Veterinary Care Essay Example | Topics and Well Written Essays - 1000 words

Veterinary Care - Essay Example This would change, however, as people realized that knowing how to care for animals could be a career for them. They began writing books, more of the guide sort, to sell to farmers. These writings eventually found its way outside of Europe. (Biere, 1955) The earliest mention of a practitioner in the United States is found in a 1625 case where a certain person by the name of William Carter was charged of not being able to cure a cow as he promised. The first ever veterinary surgeon of America was College of London graduate John Haslam. (Dunlop, 1996) In the 19th century, several books and journals regarding veterinary medicine came into publication. There were the books entitled The American Cattle Doctor (1850) and The Modern Horse Doctor (1854) by George Dadd. The American Veterinary Journal was founded in 1851 by the same person as well., also of the same person, founded and edited the American Veterinary Journal. It was followed by Alexandre Liautard's American Veterinary Review in 1875 which was by Alexandre Liautard. This became known as the Journal of the American Veterinary Medical Association. (Schwabe, 1978; Smith, 1933) World War II had a big impact on animal medicine and food safety. New drugs developed for soldiers during the war such as penicillin and sulfa drugs were later used to treat livestock. The insecticide DDT was used during the war and later helped kill flies and other outdoor parasites that hurt farm animals. (Smith, 1976) During the war, the government thought Midwestern cattle operations might be targets for sabotage. They were worried that cattle might be contaminated by foreign infections, threatening the food supply. Government veterinarians were hired and local vets were told to be on the alert. After the war, veterinarians began to use new drugs to treat diseases such as foot rot and shipping fever in cattle, as well as infections that killed baby chickens and turkeys. As new drugs came out of the research institutions, they were used against brucellosis, infectious anemia, worms, cholera, Newcastle disease, foot-and-mouth disease, and rabies. (Lise, 2005) The Evolution of Veterinary Care Veterinary medicine evolved from skill and field based practice to a more structured education that began with the establishment of the school in Lyons, France. With the establishment of dedicate schools such as New York College of Veterinary Surgeons (1857-1899) and the American Veterinary College (New York, 1875-1898), the knowledge and the process became more scientific. (Smith, 1976; Smithcors, 1973) Developments in the field of medicine, science and technology paved the way for more complex tools of analysis and medication in the field of animal care. Many technologies now exists today especially for the prevention and cure of diseases afflicting agriculturally important animals. Animals nowadays often receive advanced medical, dental, and surgical care including insulin injections, root canals, hip replacements, cataract extractions, and pacemakers. The field has also grown from caring for agriculture related animals, such as cows, chickens and horses, to animals that serve as pets and even extended to other kinds of animals which are not usually included in these two categories. (Harrowsmith Country Life, 2007) Importance of Veterinary Care Of the many factors why veterinary care is essential, the most important lies in its capacity to eliminate, hamper and mitigate disease outbreaks

Analyzing an Advertisement Essay Example | Topics and Well Written Essays - 250 words

Analyzing an Advertisement - Essay Example At the top of the advertisement is a phrase written in huge letters stating â€Å"The Luxury Soap of the World†. This statement appeals to the emotion and logic of the readers. By saying that, it will hopefully persuade the people to buy the product since it is world-class. In one corner of the advertisement is a short paragraph, â€Å"In Mayfair†. This paragraph seems irrelevant in the whole advertisement. One thinks that it does not add impact on the message that it wants to relay to the readers. The advertisement could have stood without it. The designers of the advertisement probably thought that this will add credence to their claim that the soap is the one used by the aristocrats. In the last part of the advertisement, the benefits of using the soap is presented. It uses bold capital letters to emphasize the advantages of using Yardley soap. Below the last paragraph the price of the product is written and it states where it can be bought. Further below, the various products of Yardley are

Rhetorical Precis Essay Example for Free

Rhetorical Precis Essay In The Organization Kid, an article published in The Atlantic Monthly in April of 2001, David Brooks discusses the willing conformism and social subservience of the educational elite and reinforces his points through usage of a heavily pathos-based timeline, quotes, textual examples and statistics. Brooks’ examples are both well structured and particularly effective. He compartmentalizes his arguments, shows instances of change over time and directly and effectively targets the emotions of his audience. Brooks’ masterful usage of tactics and strategies such as this makes the narrative quite effective in terms of emphasizing his main goal: drawing attention to the growing trend of willing subservience amongst the educational elite. Brooks’ statement is indeed quite relevant in reference to major issues in ever-changing modern society. Vocabulary * Prudential – Involving or showing care and forethought, typically in business. * Sacrosanct – Regarded as too important or valuable to be interfered with. * Meritocratic – Government or the holding of power by people selected on the basis of their ability. * Nihilism – The rejection of all religious and moral principals, often in the belief that life is meaningless. * Ganglia – A structure containing a number of nerve cell bodies, typically linked by synapses, and often forming a swelling on a nerve fiber. Tone * Critical * Analytic * Factual * Condemnatory Rhetorical Strategies * Hyperbole – â€Å"soul crushing† * Asyndeton – â€Å"there are pesticides on our fruit, cigarettes in the school yards, rocks near the bike paths, kidnappers in the woods.† * Alliteration – â€Å"Baby Boomers† * Personification – â€Å"the argument speaks† * Simile – â€Å"like flies to a light† Discussion Questions * Clarification – Why does the author draw different conclusions regarding societal issues at the end of the narrative than he at the beginning? * Style – Does the writer’s style of citing sometimes-unrelated information to support his argument act as beneficial or detrimental in regards to emphasizing his points? * Application – While the author certainly made his perceived issues with today’s society quite clear, he never exactly expanded on what he would do to repair it. What do you believe would be the best course of action to take to restore the missing sense of the â€Å"ultimate challenge† and â€Å"ultimate reward†? Important Quotation â€Å"The most sophisticated people in preceding generations were formed by their struggle to break free from something. The most sophisticated people in this one aren’t.†

Art And Hyper Reality In Animation How Have Things Changed Film Essay

