inherent difference when it comes to the realized object. Where a conceptual art object can remain in a more pure state, for example as a mathematical notation, built architecture takes on cultural, pragmatic, and semantic references. Thus the conceptual aspect of an architecture cannot be defined by what is conceptual in, say, painting and sculpture.11 These thoughts are mirrored by Sol LeWitt: Architecture and three-dimensional art are of completely opposite natures. The former is concerned with making an area with a specific function. Architecture, whether it is a work of art or not, must be utilitarian or else fail completely. Art is not utilitarian. When three-dimensional art starts to take on some of the characteristics, such as forming utilitarian areas, it weakens its function as art.12 Is it then inappropriate to create architecture based solely on concept? Especially when the utility of the space is compromised? If utilitarian concerns are allowed to alter or compromise a space, both Eisenman and LeWitt would agree that work is no longer conceptual. To avoid compromising the artistic concept both LeWitt and Eisenman have decided to make art instead of architecture. The difference being that Eisenman insists on using buildings as his medium; buildings which must to some extent lend themselves to the uses for which they were constructed. By turning his back conceptually on utility, and yet allowing it to happen, his concepts are polluted by the interference. Conceptual art is not necessarily logical. The logic of a piece or series of pieces is a device that is used at times, only to be ruined. Logic may be used to camouflage the real intent of the artist, to lull the viewer into the belief that he understands the work, or to infer a paradoxical situation (such as logic vs. illogic). Some ideas are logical in conception and illogical perceptually. The ideas need not be complex. Most ideas that are successful are ludicrously simple.16 The interesting thing is that this irony is really the only meaningful substance behind the work. When LeWitt talks about wanting the viewer to understand the concept behind the work, it appears that the concept is simply the set of rules that guided the actions. Discovering the rules is certainly mentally interesting, but only represents another layer of subjective decisions front loaded into the project. This superficial level of meaning can be seen in the work of several contemporary architects including Peter Eisenmans superimposed lines of influence. Conceptual arts focus on process during the 60s was an attempt to banish a number of conventions around the work of art: art as reified totem, art as static shape, aesthetic formalism, the manual contribution of the artist to the work, and so on. However, the invocation of art in architecture had a rather different series of concerns. For instance, Peter Eisenmans citation of process art practices in his early house projects, while invoking LeWitts ideas, was ultimately attempting to mimic his forms. Conceptual architecture during the 70s thus neatly overlapped the International Style, minimalist aesthetics, and conceptual art strategies. Borrowing from Sol LeWitts and Lawrence Weiners arguments on the primacy of the generating idea over its material properties, Eisenmans notion of an autonomous architecture privileging form over construction gained currency in critical and academic circles. Sol LeWitt here describes his distinction between art and architecture: Architecture and three-dimensional art are of completely opposite natures. The former is concerned with making an area with a specific function. Architecture, whether it is a work of art or not, must be utilitarian or else fail completely. Art is not utilitarian. When three-dimensional art starts to take on some of the characteristics of architecture such as forming utilitarian areas itweakens its function as art. When the viewer is dwarfed by the large size of a piece, this domination emphasizes the physical and emotive power of the form at the expense of losing the idea of the piece. In other words, art that becomes utilitarian does not make it architectural, only less convincing as art; similarly, architecture that denies its utilitarian, practical nature is weak architecture. In answering these questions I have sought to investigate and elaborate upon a previously recognised correlation between Eisenmans work and that of conceptual artists, Sol LeWitt in particular. The introduction of conceptual art raises issues of value in respect of the finished piece. That is it would seem that in work of a conceptual nature, the idea, can only be hindered by the existence of a final piece. The question that often arises is why, given the conflict it causes, bring the idea to a physical reality? If, as is usually the case, it is deemed necessary to realise the object what, if anything, should accompany the work to facilitate its understanding? During this period we find a particular fruitful exchange of ideas between artist and architects that is still relevant to current aesthetic thinking. The focus here is mainly on the architectural consequences and potentials of these exchanges (1). It is possible to argue that an unbroken lineage of architectural thinking and designing runs right up to today. A number of current architectural practices that explores digitally based working methods seems to face some of the same conceptual and aesthetic challenges that conceptual artist such as for instance Sol Lewitt was exploring. The article will attempt to point out some of the still active and relevant questions. The aim of this investigation is not only to give an accurate account of a historically situated set of ideas. It is just as much a starting point for an artistic development work that is fuelled by the investigations. This work is briefly presented at the end of the article. It is not to be seen as a solution or a concl usion to the questions that is raised during the article. The aim is rather to suggest an approach to architectural research that includes academic as well as design based research without one part being seen as a justification for the other, but hopefully rather instigates a productive gap between the two. What makes architecture conceptual is that unlike art, it demands not only the primacy of intention to take something from the sensual to the intellectual realm, but also that this intention be present in the conceptual structure; again, whether it is built or not, is not at issue. 