FIR Filter Design Free Essays

The goal of this undertaking is to utilize three diverse plan strategies to structure a low-pass channel that meets particulars given, and afterward look at these three changed techniques through various boundaries. In this venture, seven channels ought to be planned utilizing Matlab. Also, we think about them on most pessimistic scenario increase, biggest tap weight coefficient, maximal passband and stopband blunder, size recurrence reaction, drive reaction, bunch deferral and zeros/shafts area. We will compose a custom exposition test on FIR Filter Design or then again any comparable subject just for you Request Now At long last, utilize these channels to do separating, and afterward contrast their reactions with the anticipated one. Conversation of Results: Section 1: Window Method (a) Use fir1 capacity to blend a FIR that meets details utilizing a train unit window. Most exceedingly awful put on = 1.8372 Largest tap weight coefficient = 0.3694 Maximal passband blunder = 0.1678 Maximal stopband mistake = 0.0795 (b) Use Hann window to blend a FIR that meets details. Most exceedingly awful put on = 1.4154 Largest tap weight coefficient = 0.3496 Maximal passband blunder = 0.0052 Maximal stopband mistake = 0.2385 **Filter #1 is the unwindowed plan, and Filter #2 is the windowed structure. From the examination above, we can see that the unwindowed configuration has an increasingly basic passband and stopband edge, yet the windowed one has a littler maximal passband blunder as we anticipated. Likewise, the windowed one has a bigger weakening on stopband than the unwindowed one. The gathering defer reactions of two structures are the equivalent. (c) Use Kaiser window to integrate a FIR that meets determinations Most noticeably terrible put on = 1.6900 Largest tap weight coefficient = 0.3500 N = 21 (which is in 20 in matlab) Maximal passband blunder = 0.0706 Maximal stopband mistake = 0.0852 ** Filter #1 is the unwindowed plan, and Filter #2 is the kaiser structure. From the correlation above, we can see that the two plans have basic passband and stopband edges, however the kaiser one has a littler maximal passband blunder as we anticipated. Additionally, the kaiser one has a littler lessening on stopband contrast and the unwindowed one. The gathering defer reactions of two plans are unique, the Kaiser one just has twentieth request, so the gathering delay is 10, not 11 as the unwindowed one. (d)The zeros of the three windowed plans ** Filter #1 is the â€Å"boxcar† plan, and Filter #2 is the Hann configuration, Filter #3 is the Kaiser structure. From figure above, we can see that Hann configuration has a zero a long way from unit circle, which is relating to the more slow lessening contrasted with the other two structures. The zeros of â€Å"boxcar† configuration are like the Kaiser structure. Section 2: LMS Method (a) Using Matlab’s firls capacity to meet the first structure determination. Most exceedingly terrible put on = 1.5990 Largest tap weight coefficient = 0.3477 Maximal passband mistake = 0.0403 Maximal stopband blunder = 0.1137 ** Filter #1 is the 2(a) structure, and Filter #2 is the â€Å"boxcar† plan. From the examination above, we can see that the â€Å"boxcar† configuration has a progressively basic passband and stopband edge, however the LMS one has a littler maximal passband blunder as we anticipated. Likewise, the LMS one has a bigger lessening on stopband than the â€Å"boxcar† one. The gathering postpone reactions of two structures are the equivalent. (b) Using Matlab’s fircls1 capacity to meet the first structure detail. Most noticeably terrible put on = 1.6771 Largest tap weight coefficient = 0.3464 Maximal passband mistake = 0.0516 Maximal stopband blunder = 0.0782 ** Filter #1 is the 2(a) structure, and Filter #2 is the 2(b) plan. From the correlation above, we can see that the 2(b) plan has a progressively basic passband and stopband edge, yet the 2(a) one has a littler maximal passband mistake. Likewise, the 2(a) one has a bigger lessening on stopband than the 2(b) one. The gathering postpone reactions of two structures are the equivalent. (c)The zeros of the two LMS structures ** Filter #1 is the 2(a) structure, and Filter #2 is the 2(b) plan. From figure above, we can see that 2(b) plan has a zero a long way from unit circle, which is relating to the more slow weakening contrasted with the other structure. The zeros around the unit circle are like one another. Section 3: Equiripple Method (a) Using Matlab’s firgr capacity to meet the first plan particular (uniform blunder weight) Most exceedingly terrible put on = 1.6646 Largest tap weight coefficient = 0.3500 Maximal passband mistake = 0.0538 Maximal stopband blunder = 0.0538 ** Filter #1 is the 3(a) structure, and Filter #2 is the â€Å"boxcar† plan. From the examination above, we can see that the â€Å"boxcar† configuration has an increasingly basic passband and stopband edge, however the 3(a) one has a littler maximal passband blunder. Likewise, the â€Å"boxcar† one has a bigger constriction on stopband than the 3(a) one. The gathering postpone reactions of two plans are the equivalent. (b) Using Matlab’s firpm capacity to meet the first plan detail Most exceedingly awful put on = 1.6639 Largest tap weight coefficient = 0.3476 Maximal passband blunder = 0.0638 Maximal stopband mistake = 0.0594 ** Filter #1 is the 3(a) structure, and Filter #2 is the 3(b) plan. From the examination above, we can see that the 3(b) plan has an increasingly basic passband and stopband edge. Furthermore, the stopband mistake is 0.0488 (which is predictable with 0.0538*(1-20%)=0.04304), the passband blunder is 0.0639 (which is reliable with 0.0538/(1-20%)=0.06725). The gathering postpone reactions of two structures are the equivalent. (c) The zeros of the two equiripple structures ** Filter #1 is the 3(a) structure, and Filter #2 is the 3(b) plan. From figure above, we can see that 3(a) structure has a zero a long way from unit circle, which is relating to the more slow constriction contrasted with the other plan (practically no weakening on the figure demonstrated ). There is just one zero remains outside the unit hover for 3(b) structure, which is the base stage plan. Section 4: Testing (a)Table the highlights for the 7 planned FIRs: Highlights Channel #1 Channel #2 Channel #3 Channel #4 Channel #5 Channel #6 Channel #7 Most extreme increase 1.8372 1.4154 1.6900 1.5990 1.6771 1.6646 1.6639 Most extreme passband direct 0.1678 0.0052 0.0706 0.0403 0.0516 0.0538 0.0638 Most extreme passband error(dB) - 15.5052 - 45.7568 - 23.0266 - 27.8855 - 25.7472 - 25.3838 - 23.9007 Most extreme stopband direct 0.0795 0.2385 0.0852 0.1137 0.0782 0.0538 0.0594 Most extreme stopband error(dB) - 21.9886 - 12.4495 - 21.3913 - 18.8858 - 22.1339 - 25.3838 - 24.5274 Gathering delay 11 11 10 11 11 11 11 Biggest tap weight coefficient 0.3694 0.3496 0.3500 0.3477 0.3464 0.3500 0.3476 (b) From the figure followed, we can make sense of that the gathering delay is 22-11=11 examples paying little mind to the info recurrence. (c) Compare the first, mirror, and supplement FIR’s motivation, size recurrence, and gathering defer reaction **Filter #1 is the first channel, Filter #2 is the mirror channel, and Filter #3 is the supplement channel. (d) Maximal yield is 1.8372, which equivalents to the most exceedingly terrible addition forecast of this channel. Section 5: Run-time Architecture (a) N = 8, M=1; N = 12, M=1; N = 16, M=1; Adjust mistake N=8 N=12 N=16 From the examination above, we can see unmistakably that as the estimation of N expands, the adjust mistake diminishes. Bits of exactness is N-1-1=N-2 (b) Choose two 12-piece address space which has memory process duration of 12 ns, so the most extreme run-time channel speed is 1/(12ns/cycle*16 bits) =1/(192 ns/channel cycle) =5.21*106 channel cycles/sec Section 6: Experimentation (a) The maximal of the yield time-arrangement is 1.1341. It is sensible, on the grounds that it is littler than the most pessimistic scenario gain which is 1.8372. So this concurs with the anticipated channel reaction. (b) The â€Å"chirp† work makes a short, shrill sound, and it sounds multiple times, which is comparing to the 4*fs. At the point when all the .wav documents are played, we can hear clearly that the recurrence of yield sound is a lot of lower than the recurrence of info sound, which implies that the channel filtered high-recurrence parts out. From the figure above, we can see the high-recurrence segments are gone, which concurs with the anticipated channel reaction, a low-pass channel. Outline: Through this undertaking, the point by point procedures of planning a channel by three distinct techniques have been comprehended. What's more, we find out about all the boundaries which would influence properties of the channels, and how to utilize various strategies to plan them and make best exchange off between one another. Instructions to refer to FIR Filter Design, Papers