Art And Hyper Reality In Animation How Have Things Changed Film Essay Introduction In this dissertation I will be posing the question Art and hyper reality in animation and how have things changed? A lot of commercial animation today is being pushed by 3D computer technology and the audience perceptions of the true meaning of animation had been clouded by this new era of animated film. I want to find out about the commercial acceptance of animation and the history behind it. This is an interesting subject area because a lot has changed in the past 50 years in terms of animation and moving image. I will be finding out how recent technological advancements in creating realistic looking visuals has effected how we perceive animation and if it has retracted from the original statement that animation is an art form. Recent commercial animation being produced is full of realistic 3D computer graphics therefore moving away from the more traditional 2D animation process. I want to find out why using a sense of visual realism in animation has become the norm. By looking at a range of hyper realistic animation such as Final Fantasy I will be able to find out why they have become so accepted and how the modern audience have adapted their tastes to this new form of representation in cinema. Modernism and post-modernism movements were very powerful in the art world and I want to see how breaking away from a certain way of working brings a new wave of creation, this chapter can be applied to animation in the way that animation has broken away from using pencils and now rely heavily on computer technology. I will also be looking into animators that were the pioneers of the animated form and what they were trying to achieve in the early stages of this emerging medium. These early animators were seen as being experimental because they were the first people that were doing this kind of work. Also by looking into Disney and the way he managed to commercialise animation will give clues as to how 3D computer animation has done the same thing with the likes of Pixar. Audience trends play a big role into finding out about commercialisation and how society/ culture can affect certain trends. By looking into the re-invention of cinema and its audiences I will be able to find out how these factors have changed how people perceive art in cinema. I will then summarise what I have learnt from doing this dissertation and answer my title question in relation to the chapters I have discussed. Contents Reality effects in computer animation. My first chapter will be discussing reality effects in computer animation. I will be referencing an article by Lev Manovich and reviewing the content in this chapter. This article is relevant to the title question because it looks at how technology has affected the process of making realistic looking visuals. This chapter will help me to understand how visual realistic imagery has advanced and why 3D visuals are superseding traditional ways of working. I will also be mentioning and talking about some animated films which use computer technology and how they have helped push the boundaries of what can be achieved by using this technology. Animation and its progression to commercialism My second chapter will be looking into experimental animation which will discuss the reason why animation visuals dont have to make sense to still be true to the animated form. Experimental animation is a genre in itself and I will be looking at why new audiences want to see visually realistic imagery over an abstract film. I will also be discussing how Walt Disney commercialised animation and how this has changed the audiences perception of animation. This chapter will create a contrast between the first chapter and show just how different these animated practices are. Modern and post-modern movements My third chapter will be talking about the modern and post-modern movements and finding where animation fits into them. This will be interesting to look into because these movements can be applied to what is happening now such as cinema breaking away from more traditional 2D animation to 3D hyper realistic animation. Modern Audience in relation to animation My fourth chapter will be looking into audience trends in the cinema. This will help me to understand why audiences are becoming more and more comfortable with being exposed to computer generated imagery when 20 years ago the industry was more interested in traditional 2D and stop motion imagery. Conclusion My final chapter will be concluding what I have studied in this dissertation and answering the title question. Chapter 1: Reality Effects in Computer Animation I will be reviewing the article, Reality Effects in Computer Animation by Lev Manovich, which is from Jayne Pillings book A Reader In Animation Studies London 1998. Lev Manovich is an author of new media books and a professor of Visual Arts, University of California, San Diego, U.S. where he teaches new media art and theory. I will also be discussing what methods animators go through to achieve a sense of realism. The purpose of the article is to identify how reality in animation and cinema first developed and how different levels of realism have affected these industries. The title question is important because the rapid growth of cinematic and computer technology is constantly changing the advances in reproducing reality. Therefore it is interesting to find out how other practitioners have identified the term realism and the impact their thoughts have had in defining the purpose of reality in computer animation. The main points I will be discussing in this review will be the compar isons between early attempts of realism and three dimensional computer graphics. I will also be discussing how the developments of new technology have further enhanced realism in regards to computer animation and cinema. This article starts with outlining the early discoveries of recreating the human form in a visual output such as paintings. Giotto di Bondone (an Italian painter) has been mentioned as being the first person to produce three-dimensional forms on a flat surface. He has been compared with his mentor Cenni di Pepo or also known as Cimabue who was also an Italian painter. Cimabues work in comparison with three-dimensional computer imagery is mentioned as having a more 2D look unlike Giotto whose work achieves a stronger 3D effect. This comparison is relevant to the realism debate because Giotto has been considered as the first great artist of the Italian Renaissance, which was a turning point in art history and the incorporation of realistic techniques. The article then goes on to say that A Renaissance painting and a computer image employ the same technique (a set of consistent depth cues) to create an illusion of space, existent or imaginary. However the difference between the mediums is that a viewer can now experience moving around a simulated three-dimensional space, which isnt possible with a painting. To then approach the problems of realism in three-dimensional computer animation Lev starts by looking at the arguments that have advanced in film theory in regards to cinematic realism. This is a good avenue to look down because a lot of computer animation is being incorporated into live-action films these days so a better understanding of cinema realism will further enhance the importance of reality effects in computer animation. However I think the incorporation of the Italian painters as a comparison to computer generated imagery is a bit dated and it would be beneficial if more modern examples were shown as computer animation is seen as a modern