1 Peter D. Eisenman Design Quarterly, No. 78/79, Conceptual Architecture (1970), pp. 1-5Published by: Walker Art Center This section explores three concepts integral to the work of Sol LeWitt: Concept, Series, and Reductivism. In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. Sol LeWitt Ulrik Schmidt has described the characteristics of minimal art as objectivity, non-illusionism and reality, an abstract-concrete appearance as well as non-expressionism and non-anthropomorphism using principles of unity and uniformity, non-relationalism, instrumentalisation and, more profoundly, repetition. (2) Schmidt traces a desubjectivation in minimalist art. he describes an approach to the work of art where the artist withdraws from directly influencing the work of art, creating, as Lewitt states it, a situation where all of the planning and decisions are made beforehand and the execution is a perfunctory affair. Through much modernist thinking runs an interest in objectivisation. Minimal art could be seen as the logicand extremeconclusion of some of modernisms basic assumptions, as well as an inherent criticism of these assumptions. (3) To a certain extent one might claim that this separation of conceptualisation and execution is how architects have been working at least since the academisation of architecture in the renaissance, when architects became detached from the directly involvement in the realisation of the works they designed. obviously the minimal arts movement investigates the consequences of this separation of conception and execution much further than the average architect, but it might still be one of the reasons for the prolific transfer of ideas from minimal art to architecture. Another reason could be that the formality and use of geometry that one find in the practices of artist such as Sol Lewitt or Robert Morris might have certain affinities to architecture. In any case there seems to be a parallel interest in conceptually articulated, systematic manipulations of form of these artists and the architectural designs of Peter Eisenman and likeminded architects such as John Hejduk, Michael Graves and Richard Meier during the late sixties and early seventies. There are for instance obvious common traits between Lewitts art and Eisenmans ar chitecture (Werner Petersen 1990: 19). Lewitts drawings and sculptures are generated through rule based, straightforward transformations of simple geometrical figures. The series of transformed figures are systematically organised in matrixes that conclusively describes all the possible combinations of the operations. In this way the works of Lewitt seems to explore a dilemma between the transparent logic of the formal operations and the apparent purposelessness of the result. Everything about the process is explained and understandable and yet the result seems to be without inherent meaning, at least if meaning is understood as a specific insight or sensibility expressed through the work. Something similar characterises Peter Eisenmans early projects. They are perhaps less abstract, as they are based on a recognisable modernistic vocabulary utilising the formal analyses Eisenman made of modernist architects such as Terragni (Eisenman 2003). But the complex decomposition of Eisenman basically explores a similar and deliberate lack of inherent meaning, even though the projects are at once paraphrasing, praising and mocking their modernist heritage. It seems to be an important point that the processes and transformational logic is readable in the work. In Sol Lewitts Variations of incomplete open cubes from 1974, every possible combination of the open cube is constructed and presented in a comprehensive scheme that makes it possible for anyone who would care to check, that all variations are present. This inclusive logic, where every possible variation of a finite series of possibilities is present without differentiation, is a way to eliminate any form of subjective choice or design decision from the realised work. One finds a similar logic in Eisenmans early architecture. house II from 1969-70 uses a nine-square grid that allows for a highly systematised series of transformations and superimpositions of columns, walls and volumes within the grid. Eisenmans design process is obviously more complex than Lewitts. In Lewitts art pieces the ordering principle is mostly immediately readable. It points didactically to the logic that has constructed the piece. Eisenmans process is more convoluted and probably only directly traceable by referring to the laborious complex drawings that accompany the published project, even though the realised project displays obvious traces of the process. This complexity might be partly relating to the requirements of a habitable structure. But more importantly it is probably related to an exploration of the syntax of architectural space. For Eisenman geometry is not an abstract spatial system. It is already imbedded within an architectural tradition and Eisenman uses the systematic spatial transformations to break down preestablished notions of spatial organisation in architecture. (4) Sol Lewitt seems to employ a more innocent notion of geometry. In his work geometry seems to be perceived as an abstract system devoid of connotations. It mainly serves as a vehicle that allows general conceptual ideas to enter into physical form. The properties and rules of geometry make it possible to develop and translate general principles. Lewitts frequent use of cubes might be understood as part of this approach. The orthogonal angles and equal length of the sides of the cube does not