Natural Resources And Management Essay -- essays research papers

Natural Resources and Management   Ã‚  Ã‚  Ã‚  Ã‚  Cultural resources are the traces of all past activities and accomplishments of people that includes designated historic districts, archeological sites, buildings, structures, and objects. These also include less tangible forms like aspects of folklife, traditional or religious practices, and landscapes. These nonrenewable resources often yield unique information about past societies and environments, and can provide answers for modern day social and conservation problems.   Ã‚  Ã‚  Ã‚  Ã‚  a ship wreck   Ã‚  Ã‚  Ã‚  Ã‚  an arrowhead a canon   Ã‚  Ã‚  Ã‚  Ã‚  an Indian campsite   Ã‚  Ã‚  Ã‚  Ã‚  Indian rock art   Ã‚  Ã‚  Ã‚  Ã‚  a tin can   Ã‚  Ã‚  Ã‚  Ã‚  a Victorian house   Ã‚  Ã‚  Ã‚  Ã‚  an historic mining town   Ã‚  Ã‚  Ã‚  Ã‚  an irrigation canal   Ã‚  Ã‚  Ã‚  Ã‚  a dam   Ã‚  Ã‚  Ã‚  Ã‚  All of these can be cultural resources. Cultural resources are the physical remains of a people's way of life that archaeologists and historians study to try to interpret how people lived. Cultural resources are important because they help us to learn about our past. These tangible remains help us understand other cultures, appreciate architecture and engineering, and learn about past accomplishments. Furthermore, they offer educational and recreational opportunities and provide links to our past. &nb...

Gender Analysis of “The Tigers Bride” by Angela Carter Essay

The short story_The Tigers Bride_ raises thought provoking concepts around gender through a plot both alike and unlike traditional Beauty and the Beast. The role of both genders is explored and true freedom questioned within the bounds of society. The text delivers a powerful and even handed message to the genders that constraints are merely a construct, a mask which can slip and shatter when pressure is applied. Angela Carter sketches a bleak setting, and equally bleak outlook for the female protagonist, caught in a powerless, debased and objectified position of social standing. Agency is firmly placed with The Beast, and the father, opening with the line; ‘My father lost me to The Beast at cards’. Objectified from the outset for her beauty, the narrator is declared a ‘treasure’ by both men and a ‘pearl beyond price’ by her father. The barb is deepened with Christmas, the day of items named as the day of her birth. Her nickname ‘Christmas rose’ gives rye commentary on the traditional symbolism of the rose, which re-emerges later stained with her blood, representing the loss of innocence at the hands of the patriarchy much as her mother before her who ‘did not blossom long’. Despite her predicament the narrator represents herself and her gender atypically to binary stereotype with a cynicism and wit that cuts through the flaws of the hegemonic dominated society around her. Receiving a rose from The Beast, she calls it ‘unnatural and out of season’ and tears it apart whilst being bartered as an object in the card game. Her disdain for her predicament and surrounds are powerless in these early stages and are blended with a sadness ‘you think there is no winter but forget you take it with you’. The narrator fast becomes a heroine to the audience, through a nurtured appreciation of her budding inner strength. This is emphasised by the stark contrast to the insipidness of the father and veiled vulnerability of The Beast. The windup soubrette doll becomes a leading symbol of the dehumanising ideals of society on the female gender with the heroine  likening herself to the doll, initially. The valet’s statement ‘surrounding ourselves for utility and pleasure with simulacra is no less convenient than for most gentlemen’ casts light on the hegemonic expectation of society. However the heroine’s character grows in strength with every denial to The Beast and her rejection of society’s expectations of ‘her skin as her sole capital’ she acts on this through her rejection of the gifted diamond earrings. Role reversal occurs when The Beast himself unclothes in vulnerability ahead of the heroine. Transformation is near complete when she views the soubrette in a new light and intends to send the doll back to perform the stilted role of father’s daughter, realising that true freedom from the limitations of society means shedding and joining the ‘beasts’. The text proposes that gender constraints are a construct and are not limited to the suppression of female power. The bounds of society on The Beast and his estate are also evident and ironically his visage, scent and abode is criticised by the heroine as failing to comply with expectations. Her animosity towards The Beast is likely birthed in her predicament, his mask a reminder of the too perfect hegemony she detests. However The Beast conducts himself with a subtleness and dignity that can be afforded to no human in the story. Contrasting The Beasts behaviour with the character of the father or the viscous rumours of the nursemaids highlights the authors point that the limitations gender and society have created hamper the full potential of character. The Beasts compassion and coyness suggest an inner subordinate or complicit form of masculinity, the hegemonic persona forced, donned as disguise to conform. The story outlines an ideal place; ‘nothing human lives here’, a place where identity is essential to being not performed as a requirement. The message is bittersweet; the escape to freedom in a new skin is a relative exile from society; a clear rebuke to a society which forces such drastic methods upon the genders to avoid cultural ideation. Bibliography: Carter, Angela, (1996). The Tiger’s Bride. In Carter, Angela, Burning your boats : the collected short stories, (pp.183 – 201). London: Vintage.