art form and it has only really been around since the 1950s. Technology has played a big part in making computer graphics look realistic and Lev had covered this topic in some detail. The term mimesis has been brought up in this section because the modern technology of cinema has been seen in Andrà © Basins eyes as being a realisation of this ancient myth. Mimesis is a critical and philosophical term that carries a wide range of meanings which include imitation, representation, mimicry, similarity and the art of resembling. Therefore mimesis can be related back to reality because the term explains certain factors that affect a realistic outcome such as the art of resembling. For example resemblance can also mean similarity, which is what commercial computer animation tries to recreate, taking a look at real life and recreating it in a virtual world. Manovich states each new technological development (e.g. sound, panchromatic stock, colour) points to the viewers just how un-realistic the previous image was and reminds them that the present ima ge, even though more realistic, will be superseded in the future- thus constantly sustaining the state of disavowal. So by something that is believed to be realistic at a certain period in time will soon become out-dated because technology is rapidly evolving, therefore the notion of never being able to recreate reality in regards to computer animation is an interesting concept and ideology. In terms of animation software Lev then goes on to say. New algorithms to produce new effects are constantly being developed. To stay competitive, a company has to quickly incorporate the new software into their offerings. The animations are designed to show off the latest algorithm. This statement backs up the technological advances in realistic looking computer graphics and can also explain how computer imagery is becoming ever more impressive and pioneering than the previous production. There are different levels of realism for example in animation practice the art of walk cycles display a realistic quality but they will never capture the true essence of the human form compared to live action. Whether a 3D character is walking, running or jumping, it is difficult to recreate a realistic sense of movement when working frame-by-frame. Footage created with frame-by-frame photography in 3D animation lacks the motion blur that occurs naturally when a figure moves in real time before a live action camera. So certain techniques that can be achieved using a computer that can control the motion and add a blur effect to create a realistic sense of movement. Rotoscoping is a technique that allows animators to trace over live action film one frame at a time therefore creating flawless movements and realism to any character or object. However this process is in a way cheating because no one is animating the movements but instead just tracing over and copying the movements that are already there, therefore loosing the skill and style of an animator. Human movements can also be captured by using a technique called motion capture. This technique uses sensors to record the movement of an object in live action, motion capture is a computer driven animation system which allows a director to rehearse and direct the movements of a three-dimensional character. Almost all 3D animation is shot horizontally on a set of some kind just like live action film whereas 2D is generally recorded from a camera placed overhead (vertically). The use of sets for 3D animation makes it possible to get a number of angles whilst filming the action, this way of filming can create a sense of realism to the audience. For example the use of these cinematic angles that are also used in live action film could make the audience believe that they ar e watching something real because the same shots are used in films when capturing real life actors. Jan Svankmajers Alice shot his live action/animation film at full scale placing his live actress and animated characters within what appears to be real rooms, or outside on a rocky terrain. The way in which this film was shot makes it realistic because of the mixture of a live action actress and animated real life objects such as the stuffed rabbit toy. Realism in animation can be good because the audience can relate to what they see and can almost gain comfort from what they know; such as the animated film Bolt where the dogs characteristics are so life like and realistic that you could imagine seeing this dog in real life. Final Fantasy the spirits within was a groundbreaking film at the time because of its hyper-realistic look. Roger Ebert was a strong advocate of the film; he gave it 3 ½ stars out of 4, praising it as a technical milestone while conceding that its nuts and bolts story lacked the intelligence and daring of, say, Steven Spielbergs A.I.. He noted that while he did not once feel convinced Aki Ross was an actual human being she was lifelike, stating her creators dare us to admire their craft. Ebert expressed a desire for the film to succeed in hopes of seeing more films made in its image, though he was sceptical of its ability to be accepted in the wider audience. This happened to be the case as the box office figures for Final Fantasy strongly indicate a lack of positive reaction from audiences, a fact further supported by the overwhelmingly poor response from film critics. To summarise, the terms reality and realism play a big part in computer animation because people are endlessly re-duplicating the visible so that the viewer can relate to the imagery and be impressed by what can be achieved using these technologies. Therefore the role of realism will always be apparent and a defining factor in computer animation. With the accessibility of the internet, freelance artists are constantly out-doing each other which is also driving the production of reality effects and advancements in technology. The article as a whole has shown me that reality in computer animation is a competitive business and that the technologies used to create these effects werent originally designed for entertainment purposes. I have found that not every theorist such as David Bordwell and Andrà © Bazin share the same views or opinions so it becomes difficult to get a true definition or the sense of a certain ideology. The possibilities of recreating reality effects in computer animation are endless because using 3D effects in cinema is becoming the norm almost. Moreover the demand for incredible effects and imaginative imagery is becoming more apparent every year because film makers know that this is what the audience wants to see. Also with the abundance of new technology, computerised imagery is becoming easier to create. Chapter 2: Animation and its progression to commercialism In the beginning all animation was experimental. Experimental animation can be seen as one of the realist form of animation because it is not trying to conform to a certain genre or ideology but rather lean towards an experimental, more abstract or random approach to what is being displayed. Film historian William Moritz quotes: No animation film that is not non-objective and/ or non- linear can really qualify as true animation, since the conventional linear representational story has long since been far better done in live-action. Here Moritz defines what may be regarded as a purist view of what properly constitutes as true animation. He is suggesting that the animated form is best shown when the concentration is purely on