refer to an idealised geometry, but is rather considered as a default option uninfluenced by specific conditions or contexts. The white colours and anonymous materials further support this idea, hinting at standardisation and industrialised production. But even if this idea is easily understandable one could question whether Lewitt is successful in completely breaking any connotations and relations. The cubes might after all still refer to previous notions of a relation between ideal geometries an d meaningful forma frequent belief throughout the history of architecture. Even if these connotations are unintended by Lewitt, the vague recognisability might still be an important part of the fascination of his work. (5) The project that accompanies this article is part of an ongoing research by design project by the author. It could be thought of as a conclusion to the text. In this case it would of course not be understood as a summation of the findings of the paper and putting these findings into perspective of already existing research. It would rather be a conclusion in terms of trying to establish a relation between an analysis of and reflection on an existing body of work and a new work that tries to explore and expand some of the findings of the analysis. In this way the accompanying project could be considered as a continuous exploration of some of the conceptual and formal questions raised in Lewitt and Eisenmans works. The work is based on a formal exploration of a nine-square grid. This exploration is structured on a combinatory series of objects based on an adapted menger spongeprinciple (Fig. 1)6. Instead of removing the central cube of each nine square grid in each step as in the origi nal menger sponge, the project removes a different number of cubes in every iteration. This logic can be explored in different ways. Fig. 2 describes a transformative series based on three iterations where the first iteration removes two cubes, the next four and the last one. In this case it is possible to remove four cubes in 12 different ways from the nine-square grid (with the precondition that the variations are limited to those that are symmetrical along a vertical axis). This produces a series of 12 different cubic objects (Fig. 3) that unfolds the possible variations. This series is then in turn one of a series of the six possible ways the three iterative levels can be combined (1-2-4, 1-4-2, 2-1-4, 2-4-1, 4-1-2 and 4-2-1) resulting in 72 different objects (see Figs. 4-6 for examples). It is using the didactic approach of Lewitt where the formative logic is immediately accessible and readable. Instead of Peter Eisenmans critical dissection of the formal syntax of modernist architecture or Lewitts exploration of the concept as artistic motor it attempts to explore the proliferation of formal organisations made possible by systematised processes. The resulting objects are just as purposeless as Lewitts sculptures. But at the same time the cubic shapes and hierarchically nested geometries hopefully hint at architectural or perhaps rather protoarchitectural potentials. - CASE STUDIES Peter Eisenman You would be better qualified to answer that question than I would. The energy of Terragni permeated my early work; House I is certainly Terragni, but House II is much more influenced by, say, Rosalind Krausss writing on contemporary art at the time and the idea of sculpture in the expanded field and the work of minimalist sculptors Robert Morris and Sol LeWitt. By House II, Krauss and I were working closely-she eventually wrote Notes on the Index in October 3 and 4, which became key to House IV. The Wexner Center at Ohio StateUniversity by Peter Eisenman is an exam-ple of a building that exhibits characteris-tics motivated by the framework of thekit-of-parts problem. It is a spatially com-plex building that discounts the materialfacts of the architecture except as they serve as signs. The richly overlappingspaces, whether implied by frames orplanes, are all defined by painted gypsumboard and off-the-shelf acoustic ceilingsystems. Brick is selectively deployed to al-lude to pre-existing buildings on the site(in a series of faux ruins), but not for itsmaterial qualities and uses. The programcontent of the building is not the driver of design development; the form of thebuilding is instead a result of the selectivemapping of physical forces on the site,resulting in an itinerary that is choreo-graphed both outside and inside the build-ing. The overlap of competing spatialsystems is generated by two axes that existon the campus; the program/content andthe constructional logic pla y relatively mi-nor roles in the design. Perhaps it is therelative disregard for the quality of thebuilding materials and details that makesthe Wexner Center so decidedly postmod-ern in character today.Whether the underlying moti Series Serial compositions are multipart pieces with regulated changes. The differences between the parts are the subject of the composition. If some parts remain constant it is to punctuate the changes.22 Sol LeWitt The primary method of communicating the concept in Sol LeWitts work is the use of series. By presenting objects in series, any difference between the objects immediately becomes the focus of the piece. If three forms are equal in all aspects, with the exception of height, the viewer automatically assumes that the height is the focus. Works in series can really only be appreciated when viewed together as a series. A direct application within architecture therefore would most naturally happen with a group of buildings in close proximity. This may be on the scale of a college campus, a business park, or several small structures on a residential lot. The difficulty is that most architecture is developed on the basis of a single building at a time. Where more than one building is employed the scale of projects may make it difficult to discern the variations. It may be necessary to introduce smaller scale elements, such a building details, which provide clues about the larger moves within the grouping.