Whos The Boss Essay Example For Students

Whos The Boss? Paper Word Count: 1267Whos The Boss?A average connection between a representative and a business exists on the affirmation of who is in control; a representative must acknowledge the business as an authority.A laborer should address the business with a specific measure of regard and polished methodology. A business ought to have control of their workers and clarify that they are the chief. In David Mamets play Glengarry Glen Ross, anyway the connection between the representatives and the business is incredibly atypical. There is no relationship to what is accepted to be the standard. The language Mamet utilizes in the play makes the particular relationship credible. The contending and disdain can be believed be the peruser. The workers in this specific office have overlooked who the supervisor is; they don't address him with any regard or poise. The business acknowledges the manner in which he is dealt with and doesn't persevere; he permits his workers to mistreat him. This office isn't the sort of work place where the supervisor has the final word; there are various occasions all through the play where the chief and his representatives really battle. The connection between one of the workers, Shelly Levene, and his manager, John Williamson, mirrors this unusual relationship. Williamson is the chief, or director of this specific part of a land organization, he does anyway have two supervisors, Mitch and Murray. The play starts with Williamson making a declaration in regards to the occupations of the entirety of the workers in the workplace. There is a challenge starting to see who could close the most arrangements. Whoever won would win a vehicle and whoever lost would be terminated. In the accompanying discussion among Williamson and Levene, the two are examining whom the great leads are going to. Levene has revealed to Williamson that without the great leads he won't have the option to close, wherein case, he will be terminated. Williamson has said that he needs to give the prompts the closers and that Levene has not been a closer. I get the discussion after numerous pages of contentions, Williamson consenting to Shellys pay off and right when Shelly is requesting two leads. WILLIAMSON. Im not certain I have two. LEVENE. I saw the board. Youve got fourWILLIAMSON. Ive got Roma. At that point Ive got MossLEVENE. Horse crap. They aint been in he office yet. Give em some firm. We have an arrangement or not? Eh? Two sits. The Des Plaines. Both of em, six and ten, you can do itsix and teneight and eleven, I dont care the slightest bit, you set em up? Okay? The two sits in Des Plaines. WILLIAMSON. Okay. LEVENE. Great. Presently were talking. (pause)WILLIAMSON. A hundred bucks. (pause)LEVENE. Presently? (delay) Now?WILLIAMSON. Presently. (delay) YesWhen?LEVENE. Ok, poo, John. (pause)WILLIAMSON. I wish I could. LEVENE. You screwing butt head. (delay) I havent got it. (stop) I havent got it, John. (delay) Ill compensation you tomorrow. (delay) Im coming in here with deals, Ill compensation you tomorrow. (delay) I havent got it, when I pay, the gasI return to the inn, Ill acquire it tomorrow (act 1, scene1, 13-14). This doesn't seem like a discussion someone would have with their chief. Discusses pay off from the worker to the business are being talked about in this discussion there are. This doesn't appear to fluster Williamson by any means. He continues saying no Levene despite everything keeps on pushing. Later in the discussion Levene says to Williamson Well, I need to reveal to you something, fella, wasnt long I could get the telephone, call Murray and Id have your activity. You realize that? Not very far in the past. For what? To no end. Mur, this new child consumes my butt. Shelly, hes out. Youre gone before Im again from lunch. I got him an excursion to Bermuda once.(act 1, scene 1, 14.) In an ordinary office setting Levene would have been terminated with the principal indication of lack of regard and foul language to the chief, nonetheless, here, he isn't rebuffed for his activity. .uaab652b9e46574f1f0846709897bb578 , .uaab652b9e46574f1f0846709897bb578 .postImageUrl , .uaab652b9e46574f1f0846709897bb578 .focused content territory { min-stature: 80px; position: relative; } .uaab652b9e46574f1f0846709897bb578 , .uaab652b9e46574f1f0846709897bb578:hover , .uaab652b9e46574f1f0846709897bb578:visited , .uaab652b9e46574f1f0846709897bb578:active { border:0!important; } .uaab652b9e46574f1f0846709897bb578 .clearfix:after { content: ; show: table; clear: both; } .uaab652b9e46574f1f0846709897bb578 { show: square; change: foundation shading 250ms; webkit-progress: foundation shading 250ms; width: 100%; darkness: 1; change: haziness 250ms; webkit-progress: obscurity 250ms; foundation shading: #95A5A6; } .uaab652b9e46574f1f0846709897bb578:active , .uaab652b9e46574f1f0846709897bb578:hover { mistiness: 1; progress: murkiness 250ms; webkit-change: murkiness 250ms; foundation shading: #2C3E50; } .uaab652b9e46574f1f0846709897bb578 .focused content region { width: 100%; position: rela tive; } .uaab652b9e46574f1f0846709897bb578 .ctaText { fringe base: 0 strong #fff; shading: #2980B9; text dimension: 16px; textual style weight: striking; edge: 0; cushioning: 0; content embellishment: underline; } .uaab652b9e46574f1f0846709897bb578 .postTitle { shading: #FFFFFF; text dimension: 16px; text style weight: 600; edge: 0; cushioning: 0; width: 100%; } .uaab652b9e46574f1f0846709897bb578 .ctaButton { foundation shading: #7F8C8D!important; shading: #2980B9; outskirt: none; fringe span: 3px; box-shadow: none; text dimension: 14px; textual style weight: intense; line-tallness: 26px; moz-outskirt sweep: 3px; content adjust: focus; content enrichment: none; content shadow: none; width: 80px; min-stature: 80px; foundation: url(https://artscolumbia.org/wp-content/modules/intelly-related-posts/resources/pictures/straightforward arrow.png)no-rehash; position: outright; right: 0; top: 0; } .uaab652b9e46574f1f0846709897bb578:hover .ctaButton { foundation shading: #34495E!important; } .uaab652b9e46574f1f0846709897bb578 .focused content { show: table; tallness: 80px; cushioning left: 18px; top: 0; } .uaab652b9e46574f1f0846709897bb578-content { show: table-cell; edge: 0; cushioning: 0; cushioning right: 108px; position: relative; vertical-adjust: center; width: 100%; } .uaab652b9e46574f1f0846709897bb578:after { content: ; show: square; clear: both; } READ: TheTechnological Advances in Space Exploration EssayIn Act 2 Levene really questions Williamsons business capacity. This next discussion between the two happens after a theft in the workplace and after Levene at long last finalizes a negotiation with an astounding client. Williamson. That if the deal sticks it will be a supernatural occurrence. Levene. For what reason should the deal not stick? Hello, screw you. That is the thing that Im saying. You have no clue about your activity. A keeps an eye on his activity and youre screwed at yours. You hear what Im saying to you? Your month's end board You cannot run an office. I dont care. You dont realize what it is, you dont have the sense, you dont have the balls. You at any point been on a sit? Ever? Has this cocksucker ever beenyou ever plunk down with a custWilliamson. I were you, Id quiet down, Shelly. Levene. OK? Okay? Or on the other hand you going to what, fire me?Williamson. Its certainly feasible. Levene. On an eighty-thousand dollar day? Furthermore, it aint even early afternoon (act 2, 45). In this discussion the two individuals are scrutinizing the others capacities. Ordinarily a supervisor would not scrutinize a deal as large as the one Levene made or on the off chance that he did he would in any event state it with some tolerability rather than the manner in which he did. A representative would not scrutinize the force his manager has; he ought to consistently realize that he could be terminated. The particular connection between the two men is somewhat due to what extent each man has been working at the workplace and because of the characters of the men. There are ordinarily when Levene raises to what extent he has been there and how Williamson wasnt there. Williamson is feeling forced by his frailties to act the manner in which he should, or the manner in which the previous manager did. He doesn't have the foggiest idea how to address Levene when he examines the past. Williamson is under the authority of Murray and Mitch; he needs to do what they instruct him to do. Levene doesnt concur with this and accepts that it is Williamson providing the requests and that if Williamson somehow happened to call up Mitch or Murray they would advise him to follow whatever Levene says. Williamson is a bashful man. He doesn't care for showdown. At whatever point Shelly or anybody started to shout at him he would simply leave. Shelly is a more established and to some degree frank man; he re alizes that Williamson is bashful and in this way talks the manner in which he does to him. Shelly is feeling the weight of the more youthful men playing his job as the best. The entirety of the pressure and weight in the workplace makes everybody be tense. I feel that Williamson is more understanding since he understands that Shellys work is being compromised. These weights and emotions cause Williamson and Levene to disdain one another. The language utilized by Mamet to depict the entirety of this truly causes the peruser to feel the pressure and strain in the workplace. The peruser can hear the contending and opposing this idea. The extraordinary language enables the peruser to comprehend the absence of control in the workplace just as the atypical conduct between a representative and manager. Works Cited1. Mamet, David. Glengarry Glen Ross. New York: Samuel French, Inc., 1982.