Linear correlation coefficient and linear regression principles

Flouris, Metsios and Koutedakis (2006) studied the contribution of muscular strength in cardio-respiratory fitness tests, which are multistage shuttle run test (MSR), square shuttle run test (SSR) and maximal laboratory treadmill test (MT). The last minutes of an endurance race depended on muscular strength and anaerobic power. There however has no study yet on how lower extremity muscular strength performed in cardio respiratory fitness tests. The purpose of this study is to determine the levels of muscular strength independent using MT, MSR, and SSR. The participants of the study were thirty-eight healthy male individuals aged between 18 and 29 years old. To qualify for healthy individuals, those who smoke and hard benign medical history, were excluded from the study. Participants visit the data collection sites individually on three different occasions phased with a minimum of 96 hours between assessments. All these three assessments were done within two weeks. Time of assessment was between late morning and early afternoon. The first visit was for laboratory assessments: 1) progressive maximal laboratory treadmill test (MT) to exhaustion, where maximal attained speed (MAS) and maximal oxygen uptake (VO2MAX) were measured, and 2) isokinetic dynamometry, where measures of concentric peak torques of knee extensors (PTEX) and flexors (PTFL) and combined torque generated by both legs (PTC) were obtained. The remaining visits were for the field assessments of 20 meter multistage shuttle run test (MSR) and 20 meter square shuttle run test (SSR), where for each test the maximal attainment speed was measured. The linear regression analysis used in the square shuttle run test (SSR) was the equation: MASMSR = PTEX + PTFL + PTC. The beta-coefficients derived through the regression analysis however were not reported. From the isokinetic dynamometry measures, only combined peak torques of both legs had significant R2 increase, which was 0.04. This means that combined peak torques of both legs explained four percent of the variation in the data for maximal attained speed while performing the square shuttle run test. The relationship between MASMSR and PTFL was found to be highly positive, r(38)=0.58, p

Software Licensing Essays - Law, Computing, Free Essays, Term Papers

Software Licensing Essays - Law, Computing, Free Essays, Term Papers Software Licensing In 1993 worldwide illegal copying of domestic and international software cost $12.5 billion to the software industry, with a loss of $2.2 billion in the United States alone. Estimates show that over 40 percent of U.S. software company revenues are generated overseas, yet nearly 85 percent of the software industry's piracy losses occurred outside of the United States borders. The Software Publishers Association indicated that approximately 35 percent of the business software in the United States was obtained illegally, which 30 percent of the piracy occurs in corporate settings. In a corporate setting or business, every computer must have its own set of original software and the appropriate number of manuals. It is illegal for a corporation or business to purchase a single set of original software and then load that software onto more than one computer, or lend, copy or distribute software for any reason without the prior written consent of the software manufacturer. Many software managers are concerned with the legal compliance, along with asset management and costs at their organizations. Many firms involve their legal departments and human resources in regards to software distribution and licensing. Information can qualify to be property in two ways; patent law and copyright laws which are creations of federal statutes, pursuant to Constitutional grant of legislative authority. In order for the government to prosecute the unauthorized copying of computerized information as theft, it must first rely on other theories of information-as-property. Trade secret laws are created by state law, and most jurisdictions have laws that criminalize the violations of a trade-secret holder=s rights in the secret. The definition of a trade secret varies somewhat from state to state, but commonly have the same elements. For example, AThe information must be secret, Anot of public knowledge or of general knowledge in the trade or business, a court will allow a trade secret to be used by someone who discovered or developed the trade secret independently or if the holder does not take adequate precautions to protect the secret. In 1964 the United States Copyright Office began to register software as a form of literary expression. The office based its decision on White-Smith Music Co. v. Apollo , where the Supreme Court determined that a piano roll used in a player piano did not infringe upon copyrighted music because the roll was part of a mechanical device. Since a computer program is textual, like a book, yet also mechanical, like the piano roll in White-Smith, the Copyright Office granted copyright protection under the rule of doubt. In 1974, Congress created the Natural Commission on New Technological Uses (CONTU) to investigate whether the evolving computer technology field outpaced the existing copyright laws and also to determine the extent of copyright protection for computer programs. CONTU concluded that while copyright protection should extend beyond the literal source code of a computer program, evolving case law should determine the extent of protection. The commission also felt copyright was the best alternative among existing intellectual property protective mechanisms, and CONTU rejected trade secret and patents as viable protective mechanisms. The CONTU report resulted in the 1980 Computer Software Act, and the report acts as informal legislative history to aid the courts in interpreting the Act. In 1980 The Copyright Act was amended to explicitly include computer programs. Title 17 to the United States Code states that it is illegal to make or to distribute copies of copyrighted material without authorization, except for the user=s right to make a single backup copy for archival purposes. Any written material (including computer programs) fixed in a tangible form (written somewhere i.e. printout) is considered copyrighted without any additional action on the part of the author. Therefore, it is not necessary that a copy of the software program be deposited with the Copyright Office in Washington, D.C. for the program to be protected as copyrighted. With that in mind then a copyright is a property right only. In order to prevent anyone from selling your software programs, you must ask a court (federal) to stop that person by an injunction and to give you damages for the injury they have done to you by selling the program. The Software Rental Amendments