using, developing and experimenting with the unique vocabulary which is available only in animation. The freedom of animation has allowed certain animators and artists not to find appropriate means by which they express their vision, but to further progress the medium. Moreover the reason to push the boundaries of what an animator is doing makes an experimental piece truly experimental. Abstraction goes hand in hand with experimental animation because something being abstract can exist with a degree of independence from visual references in the world. Animators which pioneered this new animated art form such as Emile Cohl, Stuart Blackton and Windsor McCay used very basic ways of working mainly due to the fact that they didnt know any better or the technology wasnt available to them. Artists such as Jules Engel who began his animation career working on Disneys Fantasia and UPA cartoons refers to experimental animation as fine art animation because he sees his way of working as more of an art form rather than a commercialized commodity. There were animators that wanted commercial success for the fact that they wanted animation to be seen by everyone. Stuart Blacktons trick film, The Haunted Hotel further enhanced the view that the animated short mig ht become more commercially viable. Walt Disney was the man who broke away from experimental animation and brought a new era of animated film into the commercial limelight. Disney was the first to produce an animated feature-length film called Snow White. Critics however dubbed the project Disneys Folly and were certain that the project would destroy the Disney Studio. Walt used the Silly Symphonies as a platform for experiments in realistic human animation, distinctive character animation, special effects, and the use of specialized processes and apparatus such as the multiplane camera. Walts drive to perfect the art of animation was endless. Technicolor was introduced to animation during the production of his Silly Symphonies Cartoon Features. Walt Disney held the patent for Technicolor for two years, allowing him to make the only colour cartoons. This further held his grip on the animation industry at the time. Disney played an active role in behind the scenes in World War II. He was asked to create training and ins tructional films for the military, home-front morale-boosting shorts such as Der Fuehrers Face and the feature film Victory Through Air Power in 1943. It is clear that in the post-war period in America, Disney started to integrate himself into the world of politics. Disney was the founding member of the anti-communist Motion Picture Alliance for the Preservation of American Ideals. However Disney was not an aggressive person and kept very reserved    in 1947, during the early years of the Cold War. Disney testified before the House Un-American Activities Committee (HUAC), where he branded Herbert Sorrell, David Hilberman and William Pomerance, former animators and labor union organizers, as Communist agitators. This was the start of Disney becoming a global brand and ultimately being boosted into the commercial spotlight. The development of Disney Land and Disney World soon rocketed Disneys success; these amusement parks especially in their early stages were Disneys personal proje cts. A pitch kit which was prepared for visitors to read when they enter through an entrance describes Disneyland in detail. The idea of Disneyland is a simple one. It will be a place for people to find happiness and knowledge. It will be a place for parents and children to share pleasant times in one anothers company, a place for teacher and pupils to discover greater ways of nostalgia of days gone by, and the younger generation can savor the challenge of the future. Here will be the wonders of nature and man for all to see and understand. This description of Disneyland also applies to everything that Disney represents and this is how his animation has skyrocketed into the mainstream by the fact that it is so universally appealing to all races and cultures. Pixar is an animation company that focuses on using computer generated imagery in their films. Pixar has gone from strength to strength because of their use of likable characters, engaging stories and visual aesthetics. You could compare Pixars recent success with how Disney first started. In the early 90s computer graphics, especially in commercial work was primarily used to create effects such as flying logos and morphing. Pixar settled into a niche by using computer animation to create character animation which very few studios at the time were doing. Most of the animators who started in Pixar used to work at Disney and in the spring of 1991, Pixar and Disney signed a co-production agreement for three pictures. So going back full circle, Disney was still at the forefront of the next revolution in animation. Toy Story was the first Disney/ Pixar film to be made and was released on November 22nd 1995. It became a phenomenon and ended up as the top grossing film of the year, as well as one of the best reviewed. Toy story was the first feature film to be entirely made using CGI which made people realize that using computers to create animation was a viable way of working. Soon after this revolution in computer animation, we soon start to see popular live action directors such as Steven Spielberg and James Cameron using this new medium in their films to create special effects. Working with this technology is cheaper than the old fashioned ways of working such as creating elaborate sets or real life explosions. CGI allows film makers to create the unimaginable and impossible because the only limitations of what can be achieved rests within our own imaginations. Moreover this allows certain films to have that wow factor that cinema audiences crave in a film. As technology has moved on many amateur film makers can also work with CGI because of affordable animation and compositing software, furthermore pushing the boundaries and the potential of what can be achieved with this relatively new medium. Traditional ways of working such as using animation cels and ink in an animated film have been shunned out in favour of CGI graphics. However many daytime cartoons such as Spongebob square pants are still made using these methods. Cartoons in the Golden Age of Hollywood animation were normally created in-house whereas nowadays cel animation is shipped off overseas to places such as Korea because they can be produced more cheaply. This then strips the amount of artistic talent and personalisation of the cartoon because of the mass production side of things. In the 1950s animators such as Tex Avery made cartoons to make people laugh, his mentality towards his cartoons was to think in gags and hold no restrictions to his drawings. Therefore the cartoons became a lot more personal. From watching some of Tex Averys animated cartoons we cant help but notice the amount of limited animation such as the holding of certain frames and gags. However this was a common occurrence from animations i n that time period. Blitz Wolf is an animation based upon Adolf Hitler; it is a brilliant piece of animation as well as a wonderful example of propaganda in wartime. In the short the wolfs car features a logo Der fewer (der better) brilliant in its simplicity. When the wolf steps outside with a leering face he watches the audience and shows a sign saying Go ahead and hiss, who cares a very good representation of Hitlers insolence before the war when he made