The Knife :: essays research papers

The knife Everybody has read a horror story before at some point, but a story from Alfred Hitchcock is different because at the end he leaves the reader thinking what has happened. In "The Knife" he uses Plot, Setting, and Conflict to do just this. Edward Dawes and Herbert Smithers are just two friends having a drink with each other, but one of them has a knife that was found in a nearby sewer drain. Herbert is cleaning it widly as if he was possesed. Then a red ruby appears on the knife when he is done cleaning it, now the madness breaksout like a terrible plague.. While Herbert is admiring the knife, the maid walks in and asks to see the knife, but all of a sudden Herbert goes insane out of his mind when the maid touched him, then he stares right at the maid with a devilish look, and out of the blue he stabbed her, next thing you know the maid is on the floor dead and Herbert runs out the house as fast as he can. The reader may think this is the climax, but it is not, it is the rising action leading up to the climax. Alfred Hitchcock does not tell the reader why he stabbed her, he likes to leaving the reader thinking and get more into the story, which is kind of like a hook to keep the reader reading. The climax is where he will get the readers interested more in the story. After Herbert runs out Edward Dawes picks up the knife and notifys the police of the incident. once he has called the police for some reason he goes into the kitchen to clean the wicked knife. While he is cleaning it, it slips out of his hand and cuts his arm, then his wife walks in and trys to help him, then Edward goes bezerk just like his friend Herbert and for no reason stabbs her in her chest. The falling action and conclusion get a little weird because the police get to the scene, and they start discussing about this, but the sergeant remembers a murder on the same street a while back, and the person that was murdered on this street was Marie Kelly, the last victim of Jack The Ripper. When Jack The Ripper was getting away he dropped the knife into a sewer drain. Both men say it was the knife that made them stabb

Huck Finn :: essays research papers

You Can’t Pray A Lie is a pivotal excerpt taken from Mark Twain’s classic The Adventures of Huckleberry Finn. Like Twain’s other works, this example of moral truth and consequence undermines the basic sense of human values. Set in the 1880’s on a raft upon the Mississippi River, Huck is caught in a battle of personal conflicting views. It is through his interactions with Jim, a runaway black slave, that he faces the realization that being ultimately true to himself means that he cannot â€Å"pray a lie.†   Ã‚  Ã‚  Ã‚  Ã‚  Jim had run away from his abusive father and enabling small town to find himself traveling down the Mississippi on a raft. His traveling partner was a black slave, Jim. Wondering why Jim was there, Huck discovers that Jim had run away from his slave owner, Ms. Watson. Jim had spoken about his harsh life as a slave, and resented talk of being sold down to Orleans for a â€Å"big stack o’ money.† Huck felt that Jim’s escape was wrong, but kept his promise of secrecy, like any good friend would.   Ã‚  Ã‚  Ã‚  Ã‚  In lieu of his escape, Jim emphasized his feelings of becoming a free man. Jim said it made him all over trembly and feverish to be so close to freedom (p. 238). Huck came to the realization that Jim was escaping for a far different reason than he, and began to see this â€Å"nigger’s† freedom as his own fault; he was an accomplice. Huck’s conscience became plagued by the fact that Jim was escaping the custody of his rightful owner, and he was doing nothing to stop this. In Huck’s eyes, Jim was essentially the property of poor old Ms. Watson, who didn’t do anything less than teach Jim his manners and his books. Altogether, Huck felt that he was doing wrong by concealing this, and felt miserable to say the least.   Ã‚  Ã‚  Ã‚  Ã‚  Jim’s anticipation for freedom grew higher as he expressed his future dreams and aspirations. Jim began saying things that â€Å"niggers† wouldn’t normally dare say. Jim was speaking like a white man, not like someone’s property, a slave. This attitude began to lower Huck’s vision of Jim, and his conscience grew even hotter. Huck had never been exposed to a slave who spoke this way. It was his inadequate education that told him this was wrong.   Ã‚  Ã‚  Ã‚  Ã‚  Jim stopped the raft with intentions of surrendering Jim. At this point he heard Jim yell: â€Å"Pooty soon I’ll be a-shout’n for joy, en I’ll say, it’s on accounts o’Huck; I’s a free man, en I couldn’t ever ben free ef it hadn’ been for Huck; Huck done it.