Tired of People Lying to You Here is Why They Are Doing It (and How to Stop them)

Tired of People Lying to You Here is Why They Are Doing It (and How to Stop them) We use lying for many reasons. For one, we use it to protect ourselves. Against what, is the question. Sometimes we protect ourselves against the feeling of shame, the experience of abuse or cruelty. We lie to protect ourselves, our close ones and our possessions. We lie to get our way and for attention. We are trying to maintain our image, hide our mistakes and failures. We lie for money, or resources. We lie on our taxes and for insurance, we cheat on our exams and embellish our skills at our jobs. We lie to our significant others during our arguments. We lie to save money or conserve our energy. Why do we lie so much? What does all that protection get us? If we do It so often, does that mean it works? WHY LIE IN GENERAL?It is a survival instinct. People are afraid that if they don’t lie they risk society turning against them rejection and isolation, losing what they have, or not gaining new things. They do not fear the consequences if they are found out, because they often woul dn’t suffer any consequences for pretending or being dishonest. That means they feel safe.  It is important to understand that liars are often mistaken for malicious when they are just insecure. And you need to respond with compassion, rather than vindictiveness. Compassion is the key to improving relationships, stained by dishonesty. Research has been conducted to study liars. Who lies, how often people lie, and why they lie. People were asked to keep a diary of all their conversations. Turns out, people lie sometimes out of habit. Regardless if there is anything to be gained or not. What is more interesting, some people are more often lied to than others. There could be something about you (in your face, in your responses, or in your image) that tempts people to lie to you more than they would to other people. It could be a bad thing or a good thing. You could be naïve. Or you could just be very honest and trusting. But it is crucial to understand that some people need to be mo re cautious of being lied to than others. WHY PEOPLE LIE TO YOU?1. You are high maintenance. Your high expectations make people lie to you in order to meet the high bar you are setting. You think highly of someone. And they want to stay close to you. But you give off the impression you are not just friends with anyone. You only expect them to show you their best side. You are so valuable, they cannot afford to disappoint you. When they do see faults in themselves, they dread telling you. So they lie. To maintain their image and your friendship. They come from a good place. 2. Your integrity.You have a high moral standard. Always doing the right thing, always taking the high way (regardless if there is less traffic on it or not.)You are doing a good thing. And you are being a good person. You show that with your actions, and your behavior. You don’t need to shout it from the rooftops. Or maybe you do. Or your parents do it for you. Or your friends do. The issue here is the psycholo gy of disappointment. When someone interacts with another â€" a person with high moral standards, they have no desire, in fact they dread having to admit to their own failures.Imagine a situation between siblings. The cliché of the favorite child. The ‘bad’ one will be unwilling to admit any sort of wrongdoing in order not to disappoint the parents, the relatives, or anyone else. They fear contributing to their unfavorable reputation. 3. You attract it.It is the principle of the key and the padlock. One type of people will always attract another. Liars find the perfect victims. The trusting ones. It is your attractiveness. It is not being physically attractive but encompassing a set of character traits that clicks with the personality of a liar. The liars admire you, and that drives them to try and impress you â€" to make you admire them. And they will lie to achieve that. 4. Your societal status.Do you have a high status? Are you in a position of power? Are you an employer. Or maybe you have some skills or position which affects other people’s life or their work?. Are you a teacher, where you get to grade your students? You have influence on their status at school, at home (as the favorite child), are you standing between someone and their dream college (your recommendation would be crucial)?Are you someone accomplished, whose opinion can make or break someone in society? If you have any sort of influence or control over others, expect to be lied to more often. You have something they desire, or worse, something they believe they are entitled to, then they will lie to you. Or they could just be trying to suck up. They will give you compliments. They will try to get you to admire them more than they deserve. They will try to become your friend. To enter your social circle. Maybe you can introduce them to someone else, who can change their lives for the better? Maybe you will see them as more favorable for promotion?5. Your scary personality.Most of the qualities that make other people to lie to are harmless. They work for your life for the best, and being lied to is just a side effect. That is not always the case. Sometimes it is completely your fault. If you are going through a tough moment and it feels like you are being lied to too often and that does not even begin to scratch the surface of all of your unfortunes, take a hard look at yourself. It could be something you are doing wrong. Fix that and the lying will go away, along with other things. Do you remember at school there was that one scary teacher you could not force yourself to talk to? Or that scary co-worker or… your boss? Are you that person to someone? Scary people come in many different forms. Bullies is one of them. The ‘boss’ (as opposed to the leader) is another one. But some people can’t help it. They intimidate people by their mere presence.And that makes it that much more mandatory for the scared to lie. ‘My dog ate my homework.’ ’Who, me? I wa sn’t late. I mean I was late, but there was such bad traffic.’ ’No, mom, I promise, I didn’t drop off college, no matter what dad said, I would never do that.’6. You are vulnerable.Depression, anxiety, being easily hurt? Maybe that’s not you. Maybe you are just going through a particularly difficult time. If your image is you are too fragile, and people know that, there will be situations where they will be quite reluctant to say to you something that you will not want to hear. They will be scared of your reaction and of the consequences your soul will face because of their big mouth. They think you cant handle it. The truth will break you. So they will tell you a lie. 7. Too much is at stake.Imagine you are the CEO, for example, of a big company. Your workers will act according to your behavior. They know that you don’t want to hear any facts that will constitute bad news about your company. Or it could be your ego. Say you are a beautiful model or an actress. Your co nfidence is a huge part of your career. Even if something is wrong, people around you will be willing to keep you in the dark in order to keep your energy high.8. Heritage.When a beloved one is sick in the family, parents protect their kids by embellishing the story. When the dog has to be put to sleep, they are ‘sending it away to a beautiful farm.’ When parents declare they dont talk about some things in the family, kids inherit this behavior when they grow up. Or even before that. They ‘act like the adults’. While it is totally understandable that they want to protect the kids from the pain, it is starting a vicious spiral. It reinforces the instinct to lie. And it manifests in other situations as well. HOW TO SPOT A LIAR?Now that you know a little bit more about why liars lie, you probably want to also know when they lie. A cross analysis of hundreds of research papers on lying tells us that people are not as good at spotting a liar as they often claim to be. They are on ly accurate at a little higher than 50% of the time. That means that whether you are using your priceless skills, or tossing a coin to tell, the result will be roughly the same. We do not happily admit to being lied to and not catching the liar, because it makes us feel foolish and incompetent. Here are several tips that will help you improve your chances:The liar will often make a pause or delay before answering when an immediate response would be expected. They experience a disconnect between behavior and words (e.g., shaking their head ‘NO’ while saying ‘Yes’)Shielding. Putting an object or their hand between themselves and the interlocutor. Clearing their throat before they speak. Face touching. During the moment of high anxiety, caused by the lie, the body will increase the amount of blood sent to the face. The instinct of touching the affected area acts out. Grooming or tidying. Fixing their tie, straightening their jacket, or reordering the pieces of paper standing in front of them. Psychology Today lets us in on the liars’ favorite things to say. The next section of the article is a brief overview of those clues. [Verbal cues do give off some information about the liar, please note relying on those completely would be a mistake. The best method to predict deception is to compare how they react against a known truth.]The following phrases, however, do indicate a heightened chance of deceit. Showing uncertainty“That’s about it.”The word “about” in this case is a qualifier, indicating the speaker is unwilling to share the entire story. Normally, they distance themselves from the lie for fear of social or legal consequences.Challenging you“You can’t prove that.”The word “prove” suggests there is an accusation imposed on the speaker, and they are in an unfavorable position. The honest will not normally use the word ‘proof’. They will not think in that direction. The evidence will not exist if a crime was not committed. Aski ng for logic“Why would I do that?”Honest people will deny the wrong doing immediately. They will typically just say, “No, I didn’t do that.” Deceptive people will feel they were caught off guard, and they need the extra time. Act offended“Are you accusing me?”First off, we have them answering a question with a question, which once again is a tactic, designed, to give them more time. Then, they would turn on the defensive. It is an overreaction, a counterattack, undertaken in order to mask the real emotions â€" of shame, of regret, of fear. All very strong emotions that would need just as strong of an accusation on the other end, to justify the tension one could feel in the accused. Getting amnesia“I don’t remember doing that.”Sudden lack of recent memory to cover the truth. First off, lacking a memory is the absence of something. You cannot have an absence of something that never existed. By saying you do not remember something, you are saying you used to remembe r it, but no longer do. If you never knew about the event, you would probably react another way. The second clue hides in the word ‘that’. ‘That’ normally means a specific set of actions. When you say, “I didn’t do that,” you normally know exactly the event you are accused of causing.  The perfect follow-up question should be, “What do you remember doing?” If someone is not lying, they remember what they were doing and will have no issues sharing that. Liars, on the other hand, will get confused. They will stutter, they will show the signs of coming up with a story. Those are just examples. A simple way to follow the same logic is to listen if the response fits the conversation. More often than not, you will hear something that sounds off if you are being lied to. Watch this fascinating video of Pamela Meyer telling you how to spot a liar.HOW TO REACT TO A LIE?If you are certain you are being lied to, you can react in one out of four ways:You can do nothing. Maybe you are not winning much from calling someone out. Maybe you are even doing the world a service if you play along to white lies. Use humor acknowledge the lie but give the liar a chance to admit without creating an awkward situation. Interrogate the defendant.  (asking lots of questions to get details can force the liar into admitting the dishonesty without you calling them out).Call them out. Best do it without damaging the self-esteem of the liar. Do it privately. And with respect. And understanding. However you react, make sure you allow the defendant to admit to their wrongdoing without harsh accusations. As we already discovered, lying is not much more than an instinct in a lot of cases. React with compassion. Ask questions. Learn about the root of the behavior. What brought them to lie? Is it possible to continue the relationship forward without damage from the lie? Empathy goes a long way. You may benefit from actively convincing the liar you have walked in their shoes. Letâ €™s say they lie to you about money. And they try to deceive you out of petty cash. Try explaining to them you are so broke you can’t even afford to pay for your own lunch. See how they will react. More often than not, a liar will back off from their bold claims, and let you have your money. They might even admit to their lying. What should you do if it is a close one that you are catching in a lie? First rule, calm down and try to be objective. You have probably told them a couple white lies here and there. And maybe a couple heavier ones. Don’t be too judgmental. You have benefitted way too many times from them not being able to catch you in a lie. Like we said earlier, people are only correct 53% of the time, and that is, if it even crosses their mind they could be lied to. What is more scary, even CIA specialists, whose work it is to spot lies, are not as good at doing it. They are only 60% likely to be correct about someone lying, if they solely base their judgement on verb al cues. But when you do catch a close friend it could feel very bad. You immediately forget about all of the times you lied to them. And you feel betrayed and ashamed. It is almost like you did something wrong. It feels like an insult. Our advice is to not avoid the conversation about it. Lies between friends and family must be cleared immediately, otherwise they could be very toxic to even the most unmovable relationships. Try to be objective. And to let them off the hook easily. They only lied to you this one time. Avoid projecting on them all those times you were suspicious, unless you have admission of guilt. Do not perpetuate the bad behavior. Be careful not to use insults, too many accusations… or new lies. Stay honest, and speak your truth. Only time will tell if your relationship is doomed. What if it is serious? Even criminal? Before you decide how you will react to the lie, consider the recent history of similar situations. If you’re going to call someone out, you nee d to know the consequences what you’re getting yourself and the liar into. The more serious the lie, the more significant the consequences. And some of those may reflect on you. If it is criminal, make sure you are taking the right course of action legally â€" reporting, confessing, testifying. Sometimes, not reacting will also be detrimental to you. It could cost you your family, your job, or you could even serve time, depending on the context of the lie. Think about:Your motives. Are you emotionally hurt and want revenge, or do you believe reporting is the right thing to do? Legally? Or just because it will change everybody’s lives for the better?Your protections. Prior to reporting the lie, make sure you take all necessary measures to protect yourself. What you don’t want to do is use other lies in order to achieve that. Accumulate witnesses. Be careful â€" only involve people who are already aware of the situation. Do not involve others, who did not volunteer to have thei r lives changed. Get your story straight. Do you know the entire scope of the lie? Do you know the entire scope of the truth? Who, what, when, where, etc.When you consider the consequences, always choose the least out of all evil. Even if you have a way of not facing any consequences at all, it is not worth it to ruin someone else’s life to get ahead. You might be innocent, but so are they. CONCLUSIONWe all lie a lot. Mostly, to protect ourselves from… God knows what. And we rarely get caught. Just above 50% of the time. So we are used to ignoring the consequences. We take disproportionate risks. We lie about serious matters in order to get ahead, even if the consequences could cause us our family, our money, or even our freedom. We know how to avoid getting caught. But do we? Becoming braver and braver in our lying, taking larger and larger risks with diminishing returns? Is it worth it? Next time before you are about to tell a lie, think again.