some despicable acts that he didnt care were going to affect his international reputation. Tex a has a non-realist approach to animation because his cartoons encouraged animators to stretch the boundaries of the medium and do things in a cartoon that would not be possible in the world of live-action film. For example a scene in Dumb Hounded shows the wolf running down a flight of stairs at an impossible speed then enters a car before travelling around the world to get away from Droopy. Also in The Early Bird Dood It there is a sc ene where the chicken is chasing the worm with a wooden bat, soon after the chicken is staring a cat in the face and his wooden bat turns all floppy. A quoted line from Averys cartoons was, In a cartoon you can do anything, and his cartoons repeatedly did just that. In 2009 The Princess and the Frog was released by Disney. This film used traditional 2D hand drawn techniques mixed with digital drawn aspects such as the backgrounds and effects. This film showed that traditional 2D animation can still be achieved and still capture the attention and imagination of a modern audience, the film with its universal rating appealed to all ages. Chapter 3: Is Animation Seen As A Modernist Or Post-Modernist Art Form? Modernism and Post-modernism are two subjects that are constantly being discussed in the art world. For me to answer the title question thoroughly and informatively I must first address the main factors of this chapter, Modernism and Post-modernism. I will be discussing the history of Modernism, how the movement started and how it affected the art world. This will allow me to understand how to tackle the question for this chapter. I will be also be discussing the same points in relation to Post-modernism. After looking into these movements I will conclude my findings and incorporate my own personal opinions and thoughts about what I have found in my research. Looking into the history of animation will also be beneficial because this art form is an integral part of this chapter and dissertation. After gaining a better understanding of these movements I will be able to answer the question is animation is a modernist or post-modernist art form? Modern as a historical art term, refers to a period in history that dates roughly from the 1860s through the 1970s and is used to describe the style and the ideology of art produced during that era. The term Modernism is also used to refer to the art of the modern period and philosophy of Modern Art. The Modernist movement first emerged in 1862 and 1863 when the painting Le dà ©jeuner sur lherbe, which is French for The Lunch On The Grass; was created by Édouard Manet. This particular piece of art sparked controversy even to this day because it displayed nude women around fully clothed men, which was seen as indecent behaviour and a taboo subject in the time it was painted. Manet deliberately chose a large canvas size which were normally reserved for grander subjects therefore he broke the academic traditions of the time. But the question can be posed: Why did Manet paint Le Dà ©jeuner sur lherbe? My answer would be because he was interested in exploring new subject matter, new painting ideologies, and new ways of thinking. Therefore he rebelled against the conventional subject matters that were common in this period of history and adopted the new found modernist approach. The Modernist movement can be seen as a socially progressive trend of thought that encouraged human beings to create improve upon and redefine their environment with the help of experimentation, technology and an open mind with no boundaries. Avant-garde was the term given rather than Modernism at first, this term remained to describe the movements that identify themselves as attempting to overthrow or reinvent some aspect of tradition. The English dictionary refers the term Avant-garde as writers, artists, filmmakers, or musicians whose work is innovative, experimental, or unconventional and is considered as a group. I have included this dictionary reference to see if the term is described in the same way as the art world interprets it, because in some instances the true meaning and no tion of the word can be misrepresented. By 1930, Modernism had entered popular culture which sparked an influx in artistic movements. Abstract Expressionism, Minimalism, Dadaism and Pop art are a few movements that appeared throughout the 20th century. As Modernism started to flourish through the consumer/capitalist societies it soon entered mainstream popular culture which was the main factor the movement rejected in the first place. Therefore the movement had become so institutionalised that it was seen as post avant-garde and soon adopted the term Post-Modern. However for others such as art critic Robert Hughes they refer to post-modernism as being an extension of modernism. The postmodernist movement began in America around the 1960s-1970s and then it spread to Europe and the rest of the world, this movement is still present today. Post-modernism is used in a confusing variety of ways. For some it means anti-modern; for others it means the revision of modernist ideologies. The term Post signifies a historical sequencing in which a previous state of affairs is outdated, therefore functioning in the first instance as a period defining term. Postmodernism in its simple form means after the modernist movement while the term modern refers to something related with the present. What people first thought was modern and modernistic, others were dissatisfied with what they saw because of the way Modernism has evolved therefore leading to a Postmodernist movement. Post-modernism was primarily a reaction to Modernism because the Modernist movement was seen as fraudulent and contradicting. This movement began with architecture, as a reactionary movement against the so-called blandness and conventionalisation present in the modernist movement. Architects werent interested in creating perfect buildings that conformed to certain social rules. Instead architects such as Michael Graves took it upon themselves to favour personal preferences over popular culture therefore creating a post modernist structure. Postmodernists felt the buildings failed to meet the human need for comfort both for body and for the eye. Modernism did not account for the desire for beauty. The post-modern philosophy is distinguished by factors such as criticism, scepticism and subjectivity. In my opinion from looking at my research I would class post-modernism as having the same ideologies as the modernist movement as in wanting to break away from the conventional and mainstream. Moreover post-modernism was breaking away from the now mainstream movement Modernism therefore creating a new movement altogether, Post-modernism. Animation has been around since the turn of the 20th century when filmmakers such as J. Stuart Blackton made the first animated film called Humorous phases of funny faces. Blackton drew comical faces on a blackboard and filmed them. He would stop the film, erase one face to draw another, and then film the newly drawn face. The stop-motion provided an animated effect as the facial expressions changed before the viewers eyes. Humorous Phases of Funny Faces is regularly cited as the first true animated film, and Blackton is considered the first true animator. Animation is different from live action film in the sense that there are limitless amounts of possibilities that can be achieved because the only real boundary is