result methods and intro essays

result methods and intro essays There are many questions to how people process information. Many have understood that people remember and learn components of a passage more easily when particular elements of the passage are subjectively considered to be important than when its not. Systems such as story schemata produce organized descriptions of the substance of a text. Thus, drawing attention to particular parts of a story. However, there is no definite answer as to what makes such element s important, and therefore making such components become easily retrieved. This paper will list possible explanations for what makes specific text important. Findings from prior research give special consideration to evidence that seem to maintain dissimilarities between encoding and retrieval. The schemata theory has been used for the present experiment. In this theory, components of a schemata are slots or variables which may be defined as events or elements that are remembered better because there is a structure or framework laid down beforehand. Such theories, which try to explain how schemas work are recognized as the attention-directing theory or the slot theory. Schema theory provides an instant annotation on the dominance in the recollection of important information. In the attention-directing hypothesis the schema singles out important elements. Therefore, more attention is devoted to these elements than to less important ones, and so they more likely to be learned. Another hypothesis is the ideational scaffolding hypothesis in which the schema is most likely going to contain a slot for important text elements where the information gets stored specifically because there is a function for it. Ways of processing information are based upon individual differences, in which there may or may not be slots for both important and unimportant elements. Several investigators (Bower, 1977; Mandler Pich...