Juxtaposition Of Adlerian Therapy And Cognitive Behavioral...

Juxtaposition of Adlerian Therapy and Cognitive-Behavioral Therapy Cognitive-Behavioral Therapy (CBT) is widely known and utilized in the psychological field; however, Adlerian therapy, also known as individual psychology, is not universally known yet has roots that appear in CBT. In fact, Albert Ellis, founder of CBT, has acknowledged that Alfred Adler, founder of individual psychology, was one of the earliest therapists to emphasize the importance of understanding people’s thoughts, their observations of themselves, and their conscious experiences (Carlson, Maniacci, Watts, 2006). Therefore, a juxtaposition of CBT and Adlerian Therapy is warranted in order to evaluate the similarities and differences in conceptualization of client psychopathology, of their approach to treatment, and of how these therapies stand in terms of empirical evidence. Conceptualization of Client Psychopathology Human Nature and Psychopathology in Individual Psychology Alfred Adler maintained that the first four to five years in a child’s life were crucial in developing the child’s life style, which contains values and guides to life, as well as the child’s schema of apperception, which is how the child sees himself and the external world. The life style has two main components: one, beliefs about what exists, which is established through self-concept and worldview, and two, beliefs about what should be, which is created through the ideal self and ethical expectations (Carlson et al., 2006).

Video Games - 1762 Words

This review is an experimental study on the way playing video games, against watching violent video games, effects children’s aggressive behavior. This study was conducted by Utrecht University students, in Utrecht, The Netherlands. The research conducted, and article written was by Hanneke Polman, Bram Orobio de Castro, and Marcel A.G van Aken, and copy-written in year 2008. The hypothesis behind this article is how does playing a violent video, rather than just watching one, affect a child’s aggressive behavior in real life. In this new world of technology, children are exposed and entertained by watching television and playing video games. â€Å"One study showed that children spend up to 25 hours a week watching television and 9 hours a†¦show more content†¦This is an example of a naturalistic observational study. The researchers are observing the children in their own environments, which helps the participants feel comfortable to act as they normally would act. (Wade Travis, 2012) For the last activity of the day, the children took a questionnaire based on their peers and the aggression they witnessed amongst one another. This is an example of the survey testing method. The researchers are gathering information through questioner; by asking the children about how often they play video games and how much violence they have witnessed from their peers in the play sessions following the video game play. (Wade Travis, 2012) The first questionnaires was based on how often the participants played video games and was set on a 1-5 scale, 1 being almost never and 5 being once or more per day. (Polman, de Castro, van Aken, 2008) The next questionnaire was based on the aggression of other children. â€Å"The six categories used were â€Å"hit, kick, or push someone†, â€Å"fight with someone,† â€Å"name calling or have a quarrel,† â€Å"tease someone†, â€Å"frighten someone off to get what he/she wanted,† and â€Å"gossip.†Ã¢â‚¬  (Polman, de Castro, van Aken, 2008) Then asked to specify if they felt the intentions were meant to be in a joking manner or to be intentionally mean. The reason being is if the children are playing and joking then this is just considered rough- and tumble, not necessarily a hostileShow MoreRelatedVideo Game : Video Games1658 Words   |  7 PagesVideo games first entered into the world around the 1970s, while the violence started occur ring in the games about 20 years later (Anderson and Bushman 354). Some of the first violent video games included â€Å"Mortal Kombat, Street Fighter, and Wolfenstein 3D† which had amazing effects that were top notch at the time (Anderson and Bushman 354). Wolfenstein 3D was the first big video game that gave gamers the opportunity to shoot in the first person point of view (Anderson, Buckley, and Gentile 5). OverRead MoreVideo Game : Video Games1584 Words   |  7 Pagesviolent video games that are commonly played by boys and girls, young and old alike in today’s society. Many experts fear that this violence in video games increases violence in people in real life, causing people to act out as if they were in the video game, increasing aggressive behavior so much that it could actually escalate to shooting, stabbing, and killing people. There have already been many cases of these extreme examples of violence in the news that share a connection with video games. EricR ead MoreVideo Games : Video Game1933 Words   |  8 PagesEnglish 132 9 March 2015 Video Games A video game is an electronic game that involves human interaction to generate visual feedback on a video device. The word video in video game means any type of display device that can produce two- or three-dimensional images. The electronic systems used to play video games are called platforms; examples of these are video game consoles and personal computers. Platforms can range from small handheld devices to large computers. Some video games can become popular andRead MoreVideo Games And The Video Game Industry2174 Words   |  9 PagesVideo Games and the Video Game Industry The video game Pong was introduced in 1972 and can be considered the beginning of the video gaming industry. Unlike the game Pong, the controversies surrounding video games today are not quite as simple. Certain media outlets often portray video games to be bad for individual’s health and behaviour. There are still some people in the world that believe video games are contributing to the decline of today’s generation. However, video games and their industryRead MoreVideo Games And The Video Game1301 Words   |  6 Pages The 2000’s and 2010’s has become the most transformative age for video games and the gamers who make them popular. Within the last 15 years the amount of gaming devices in homes has risen to eighty-eight percent. This is a large leap from where the original â€Å"Brown Box† console created by Ralph Baer in nineteen sixty-seven, but video games didn’t just go through a cut scene and magically appear in everyone’s home s. They have had it rough from lawsuits, heavy competition between companies, and evenRead MoreVideo Game And Video Games1905 Words   |  8 PagesINTRODUCTION 1.1 Background of the Study Involving human interaction with a user interface,a video game is an electronic game which generates visual feedback on a video device such as a TV screen or computer monitor. The word video in video games traditionally referred to a raster display gadget, but it now indicates any type of display gadget that can form two or three-dimensional images. In allowing a video game to operate,platform refers to the specific combination of electronic components or computerRead MoreVideo Games And The Video Game917 Words   |  4 Pagesothers for the rest. When it comes the video gaming industry, companies like Microsoft, Sony, and Nintendo have developed new ways for the population to enjoy new entertainment and hobbies. However, when these companies create new systems to be flawless, users always seem to find at least one problem. The problem is not the gaming consoles themselves, but the the violent video games that companies create for these consoles. Allowing children to purchase these games, are one of many reasons why the youthRead MoreVideo Game : Violent Video Games927 Words   |  4 PagesThe video game industry possible causing behavioral problems for people of all ages. Video game violence isn’t breaking news for years people have played games with murder and sexual innuendos. People ask why violent video games are so attractive, maybe it’s a way to escape from real life or even therapeutic. History shows us that human being like violence, in roman time gladiators killed people and animals for sport with huge number of people as an audience. Today the video game industry has foundRead MoreVideo Games And The Video Game Industry1290 Words   |  6 Pagesthe mainstream video game industry has seemed to operate under the same apparent assumptions: girls don’t play big action games, boys like the sexualization of girls in video games and won’t play as a female character unless she is heavily sexualized, and that girls play video games for the attention of boys. These assumptions are what allows the gaming industry to continue to focus on their male players, particularly young men, despite the fact that the number of women playing games today may somedayRead MoreVideo Games and Violent Video Games Effect1225 Words   |  5 Pages A video game is â€Å"an electronic game in which players control images on a television or computer screen† (Merriam-Webster). Video games have been entertaining and challenging gamers since the Game Boy to modern console games. Despite the simplicity of the definition of video games, a video game, especially ones containing violence can have a large effect on the gamer. Because of the realism and advancements in the video game industry, video games can influence the player, and can make the gamer