the artists imagination rather than physical restraints. In the early 1900s animation was dominated by Disney productions such as Snow White, which marked the golden age of Hollywood animation. Through the 1950s animation became a lot more stylised and broke away from the mainstream Disney style. The animations in this period incorporated modern art aesthetics such as in the backgrounds and general stylisation of characters. As technology evolved the use of computers started to play a part in animation. For example artists were now able to reproduce shapes, characters and scenery digitally without the need for pencils and paper, therefore allowing the animator to watch their progression in real time instead of having to film each frame. After researching it could be said that early animation such as traditional hand drawn and stop motion are a modernist art form and that the incorporation of computers and 3D animation nowadays can be seen as being post-modern because it has broken away from the traditional ways of working. So is animation a modern or post-modern art form? From my research into both movements I can positively say that animation is a post-modernist art form. I have come to this conclusion based on the fact that cinema is a modernist art form and animation was developed as a new form of expression and creative output that broke away from the mainstream which was cinema at the time. By writing this chapter it has given me a better understanding of what art movements occurred during certain periods and the impact they created in society. My next question would be what movement is going to emerge next after post-modernism and what kind of creativity and ways of thinking are go

Come and Go Back :: essays research papers

The book I read is called â€Å"Come and Go Back†. This book was written by an anthropologist by the name of Joan Abelove whom lived in a village like the one in the book to study there culture. She wrote this book to explain to people through a story how there way of life is and some things which she experienced when she was there. This book is under fiction and is referred to as realistic. This book is based on events that took place in the 1970’s. This book was printed in 1998 in the United States of America; it is a Los Angeles time’s book prize finalist.   Ã‚  Ã‚  Ã‚  Ã‚  Alicia lives in the Brazilian Rainforest. Her people are visited by two anthropologists named Joanna and Margarita. These women are called old ladies by Alicia's people even though they are only in their late twenties. They are asked to stay for a year. During the visit Alicia and the anthropologists come to respect each other's cultures, which are very different. Her people believe that if you have something you must share it with everyone, and they don't believe in saving anything for another time.   Ã‚  Ã‚  Ã‚  Ã‚  The tribe gets upset when the anthropologists want to save some of the liquor they have for another occasion. They feel that the supplies the women have brought should be community property. At the beginning of the story Alicia doesn't want the newcomers to stay, but by the end of the story they have become good friends and truly regret the end of the visit. Also part of the story, Alicia is believed to be mature enough to have children of her own. Although she is still a young teenager. When Carmella, a young trader's wife in Alicia’s tribe, fears that her husband will kill their baby, Alicia volunteers to take care of the baby on her own. None of her people think that the baby is worth much, and they don't think it will survive since it is not fat. They call the baby a Nawa, but Alicia learns to love the baby she has agreed to care for.   Ã‚  Ã‚  Ã‚  Ã‚  In this story the author tried to educate people on how this tribe had different values, beliefs, customs and well just a totally diverse way of living altogether, but the simple fact that even though there way of life was different from us we still shared similar problems and feelings.

Lord of the Flies: Human Nature :: Character Analysis

I believe that human nature shows what type of person we are. Human nature guides us as individuals to do the right thing. We learn by our surroundings and it plays on our society and the nature of us as humans. This question had me ponder the question whether or not humans can be born evil? The book just made me think of all the times I have grown up and seen some bad incidents that are part of life. Someone close to me has made an abundance of bad choices in his life and when I was younger, he was the one I always looked up to as a â€Å"brotherly figure† but also as a best friend. He was the one that saved my life when I was younger. He was also somebody that I could trust with my life, but then I ask myself how he became such a bad person because he started hanging with the wrong crowd. He ended up pushing me aside to be with his so-called friends at the time. I think his true nature was starting to show through. He was not the brotherly figure I used to know when I was just a child; he had changed from a brotherly figure I used to know and have so much admiration for, but now he is someone that I do not like being around. I wonder if environmental surroundings had shaped both him and me, and to what extent this influence had on the both of us. He and I had changed very much since we were both children, now he is getting ready to turn 25 and I am 19. I believe our human nature makes us the type of people we are today. In Lord of the Flies, I realized no matter how good of person you are your true nature always comes through. For example, in the story you see how evil Roger can be while on the other side you see how good Ralph is. I think that is where I saw the symbolism between all the characters and each character has their own characteristics from our true human nature. I have seen that each character in the story had their shown their true nature. Roger’s character in the story is someone that has a true nature of being evil, but if you look at Simon’s point of view, you would see how he represented the good side of human nature.

Bedouins

The term ‘Bedu'in the Arabic language refers to one who lives out in the open, in the desert. The Arabic word ‘Badawiyin'is a generic name for a desert-dweller and the English word ‘Bedouin’ is the derived from this. In ancient times, most people settled near rivers but the Bedouin people  preferred to live in the open desert. Bedouins mainly live in the Arabian and Syrian deserts, the Sinai Peninsula of Egypt and the Sahara Desert of North Africa.There are Bedouin communities in many countries, including Egypt, Syria, Israel, Jordan, Saudi Arabia, Yemen and Iraq in the Middle East and Morocco, Sudan, Algeria, Tunisia and Libya in North Africa. Altogether, the Bedouin population numbers about 4 million. The Bedouins are seen as Arab culture’s purest representatives and the Bedouins continue to be hailed by other Arabs as â€Å"ideal† Arabs, especially because of their rich oral poetic tradition, their herding lifestyle and their traditional co de of honour.The Egyptians refer to the Bedouins as ‘Arab', but Bedouins are distinct from other Arab’s because of their extensive kinship networks, which provide them with community support and the basic necessities for survival. Such networks have traditionally served to ensure safety of families and to protect their property. The term ‘A'raab' has been synonymous with the  term ‘nomad' since the beginning of Islam. The Bedouins