Discover Trompe lOeil Art in Painting and Architecture

Discover Trompe l'Oeil Art in Painting and Architecture French for fool the eye,  trompe loeil art creates the illusion of reality. Through skillful use of color, shading, and perspective, painted objects appear three-dimensional.  Faux finishes like marbling and wood graining add to the trompe loeil effect. Applied to furniture, paintings, walls, ceilings, decorative items, set designs, or building facades, trompe l’oeil art inspires a gasp of surprise and wonder. Although tromper means to deceive, viewers are often willing participants, delighting in the visual trickery. Trompe l'Oeil Art Shading and perspectiveFaux finishes3-D effects Pronounced tromp loi, trompe-l’oeil may be spelled with or without a hyphen. In French, the  Ã…“  ligature is used:  trompe l’œil. Realistic artworks were not described as trompe-loeil until the late 1800s, but the desire to capture reality dates back to ancient times. Early Frescoes Fresco from the House of Meleagro, Pompeii,1st Century.   Photo  ©DEA / G. NIMATALLAH/ Getty   In ancient Greece and Rome, artisans applied pigments to wet plaster to create life-like details. Flat surfaces appeared three dimensional when painters added false columns, corbels, and other architectural ornaments. The Greek artist Zeuxis (5th century B.C.) is said to have painted grapes so convincing, even birds were deceived. Frescoes (plaster wall paintings) found in Pompeii and other archaeological sites contain trompe loeil elements. For many centuries, artists continued to use the wet plaster method to transform interior spaces. In villas, palaces, churches, and cathedrals, trompe loeil images gave the illusion of vast space and distant vistas. Through the magic of perspective and skillful use of light and shadow, domes became sky and windowless spaces opened to imaginary vistas. Renaissance artist Michelangelo (1475 -1564) used wet plaster when he filled the vast ceiling of the Sistine Chapel with cascading angels, Biblical figures, and an enormous bearded God surrounded by trompe loeil columns and beams. Secret Formulas Dresden Triptych, Oil on Oak, 1437, by Jan van Eyck. Dresden State Art Collections, Gemldegalerie Alte Meisterm.   DEA / E. LESSING / Getty Images By painting with wet plaster, artists could give walls and ceilings rich color and a sense of depth. However, plaster dries quickly. Even the greatest fresco painters could not achieve subtle blending or precise details. For smaller paintings, European artists commonly used egg-based tempera applied to wood panels. This medium was easier to work with, but it also dried quickly. During the Middle Ages and the Renaissance, artists searched for new, more flexible paint formulas. The Northern European painter Jan Van Eyck (c.1395-c.1441) popularized the idea of adding boiled oil to pigments. Thin, nearly transparent glazes applied over wood panels gave objects a life-like gleam. Measuring less than thirteen inches long, Van Eycks Dresen Triptych is a tour de force with ultra real  images of Romanesque columns and arches. Viewers can imagine they are looking through a window into a Biblical scene. Faux carvings and tapestries enhance the illusion. Other Renaissance painters invented their own recipes, combining the traditional egg-based tempera formula with a variety of ingredients, from powdered bone to lead and walnut oil. Leonardo da Vinci (1452-1519) used his own experimental oil and tempera formula when he painted his famous mural, The Last Supper. Tragically, da Vinci’s methods were flawed and the breathtakingly realistic details began to flake within a few years. Dutch Deceivers Tromp-loeil Still-Life, 1664, by Samuel Dirksz, vanHoogstraten. Dordrechts Museum Collection.   Fine Art Images/Heritage Images/Getty Images During the 17th century, Flemish still life painters became known for optical illusions. Three-dimensional objects seemed to project from the frame. Open cabinets and archways suggested deep recesses. Stamps, letters, and news bulletins were depicted so convincingly, passersby might be tempted to pluck them from the painting. Sometimes images of brushes and palettes were included to call attention to the deception. There’s an air of delight in the artistic trickery, and it’s possible that the Dutch masters competed in their efforts to conjure reality. Many developed new oil-and wax-based formulas, each claiming that their own offered superior properties. Artists like Gerard Houckgeest (1600-1661), Gerrit Dou (1613-1675), Samuel Dirksz  Hoogstraten  (1627-1678), and Evert Collier (c.1640-1710) could not have painted their magical deceptions if not for the versatility of the new mediums. Eventually, advanced technologies and mass-production made the painting formulas of the Dutch masters obsolete. Popular tastes moved toward expressionist and abstract styles. Nevertheless, a fascination for trompe loeil realism persisted through the nineteenth and twentieth centuries. American artists De Scott Evans (1847-1898),  William Harnett (1848–1892), John Peto (1854–1907), and John Haberle (1856-1933) painted meticulous still lifes in the tradition of the Dutch illusionists. French-born painter and scholar Jacques Maroger (1884-1962) analyzed the properties of early paint mediums. His classic text,The Secret Formulas and Techniques of the Masters, included recipes he claimed to have rediscovered. His theories reawakened interest in classical styles, stirred controversy, and inspired writers. Modern Magic Artist Tjalf Sparnaay with one of his megarealistic paintings. cc Tjalf Sparnaay   Merogers return to classical techniques was one of many realistic styles that emerged during the second half of the 20th century. Realism gave modern-day artists a way to explore and reinterpret the world with scientific precision and ironic detachment. Photorealists painstakingly reproduced photographic images. Hyperrealists toyed with realistic elements, exaggerating details, distorting scale, or juxtaposing figures and objects in unexpected ways.  Dutch painter Tjalf Sparnaay (shown above) calls himself a â€Å"megarealist† because he paints â€Å"mega-sized† versions of commercial products. My intention is to give these objects a soul and a renewed presence,† Sparnaay explains on his website. 3-D Street Art Mural for Fontainebleau Hotel, Richard Haas, Designer, Created 1985-86, Demolished 2002. Corbis Documentary / Getty Images Trompe l’oeil by contemporary artists  can be whimsical, satirical, disturbing, or surreal. Incorporated into paintings, murals, advertising posters, and sculpture, the deceptive images often defy the laws of physics and toy with our perception of the world. Artist Richard Haas made deft use of trompe l’oeil magic when he designed a six-story mural for the Fontainebleau Hotel in Miami. False finishes transformed a blank wall into a triumphal arch made of mortared stone blocks (shown above). The enormous fluted column, the twin caryatids, and the bass relief flamingos were tricks of light, shadow, and perspective.The sky and waterfall were also optical illusions, teasing passersby into believing they might stroll through the arch to the beach. The Fontainebleau mural entertained Miami visitors from 1986 until 2002, when the wall was demolished to make way for real, rather than trompe l’oeil, views of the waterside resort. Commercial wall art like the Fontainebleau mural is often transitory. Weather takes a toll, tastes change, and new construction replaces the old. Nevertheless, 3-D street art plays an important role in reshaping our urban landscapes. Time-bending murals by French artist Pierre Delavie conjure historic vistas. German artist Edgar Mueller turns street pavement into heart-thumping views of cliffs and caves. American artist John Pugh opens walls with eye-deceiving images of impossible scenes. In cities around the world, trompe loeil mural artists force us to ask: What is real? What is artifice? What is important? Sources Deceptions and Illusions: Five Centuries of Trompe LOeil Painting, by Sybille Ebert-Schifferer with essays by Sybille Ebert-Schifferer ... [et al.]; Catalog of an exhibition held at the National Gallery of Art, Washington, D.C., Oct. 13, 2002-Mar. 2, 2003.Historical Painting Techniques, Materials, and Studio Practice, by The J. Paul Getty Trust, 1995 [PDF, accessed April 22, 2017] ; https://www.getty.edu/conservation/publications_resources/pdf_publications/pdf/historical_paintings.pdfMusee du Trompe lOeil, museedutrompeloeil.com/en/trompe-loeil/The Secret Formulas and Techniques of the Masters by Jacques Maroger (trans.  Eleanor Beckham), New York: Studio Publications, 1948.