Neck Neck Business Strategy Free Essays

The elements that helped in the success of â€Å"Neck Neck† are the following: – Create a brand image. It’s very important to consolidate the brand. The â€Å"Made in Spain† brand had an important position in the international market, so it was very important to achieve a new brand positioning. We will write a custom essay sample on Neck Neck Business Strategy or any similar topic only for you Order Now â€Å"Neck Neck† is an exclusive brand for children. â€Å"Neck Neck† is recognized under the brand name â€Å"Made in Spain† – Professionalism. Since the Zamacola family took over the management of â€Å"Neck Neck†, the company began to have continuous growth. This is due to investing time and energy into creating an efficient and professional team. Although the previous management had an adequate business strategy, they had an overall inefficient management team. The new administration is focused on being professional in every aspect of their business. – Brand Franchise. â€Å"Neck Neck† established a new plan to grow and expand the business globally. The new strategy included the creation of franchises. Each new store is expensive so the franchise is a strategy to reduce the economy impact. Also, the franchises will help introduce the brand in the international market. One of â€Å"NECK NECK† goals is to become a major supplier of children’s clothing. Do you think they have taken the right decision about their internationalization strategy? Internationalization is a very important strategy for â€Å"Neck Neck† growth. Certainly, the foreign franchises provide information about the culture, preferences, and prices of each location. This information helps to establish the design and product strategy. Each place is different. It is recommended that the businesses be managed by local people. The internalization of â€Å"Neck Neck† give a competitive edge to the company. Franchisees provide information needed to make decisions regarding distribution, production and marketing. Also, according with the General Manager, â€Å"Neck Neck† uses a portion of it’s cash flow to invest in foreign stores. This way, managers can learn about the market of each location and how manage it. Analyze â€Å"NECK NECK† internationalization strategy. Do you find their expansion To choose the right place to introduce a new location, â€Å"Neck and Neck† takes cultural affinity between the new consumers and the â€Å"Made in Spain† consumers into consideration. The market segment will be the same – sophisticated people want their kids to wear great clothes. The product is targeted to people that are looking for new and unique children’s clothing styles. Which expansion model do you think NECK NECK should follow in the future: company owned points of sale, or franchising? Which advantages and disadvantages does the second have with respect to the first one? The franchise strategy established by â€Å"Neck Neck† has been positive. Therefore, â€Å"Neck Neck† should continue with this plan or establishing excellent management and a rejuvenated brand positioning. However, taking in consideration the success of the trade mark, the company should consider points of sale to expand the brand all over Spain. In fact, the enterprise made a strategy alliance with the Corte Ingles to expand the brand in Spain and Portugal. In any case, the franchise strategy is a priority and thanks to global brand recognition the company will continue to expand internationally. Franchising is the best strategy. The development of franchises will reduce â€Å"Neck and Neck’s† dependence on the Spanish market and be in a position to open new global markets in Asia and Latin America. How to cite Neck Neck Business Strategy, Essay examples

Homeless Youth Essay Example For Students

Homeless Youth Essay Powers, Jane L. and Barbara Jaklitsch. Reaching the Hard to Reach. Education Urban Society, Volume 25, Issue 4, August 1993. At some point in time, all teenagers are expected to leave home and venture out on their own. Separating from parents and gaining independence are two central tasks that teenagers must overcome in order to become adults. Teenagers usually learn how to make this transition through either home or school. Unfortunately, there are some teens today that do not fully develop these two tasks before deciding to leave home. These teens are the teens that we see out on American streets today. Leaving home at an early age can be devastating to the teenager, the cities they live in, and our society, in general. Teens are often victimized and exploited fairly easily while they are out on their own. Due to this, crime rates skyrocket in cities with a large homeless teenage population. Teens often turn to drug trafficking, prostitution, and other forms of criminal activity in order to survive. In turn, this also causes a wide range of physical and mental health problems, including substance abuse. Although there are large numbers of homeless teens, they still remain lacking in many services. One of the most important services is education. This journal article focuses on the barriers to educating homeless teens and mechanisms that are being created to assist in helping them to survive. Education is severely affected by homelessness. Most homeless adolescents do not attend school because they are unable to make it to school every day. This, in turn, causes teens to fall behind or fail classes. This causes them to end up dropping out of school. Schools are unable to help the homeless teen. Instead, they cause the teen more frustration and depression, thus encouraging them to stay away from education. Without the basic skills that one earns during high school, the teen is unable to gain legal employment. This not only affects their current situation, but it also affects their future as well. Although some states have set up programs to assist Homeless Youth Essay in gaining an education, the teen population still remains virtually ignored. In this journal article, the definition of homeless adolescents is unaccompanied youth who live independently of their families. When referring to the governmental definition, there is a difference between the homeless youth and the runaway youth. The runaway youth is defined as a person who is under the age of 18 and has been away from his or her home or legal residence at least overnight, without the permission of a parent or guardian. The runaway has chosen to leave home and has a home in which he or she can return (395). The homeless youth is defined as an individual who has no shelter and needs services providing supervision and care. It is important to understand definitional issues when estimating the scope of the problem of youth homelessness. It is very difficult to obtain an accurate account of homeless youth. The US Department of Justice found that at least 500,000 youth under age 18 become runaways and throwaways each year. Other studies have found that there are 2 to 3 million youth between the ages of 10 to 17 years are living on the streets, in abandoned buildings, or in welfare hotels. This means that there is anywhere from 1/2 million to 3 million uneducated, homeless youth on American streets today. Due to lack of education, homeless teens are being exploited by adults. This means that the youth is likely to become involved in criminal activity. The length of time a young person has been on the streets should be considered in determining their educational needs. Increased time on the streets makes it harder to reach kids and serve them. Age is also a factor that needs to be considered when trying to serve the homeless youth. .u756ca6186a25221690b1c2be94873e2e , .u756ca6186a25221690b1c2be94873e2e .postImageUrl , .u756ca6186a25221690b1c2be94873e2e .centered-text-area { min-height: 80px; position: relative; } .u756ca6186a25221690b1c2be94873e2e , .u756ca6186a25221690b1c2be94873e2e:hover , .u756ca6186a25221690b1c2be94873e2e:visited , .u756ca6186a25221690b1c2be94873e2e:active { border:0!important; } .u756ca6186a25221690b1c2be94873e2e .clearfix:after { content: ""; display: table; clear: both; } .u756ca6186a25221690b1c2be94873e2e { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u756ca6186a25221690b1c2be94873e2e:active , .u756ca6186a25221690b1c2be94873e2e:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u756ca6186a25221690b1c2be94873e2e .centered-text-area { width: 100%; position: relative ; } .u756ca6186a25221690b1c2be94873e2e .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u756ca6186a25221690b1c2be94873e2e .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u756ca6186a25221690b1c2be94873e2e .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u756ca6186a25221690b1c2be94873e2e:hover .ctaButton { background-color: #34495E!important; } .u756ca6186a25221690b1c2be94873e2e .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u756ca6186a25221690b1c2be94873e2e .u756ca6186a25221690b1c2be94873e2e-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u756ca6186a25221690b1c2be94873e2e:after { content: ""; display: block; clear: both; } READ: Geneticists Essay Youth under the age of 16 are required by law to attend school. Due to this, it is easier to force youth into school. Youth over the age of 16, however are not required to attend school. This causes it to be much harder to force these teens to engage in .