are recognized by their (nomadic) lifestyles, special language, social structures and culture. Only few Bedouins live as their forefathers did in camel- and goat hair tents, raising livestock, hunting and raiding.Their numbers are decreasing and nowadays there are approx. only 5% of Bedouins still live as pastoral nomads in all of the Middle East. Some Bedouins of Sinai are still half-nomads. Bedouins have different facial features by which they can be distinguished from other Egyptians and also they generally dress differently. The Bedouin men wear long ‘djellabaya' and a ‘smagg' (red white draped headcover) or ‘aymemma' (white headcover) or a white small headdress, sometimes held in place by an ‘agall' (a black cord).The Bedouin women usually wear brightly coloured long dresses but when they go outside they dress in an ‘abaya' (a thin, long black coat sometimes covered with shiny embroidery) and they will always cover their head and hair when they leave their house  with a  Ã¢â‚¬Ëœtarha' (a black, thin  shawl). Traditionally a woman's face was hidden behind a highly decorated ‘burqa'ah' but this is now only seen with the older generations. The younger generations cover their face simply with their ‘tarha' (shawl).The Bedouins have a rich culture and their own Arabic ‘Bedawi’ language, which has different dialects depending on the area where they live. In former days they emphasised on the strong belief in its tribal superiority, in return to the tribal security – the support to survive in a hostile environment. ‘The Bedouin' is aristocratic and they tend to perceive the Arabian nation as the noblest of all nations, purity of blood, way of life and above all noble ancestry. They often trace their lineage back to the times of the Prophet Muhammad (PBUH) and beyond.The first converts to Islam came from the Bedouin tribes and therefore (Sunni) Islam is embedded and deeply rooted in the Bedouin culture. Prayer is an integral part of Bedouin life. As there are no formal mosques in the desert, they pray were they are, facing the Ka’aba in Mecca and performing the ritual washing, preferably with water but if not available they ‘wash’ with sand instead. ‘The Bedouin' is generally open-minded and interested in what is going on in his close and far surroundings since this kind of knowledge has always been a vital tool of survival.At the same time, the Bedouins are quite suspicious and alert keep ing a low profile about their personal background. Modern Arab states have a strong tendency to regulate their Nomadic lifestyle and modern society has made the traditional Bedouin lifestyle less attractive, since it is demanding and often dangerous, so many Bedouins have settled in urban areas and continue to do so. The Bedouin people are faced with challenges in their lifestyle, as their traditional Islamic, tribal culture has begun to mix with western practices.Men are more likely to adjust and interact with the modern cultures, but women are bound by honour and tradition to stay within the family dwelling and therefore lack opportunity for advancement. Today unemployment amongst Bedouin people is very high. Only few obtain a high school degree and even fewer graduate from college. However, for most people the word Bedouin still conjures up a much richer and more mysterious and romantic  image.. THE ORGANIZATION OF BEDOUINS SOCIETY Until today the ‘clan organization' is t he basis of the Bedouin society.Every ‘Bayt' (tent) represents a family and the connected families form a clan (‘Aela'). All  members of the same clan consider each other as of one blood (‘Dam') and the spirit of the clan demands unconditional loyalty to fellow clansmen. A number of kindred clans form a tribe (‘Qabilah') with its own land. The clan is represented by an elder or the eldest, choosen by its members, who is powerful but has no absolute authority. In major affairs he must consult with the tribal leader: The ‘Shaykh'.In most of the Bedouin tribes, the leaders (Shaykhs) are picked for their wisdom and judgment. In others, such as the Allegat and the small Hamada tribe, leadership passes from father to eldest son. You could say, that the Bedouin is a born democrat who meets his ‘Shaykh' with respect but on equal base†¦ The ‘Quabilah'  is a union of extended families  and is the major family unit. It is a kinship structure of several generations that encompasses a wide network of blood relations descended through the male line.In the past, the ‘Quabilah'  provided its members with economic security and protection (land, labour and water are tribal property), but today with the loss of the Bedouin’s traditional livelihoods, the ‘Quabilah' is less able to fulfil all these functions but it still serves as a major source of identity,  psycho-social support and social status. The ‘Bayt' and the ‘Aela' are the basic social and economic unit of the Bedouin society, but the leaders of these units generally form a council of elders, directed by the head of the ‘Quabilah'.The smallest family unit of parents and children and the tribe are closely bound by extensive mutual commitments and obligations, such as ‘Hamula', the bringing of gifts. This social network of the Bedouins is underpinned and maintained by a deeply ingrained system of values and expectations that govern the behaviour and the relationships of the members. In practice, age, religious piety, and personal characteristics such as generosity and hospitality, set some men above others in the organization of the group. The ‘Shaykh' traditionally exercises authority over the allocation of pasture and the arbitration of disputes.His position is usually derived from his own astute reading of the majority opinion. He generally has no power to enforce a decision and therefore has to rely on his moral authority and the concurrence of the community with his point of view. In a  sense, the Bedouins form a number of ‘nations. ‘ That is, groups of families are united by common ancestry and by shared territorial allegiance. The exploitation and defence of their common territorial area is effected through a universally accepted system of leadership.For centuries, these â€Å"nations† of Bedouin tribes and their leaders operated in the ecologically and politically shi fting landscapes of the Middle East and North Africa. Only in the course of the twentieth century has their traditional flexibility and mobility been checked. Factors foreign to their universe have damaged the territorial mainstay of their societies, necessitating the adoption of new bases of identification with their ‘nations' and its leaders. THE KEY VALUES The key values of the Bedouin society are harmony, kinship solidarity, honour  and hierarchy.The Bedouins emphasize cooperation, adaption, accommodation and family cohesion. Individuals are expected to show loyalty and responsibility to the collective, to place its good above their own and to follow the rules and commands of those above them in hierarchy. The Bedouins have a collective attitude to just about everything: work, money, family, feuds; you name it and the Bedouins will take a collective position because of their highly developed sense of community and tribal loyalties. Family comes first, second and third; f or them blood is definitely thicker than water.Their strict code of honour dictates proper behaviour for all members, men, women (see:   MARRIAGE AND FAMILY   ) and  children and to live according to its (many) rules, like a healthy person always stands up  to greet an older person, they  