Teens, Sex, and Virginity - Teenage Pregnancy Essay -- Exploratory Ess

Teenage Pregnancy      Ã‚  Ã‚  Ã‚   Teenage pregnancy has always been present in society. There is research stating that about half the women, born between 1900- 1910, who were interviewed were non-virginal at marriage (17 Ravoira). This contradicts some thoughts that premarital sexual behavior is something new. There was another study done in 1953, it found that one fifth of all first births to women were conceived before marriage (17 Ravoira). Even before our modern openness in discussing sexual behavior and acceptance that it does occur, it was quite routine. In earlier society, the incidence of teenage pregnancy was a moral problem. This was because people looked at the child as filius nullius (nobody's child), or illegitimate and the mother as bad, immoral, over- sexed, etc. (18 Ravoira). The child was being blamed for mearly being born, this is unfair to the child who had no fault in the matter (18 Ravoira). The real problem that was seen was the fact that the children were born out-of-wedlock. P eople seemed to have real difficulty accepting that the baby is still a baby no matter what conditions it was born under.    Many women were punished for being pregnant and were regarded as sex offenders or delinquents. During the 1950's, there were homes were unmarried young women were sent, along with their babies. They were made to stay in these uncomfortable, non-nurturing conditions for months, almost like prison, for the crime of bringing a baby into the world . This was thought to be a solution to any financial burdens the woman and her child might cause (18 Ravoira). More commonly, the young women were sent away to the homes of relatives, etc. to have their babies, and then a hasty adoption was secured. This was to prevent... ...rk Ca: Sage Publications, 1993    McCuen, Gary. Children Having Children. Gary McCuen Publications, Hudson. 1988.    Ravoira, LaWanda, and Andrew L. Cherry. Social Bonds and Teen Pregnancy. Westport, CT: Praeger, 1992.       Onilne Sources Consulted: Ez Sound Ideas. Baby Think It Over. [Online] Available http://btio.com/facts.htm, March 5, 1997.    March of Dimes. Teenage Pregnancy: Facts you should know. [Online] Available http://babynet.ddwi.com/tlc/pregnancy/teenfact.html, March 5,1997.    Noah Team. Teenage Pregnancy: Facts You Should Know. [Online] Available http://www.noah.cuny.edu/pregnancy/march_of_dimes/pre_preg.plan/teenfact. html, March 5,1997.    San Francisco Unified School District. San Francisco Schools Granted $2.6 million. [Online] Available http://www.sfusd.k12.ca.us/news/teenpreg.htm, March 5, 1997. Teens, Sex, and Virginity - Teenage Pregnancy Essay -- Exploratory Ess Teenage Pregnancy      Ã‚  Ã‚  Ã‚   Teenage pregnancy has always been present in society. There is research stating that about half the women, born between 1900- 1910, who were interviewed were non-virginal at marriage (17 Ravoira). This contradicts some thoughts that premarital sexual behavior is something new. There was another study done in 1953, it found that one fifth of all first births to women were conceived before marriage (17 Ravoira). Even before our modern openness in discussing sexual behavior and acceptance that it does occur, it was quite routine. In earlier society, the incidence of teenage pregnancy was a moral problem. This was because people looked at the child as filius nullius (nobody's child), or illegitimate and the mother as bad, immoral, over- sexed, etc. (18 Ravoira). The child was being blamed for mearly being born, this is unfair to the child who had no fault in the matter (18 Ravoira). The real problem that was seen was the fact that the children were born out-of-wedlock. P eople seemed to have real difficulty accepting that the baby is still a baby no matter what conditions it was born under.    Many women were punished for being pregnant and were regarded as sex offenders or delinquents. During the 1950's, there were homes were unmarried young women were sent, along with their babies. They were made to stay in these uncomfortable, non-nurturing conditions for months, almost like prison, for the crime of bringing a baby into the world . This was thought to be a solution to any financial burdens the woman and her child might cause (18 Ravoira). More commonly, the young women were sent away to the homes of relatives, etc. to have their babies, and then a hasty adoption was secured. This was to prevent... ...rk Ca: Sage Publications, 1993    McCuen, Gary. Children Having Children. Gary McCuen Publications, Hudson. 1988.    Ravoira, LaWanda, and Andrew L. Cherry. Social Bonds and Teen Pregnancy. Westport, CT: Praeger, 1992.       Onilne Sources Consulted: Ez Sound Ideas. Baby Think It Over. [Online] Available http://btio.com/facts.htm, March 5, 1997.    March of Dimes. Teenage Pregnancy: Facts you should know. [Online] Available http://babynet.ddwi.com/tlc/pregnancy/teenfact.html, March 5,1997.    Noah Team. Teenage Pregnancy: Facts You Should Know. [Online] Available http://www.noah.cuny.edu/pregnancy/march_of_dimes/pre_preg.plan/teenfact. html, March 5,1997.    San Francisco Unified School District. San Francisco Schools Granted $2.6 million. [Online] Available http://www.sfusd.k12.ca.us/news/teenpreg.htm, March 5, 1997.