Muscle Cars Vintage vs New Essay Example

Muscle Cars: Vintage vs New Essay Ben Slenning Auto. 10. 28. 08 Period: 1 The vintage automobile was very simple, where as the modern automobile is very high technology and complex. In an automobile every part has a specific job and purpose. I am here to tell why the modern muscle car is a much better product than the vintage muscle car. I will show this in 7 ways: engine and horsepower, fuel system, ignition system, fuel economy, safety features, transmission and brakes. The 6 vehicles I will be comparing are a 1970 Dodge Challenger to a 2008 Dodge Challenger, a 1970 Ford Mustang Boss 302 to a 2009 Ford Mustang GT, and a 1967 Chevrolet Camaro SS to a 2009 Chevrolet Camaro. The modern muscle cars have better engines and more horsepower then the vintage muscle cars. The ’08 Challenger has a 6. 1L SRT Hemi putting out 425hp, while the ’70 Challenger only has a 5. 2L V-8 putting out 290hp. The ’70 Mustang Boss has a 5L V-8, which is putting out 290hp, while the ’09 Mustang GT has a 4. L V-8 putting out about 300hp. Last but not least, the ’09 Camaro has a 6. 2L V-8 putting out 422hp, where as the ’67 Camaro has a 5. 7L V-8 putting out 320hp. This showing the modern muscle cars have improved horsepower and that the modern muscle car is a better product than the vintage muscle car. The vintage muscle cars weren’t as fortunate to have to fuel systems that the modern muscle cars have today. The ’08 Chal lenger has a multi-port fuel injection system and the ’70 Challenger only has a 2-barrel carburetor. We will write a custom essay sample on Muscle Cars: Vintage vs New specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Muscle Cars: Vintage vs New specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Muscle Cars: Vintage vs New specifically for you FOR ONLY $16.38 $13.9/page Hire Writer The ’70 Mustang boss has a 4-barrel carburetor, while the ’09 Mustang GT also has a multi-port fuel injection system. Lust like the ’08 Challenger and the ’09 Mustang GT, the ’09 Camaro also has a multi-port fuel injection system, where as the ’67 Camaro SS also has a 4-barrel carburetor. This showing better fuel systems and that the modern muscle car is a better product than the vintage muscle car. Third, the ignition system on the modern muscle cars is far different and better then the ones on the vintage muscle car. For example, all the vintage muscle cars have a distributor style ignition system. On the ’08 Challenger and the ’09 Mustang GT there is a coil on-plug ignition system. The ’09 Camaro has a high-energy distributor less ignition system. This showing better ignition systems and that the modern muscle car is a better product than the vintage muscle cars. The vintage muscle cars were averaging much lower fuel economy then the modern muscle cars. The ’70 Challenger, the ’70 Mustang Boss, and the ’67 Camaro all averaged a fuel economy of 10-12mpg. The ’08 Challenger averages 13-18mpg, the ’09 Mustang GT averages 17-26mpg, and the ’09 Camaro averages 16-23mpg. This showing better fuel economy and that the modern muscle car is a better product than the vintage muscle car. Another way that the modern muscle car is a better product then the vintage muscle car is in the safety features. All the vintage muscle cars had, was a seat belt that went across your lap to hold you in the seat. All the modern muscle cars have 3-point seat belts and front/side airbags, except for the ’09 Camaro, which has dual stage front/side airbags. This showing better safety and that the modern muscle car is a better product then the vintage muscle car. The vintage muscle cars didn’t have the high tech transmissions that are in the modern muscle cars today. Such as, the ’70 challenger offered you a 4-speed manual or a 3-speed automatic, where as now, the ’08 Challenger offers you a 5-speed automatic equipped with an auto stick. Also, the ’70 Mustang Boss offered a 4-speed manual, a 3-speed manual, or a 3-speed automatic, while now the ’09 Mustang GT offers a 5-speed automatic or a 6-speed manual. Last but not least, the ’67 Camaro only offered a 4-speed manual or a 2-speed automatic, and now the ’09 Camaro give you a nice, smooth ride with a 6-speed manual or a 6-speed automatic. This showing more improved transmissions and that the modern muscle car is a better product then the vintage muscle car. You would like a muscle car with top-of-the-line brakes, wouldn’t you? Well the modern muscle car is equipped with a much better brake system then the vintage muscle car. For example, the vintage muscle cars had front disc brakes and rear drum brake. Where now all the modern muscle cars have 4-wheel disc brakes and ABS. But the ’09 Mustang GT was also equipped with traction control. This showing safer brake systems and that the modern muscle car is much safer and a better product then the vintage muscle car. In conclusion, the modern muscle car out does the vintage muscle car by a long shot. Don’t forget the 7 ways, as you have just read, that the modern muscle car is a better product: engine and horsepower, fuel system, ignition system, fuel economy, safety features, transmission and last, the brakes. The modern muscle is a better product then the vintage muscle car.

Dayton, Mark essays

Dayton, Mark essays When Mark Dayton was sworn in as Minnesota's newest U.S. Senator in January 2001, it was the latest stop in a career that has kept public service to Minnesota and to the nation as its top priority. In more than three decades of service, in a variety of capacities, Mark has worked to use his skills and experience to make life better for the people of Minnesota and for people around the country. Mark was born in Minneapolis on January 26, 1947, and grew up in Minnesota's most prominent retailing family. Mark could have chosen many careers, but he chose to help those less fortunate than himself, and he has dedicated himself to that end throughout his career. After graduating cum laude from Yale University in 1969, where he played varsity ice hockey, he worked for two years in the New York City Public Schools as a 9th grade general science teacher. After spending the next four years as a counselor and administrator for a Boston social service agency, Mark went to work as a legislative as sistant to Minnesota Senator Walter Mondale, where he worked on a variety of issues important to his home state. In 1977, Mark returned to Minnesota to take a spot on Governor Rudy Perpich's staff. After one year, he was named the state's Commissioner of Economic Development. In 1982 he decided to make his own run for public office when challenged Republican U.S. Senator David Durenberger in a hard-fought race. Although he fell short, he gave the popular incumbent by far the toughest race of his Senate career. The following year, Mark became Minnesota's Commissioner of Energy and Economic Development, a post he held until 1986. In 1990, the people of Minnesota elected Mark to a four-year term as State Auditor. Throughout his career, he has also played an active role in helping Democratic candidates in Minnesota and across the country win public office and has been just as helpful to state, district and county Democratic organizations. In 1995 and 1996, Ma...