Research Paper Example | Topics and Well Written Essays - 1000 words - 1

Research Paper Example The advancement in technology can promote or facilitate this functioning by introducing new ideas. Innovation is the key. This means that different synergies can come into play and promote the creation and adoption of new applications (Birman 201). This paper will examine the networking and distributed systems applications and identify how they assist IT in performing basic functions. Detail study of networking and distributed systems A set of machines that are networked together ensure that these applications run smoothly. This network works to attain a common objective or goal. Through the use of networks and distributed systems, the exchange of data is made possible and much easier. All the components present perform their functions as required. They all work to provide services to users and at whatever time they need these services. Networking enables other technologies to take centre stage in the running of operations (Birman 207). Online entertainment is one example of what net working is capable of offering users. Distributed systems allow for the study of computer components. The coordination patterns in the collection are identified and studied through the distributed systems. There is a need to have detailed infrastructure in the creation of these components. All the applications protect the user’s delicate information (Birman 209). This feature was not available in the past as user information was easy to find if the right knowledge was put to task. Nowadays, it takes more than hitting the right keys to access a user’s information. Advantages of networking and distributed systems One of the advantages that these applications offer IT is an avenue to use more speed and accuracy in daily activities. In the past, this was not as easy as it is in present time. They were more expensive and tough to maintain than they are presently. These applications are more common nowadays as individuals are willing to use them to approach different areas i n their fields of work. Tasks can now be completed simultaneously through these applications. Calculations may also be carried out without many problems occurring in the system. They offer users quality in the work they are chosen to carry out and they are reliable (Birman 212). A likely advantage that needs to be taken into account for these applications is their predictability. The memory and real-time focus of these applications offer users enough time to concentrate on the tasks present and finish them without fear of losing data in case of power or system failure. The infrastructure that is used in putting these applications together is capable of fostering cooperation between all the components present. This collection of components prepares the user for anything that might prove tough to an ordinary system. This advantage makes the applications efficient, reliable and fast in this ever-expanding technological world (Birman 257). Problems the applications face One of the main problems these applications face is the inadequate techniques and methods that are used to manufacture and control these systems. Single processes are what are used in many cases. This makes the system lack the quality that is required of such performance components. Stringent performance requirements are meant to lead to the creation of distributed systems that are of high quality. However, this is not usually the case when it comes to the said