Elements of Effective Layout by Dorothy Cohen Essay

Marketing, a strategy to attract a person’s attention to a visual element, is part of today’s commercially based economy. In Dorothy Cohen’s Elements of Effective Layout, the author illustrates her principle argument through means of persuasion focuses on how a given layout can indeed attract attention and how the dominant requisites of an effective marketing layout are, in fact, balance, movement, proportion, simplicity and clarity, unity and emphasis. Within the text, a segment focusing on unity and how it is an important element of attracting attention, Cohen argues: â€Å"A border surrounding an ad provides a method of achieving unity. Sets of borders may occur within an ad, and, when they are similar in thickness and tone they provide a sense of unity. † Here, the author debates about how the graphic requisites of attraction in advertising are crucial in order to spark interest to a viewer. This process is best defined when describing the unity requisite of graphic layout by Cohen when she describes the similarities in ‘thickness’ and ‘tone’ providing a strong sense of unity. The author begins by describing the balance requisite and how an advertisement can rely on how ‘visual weight’ is distributed within its ‘landscape’. In this first section of the article mathematical terms are used to illicit a sense of visual and spatial concepts, for example the ‘fulcrum’ or balancing point. In a secondary section, proportion is emphasized in regards to aesthetic layout in a graphic representation to best describe the size of an element in regards to the rest of the image/picture/advertisement. More specifically, it is demonstrated that non-proportional images use the proportion of a layout to fortify a particular theme or underlying message. In a third section, the movement aspect of graphic layout is explained as a sequence which enables directional flow in order to direct the interpreter into a coherent and cohesive manner. Typically via, either, gaze motion or structural motion which can differ from one individual to another. The fourth requisite of graphic layout is unity, this element being an important aspect of interpretation, is how Cohen identifies the combination of all aesthetic, structural and visual aspects of the image form a whole in order to display the intended message. This being the accumulation of the graphic representation as a whole is dominantly the main aspect when summing up the advertisement in its entirety. Particular attention is paid to form and the use of white space in order to bring out all aspects rendering a thorough representation of a particular theme or idea. Also, another section pertains to the clarity and simplicity, which tells us about how the message will generally be interpreted and what will be the outcome of such a message when displayed. Lastly, Cohen discusses emphasis in order to best identify how the most important element is emphasized in order to strengthen the intended point behind the advertisement. Although the information provided within this text is accurate, the segment concerning unity and how the border of a graphic layout achieves a sense of unity by adding a boundary is appropriate for the particular topic, but has a fallacy that of hasty generalization. For some, such boundaries help strengthen the image’s unity, but others may simply see such boundaries as limits or borders. This generalization is also hasty, because the thickness can identify the unity of the advertisement, but can also identify the particular look or style the creator is attempting to illustrate. The information within this passage is certainly accurate, but is not final. In my response, the provided information regarding graphic layout may be illegitimate, because I am not studying marketing, but as an individual or interpreter of an advertisement I know that borders that are similar in tone and thickness do help unify the image, but don’t make the graphic layout limitless or one-sided. As an interpreter, I can justly see such borders as a means to create boundaries keeping the strengths of the image concealed within a structured environment as opposed to a united one. This article helps illustrate the fundamentals behind graphic layout and advertisement in contemporary marketing strategies. Cohen reveals such concepts in an essay on unfairness about trade regulating rules where advertising takes a whole new approach towards legality of advertising and appropriate demonstrations of graphic layout (Cohen, 1982).