always greet all  starting with the person on their right  hand and moving on against the hands of the clock to the rest, they always start serving the person on their right hand first  (even if this is a child) and then the rest moving against the hands of the clock, etc. Breaking any of these rules means  real trouble.The (semi)nomadic lifestyle  is demanding and that's why the  children are expected to assume a considerable amount of responsibility in order to help their families survive. Although modernization has changed their lifestyle somewhat, emphasis is placed on teaching children to carry on traditional ways of life and the advancement of modern technology is so far not considered important to children’s education. ‘The' Bedouin people are known to be very polite and honest. They prefer not to say bad things or be the bearer of bad news. MARRIAGE Marriage for Bedouins has both religious and social significance.From  an  Islamic perspective, marriage legalizes sexual relations and provides the framework for procreation. From a social perspective, it brings together not only the bride and groom but also their families. Women  are protected in the Bedouin code of honour. A man who is not closely related to a woman is not allowed to touch her in any way, not even so much as to brush his fingers against hers while handing her something. To do so is to dishonour her. Likewise, in some tribes, if a woman brings dishonour to herself, she shames her family because honour is held not by individuals but by the whole family.The loss of a woman's honour, her ‘ird', is extremely serious amongst the Bedouins. Bedouin men and women en joy the freedom of choosing their partner. Nevertheless,parents can put sufficient pressure on their children to arrange their marriage. If there is no father to speak for the girl/woman, a brother or other male relative will speak for her. If a male from the family doesn’t agree with the choice of a spouse for his daughter, sister or even cousin, he is able to stop the wedding according to Bedouin Law.There is an engagement period for about a year or more, during which the Bedouin boy/man can visit the girl/woman at her family (and most rarely they will be alone) where they can talk, share views and expectations and get to know each other. If the engagement  does not work out, the ending of the engagement should be done in a way, that there is no shame or blemish on the other (family). Therefore pressure from parents or family should be handled very careful and tactful. BEDOUIN FAMILY he three-generation extended family is the ideal domestic unit.Although this group, avera ging between nine and eleven persons, may sleep in  more than one tent or in more than one house, its meals are generally taken together. The newly formed nuclear family of husband and wife tends to remain with the larger domestic unit until it has sufficient manpower and a large enough income (herd) to survive on its own. On occasion, a combination of brothers or patrilineal cousins will join forces to form a single domestic unit. Children and infants are raised by the extended family unit.Parents, older siblings, grandparents, aunts, uncles, and cousins all take part in the rearing of the young. By the age of 6 or 7, the child begins to take on simple household tasks and soon thereafter becomes a full working member of the family. Adolescence is hardly recognized; by the early teens, at the age of 16 or 17, the individual is accepted as a full  member of Bedouin society. The Bedouins are patrilineal. Their names consist of a personal name, the father's name,  the agnatic gra ndfather's name and the great grandfather's name.Women retain their name and father's family name unchanged  after marriage. There are distinctive terms for kin on the mother's side and kin on the father's side. All terms indicate the sex of the person designated. The smallest residential unit (‘Bayt') is named after its senior male resident. However, unlike settled peoples,  most Bedouins are also members of larger patrilineal descent groups which are linked by agnation to form even larger lineages and sometimes even tribal confederations. RELIGION AND TRADITIONSThe Bedouins (and Muslims in general) variously believe in ‘Jinn' (the presence of spirits), some playful and others malevolent, that interfere in the life of humans. ‘Hasset' (the envious, evil  eye) is also very real to the Bedouins and children are believed to be particularly vulnerable. For this reason, they often had protective amulets attached to their clothing or hung around their necks. In Is lam the existence of ogresses and monstrous super naturals is postulated, known as ‘Maleika Al Ard' (Kings of the Earth) and Bedouins believe they are sometimes met by lone travellers in the desert.There is no formal clergy in Islam and no centre of ‘priests'. Every Muslim has its own direct relationship with Allah. Bedouin societies have no formal religious specialists. They traditionally arrange for religious specialists, called ‘Shaykh' or ‘Sjeikh', from adjacent settled regions to spend several months a year with them to teach the young to read the Qur’an. A rural or settled religious specialist that Bedouins seek out for curative and preventative measures is called a ‘Gatib'. This is not the same as the ‘Hakim', which is a Bedouin doctor/healer is, who specializes in herbal and traditional healing. ) In addition many Bedouins tend to have ceremonies and rituals including elaborate celebrations of weddings, ritual naming of newborn infa nts and the circumcision of children (boys universally, girls frequently but this is less common nowadays because in the mosque is preached that this is in contradiction with the teachings of the holy Qur'an). According to Islam  Bedouins ritually slaughter a goat or a sheep when a child is born.Bedouins call this ‘Foo-ela' and their family is invited to eat the prepared meat together. Bedouins of southern Sinai who are influenced by Sufism (Islamic mysticism) also celebrate the Prophet's birthday and carry out ‘pilgrimages' to the tombs of (local) saints. They only  worship Allah and these journey's are more important to consolidate the ties to the tribe and the tombs serve as a meeting place. Death and traditions Islamic tradition dictates the practices associated with death. The body is buried as soon as possible and always within 24 hours.Among some Bedouin groups, an effort is made to bury the dead in one place (‘Maghebr'), although often it is impossible to reach it within the strict time limit imposed by Islamic practices. Funeral rites are very simple and Bedouins mark their graves with exeptional simplicity, placing an ordinary stone (or unmarked board) at the head of the grave, where family regularly place a fresh leaf of a palm tree. When they visit the graves, they take off their shoes and say a prayer, after which they sit around the graves and eat fruit.Children playing around the cemetery always get a (sweet) treat from the visitors. Healing HOT SAND BATH They put their selves in the sand when theyfeel pain in their bones or the whole body, to let the sand lick the pain and bad fluids out of the body CAMEL MILK The Bedouins take camel as their friend. They have Camel Milk to cure diseases like Hepatitis C, stomach pain, sexual disability, digestion and immunresistancy. Half il bar are herbs from the desert cleaning the kidneys Handal is a kind of fruit from the desert we put for some time under your heel. It helps against r heumatism.