Enterprise Architecture and Databases - Case Study Essay

Enterprise Architecture and Databases - Case Study - Essay Example The automatic query response system is enabled in the data base which raises alarm when the desired red marked vehicle is traced any place. The reliance on man power and intuition is eliminated. Data bases are far more effective in this regard and hence removed the dependency on manual record keeping. With so many vehicles on the road, without such an integrated system keeping such a large record would be realistically impossible. Computerization has solved many problems. Hassle of manual tracing and without cameras would make the task half effective as now. There is always margin for improvement in every system, same goes for this one. The car cloning idea is seen as possible challenge that stands as obstacle as yet. In this scheme the original license is being put up on the stolen car. This needs solution in coming days. The accuracy of cameras and their presence in different suburbs of the city is a point that can help improving things. There is margin of improving the data bases, in terms of the processing time, the accuracy, and possible tracing of every nook and corner of the city through the use of more cameras since at present all parts of the city might not be monitored by the cameras. Centralization of the data base is another aspect so that the vehicles that are in other parts of the country and in other cities can be traced accordingly. The cloning idea is still a challenge which can be sorted out through investment of other type to ensure mitigation through effective means. Ease of use of data base is another aspect that can be explored for improvement and affectivity. The factor of being able to notice an individual’s activities, notably being alcoholic, being unfaithful to someone, and other habits are easy to determine and trace through this entire concept. However the affectivity of the system cannot be compromised for this purpose since it helps comprehending large number of offenders. In such case a balanced line

Theories of Internationalisation and Relevance in Explaining Global Essay

Theories of Internationalisation and Relevance in Explaining Global Patterns of Foreign Direct Investment - Essay Example In effect, countries can gain profits if they direct their activities to the generation of products and services which are most profitable. This theory relates the situation where a country creates products and services for its people, and for export in terms of surplus. As a result, it is favourable for countries to import the products and services where they also have an economic disadvantage (Morgan and Katsikeas, 1997). The economic advantage and disadvantage may be based on differences in available resources, labour, and technology. The classical theory argues that the foundation of international trade would come from the differences in the qualities of production and available resources which are also based on differences in natural and acquired advantages (Morgan and Katsikeas, 1997). Another theory of internationalisation contrasts with the classical trade theory. The factor proportion theory discusses that countries usually produce the export products and services which supp ort significant production advantages that they have, and they will import the products and services which would need large scores of production factors that may be limited (Hecksher and Ohlin, 1933). This theory supports the idea of economic advantage by evaluating the endowment and costs related to factors of production (Morgan and Katsikeas, 1997). The above theories do not completely explain the current trends in international trade. For one, the rise of technological development and of multinational corporations during the 1960s called for new theories on international trade. At such time, the product life cycle theory relating to international trade was considered a significant basis in explaining trade patterns and MNC expansions (Morgan and Katsikeas, 1997). Such theory... This essay stresses that financial arbitrage is also another opportunity for securing strategic flexibility for FDIs. MNCs can circumvent the restrictions imposed by the host government, mostly those which relate to finance, remittance, and foreign exchange in order to secure and support their new and innovative products. Another opportunity relates to the transfer of information. Flexibility ensures that MNEs can benefit from the act of singling out available opportunities, assessing the world markets to match the involved buyers and sellers and avoiding the barriers to effective trade relations. This paper makes a conclusion that based on the above discussion, the theories of internationalisation like the classical trade theory acknowledges the fact that trade relations and investments are dictated by the needs of investors and of the consumers. Where the need is great and the profit would best be gained, the FDIs would likely be made. The current global trends in investments indicate how the emerging economies have manifested the greatest need and the most profit for investments, for which reason investors have directed their economic activities to these areas. The internationalisation theory generally indicates how the current trends in the economy are gravitating towards more open forms of trade and economic relations. These FDIs are but another manifestation of internationalisation, and these investments would likely find bigger avenues for investment in the years to come.

Impact of Technology on Art

Impact of Technology on Art There is no specific definition of art. Art is mostly used to describe something of beauty, or a skill which produces an aesthetic result, there is no clear line in principle between (say) a unique piece of handmade sculpture, and a mass-produced but visually attractive item. For art the artist requires thought some kind of creative impulse but this raises more questions: for example, how much thought is required? If someone flings paint at a canvas, hoping by this action to create a work of art, does the result automatically constitute art? Today the word art usually refers to the visual arts, the concept of what art is has continuously changed over centuries. From a wide perspective, art is simply a generic term for any product of the creative impulse, out of which sprang all other human pursuits such as science via alchemy, and religion via shaman ism. Artists, deliberately or not, work under the influence of other artists of the past and present. Much of the development of individual artists deals with finding structured principles for how to express certain ideas through various kinds of symbolism. For example, Vasily Kandinsky famously developed his use of color in painting through a system of stimulus response, where over time he gained an understanding of the emotions that can be evoked by color and combinations of color. Contemporary artist Andy Golds worthy, on the other hand, chose to use the medium of found natural objects and materials to arrange temporary sculptures; the only record of these sculptures brought back to the world comes in the form of a modest photograph. FORMS OF ART It means the type of artwork such as drawing, painting, sculpture (carving, modeling, assemblage and construction) architecture, printmaking, electronic media such as computer and digital graphics, ceramics, Visual Design, Graphic Design, collage, photography and Post Modern appropriation and reconceptualization. How is Art Classified? Architecture, music, opera, theater, dance, painting, sculpture, illustration, drawing, cartoons, printmaking, ceramics, stained glass, photography, installation, video, film and cinematography, to name but a few. All these activities are commonly referred to as the Arts and are commonly. classified into several overlapping categories, such as: fine, visual, plastic, decorative, applied, and performing. Disagreement persists as to the precise composition of these categories, but here is a generally accepted classification. Fine Arts This category includes those artworks that are created primarily for aesthetic reasons (art for arts sake) rather than for commercial or functional use. Designed for its uplifting, life-enhancing qualities, fine art typically denotes the traditional, Western European high arts, such as Drawing Using charcoal, chalk, crayon, pastel or with pencil or pen and ink. Painting Using oils, watercolor, acrylics, ink and wash, or the more old-fashioned tempera or en caustic paints. For an explanation of colorants, see: Co lour in Painting and Co lour Pigments, Types, History. Printmaking Using simple methods like woodcuts or stencils, the more demanding techniques of engraving, etching and lithography, or the more modern forms like screen-printing, foil imaging prints. Sculpture In bronze, stone, marble, wood, or clay. a) The Evolution of Fine Arts After primitive forms of cave painting, figurine sculptures and other types of ancient art, there occurred the golden era of Greek art and other schools of Classical Antiquity. The sacking of Rome (c.400-450) introduced the dead period of the Dark Ages (c.450-1000), brightened only by Celtic art and Ultimate La Tenn Celtic designs, after which the history of art in the West is studded with a wide variety of artistic styles or movements such as: Gothic (c.1100-1300), Renaissance (c.1300-1600), Baroque (17th century), Noe-Classicism (18th century), Romanticism (18th-19th century), Realism and Impressionism (19th century), Cubism, Expressionism, Surrealism, Abstract Expressionism and Pop-Art (20th century). For a brief review of modernism (c.1860-1965), see Modern art movements; for a guide to post modernism, (c.1965-present) see our list of the main Contemporary art movements. The Tradition Fine art was the traditional type of Academic art taught at the great schools, such as the the Academia delftware Del Disegno in Florence, the Academia DI San Luca in Rome, the Academia Des Beau-Arts in Paris, and the Royal Academy in London. One of the key legacies of the academies was their theory of linear perspective and their ranking of the painting genres, which classified all works into 5 types: history, portrait, genre-scenes, landscape or still life. Visual Arts This category includes all the fine arts as well as new media and contemporary forms of expression such as Assemblage, Collage, Conceptual, Installation and Performance art, as well as Photography, and film-based forms like Video Art and Animation, or any combination thereof. Another type of visual art, sometimes created on a monumental scale is the new environmental land art. Plastic Arts The term plastic art typically denotes three-dimensional works employing materials that can be molded, shaped or manipulated (plasticized) in some way: such as, clay, plaster, stone, metals, wood (sculpture), paper (origami) and so on. For three-dimensional artworks made from everyday materials and found objects, see: Junk art. Decorative Arts This category traditionally denotes functional but ornamental art forms, such as works in glass, clay, wood, metal, or textile fabric. This includes all forms of mosaic art, as well as ceramics, (exemplified by Chinese Pottery and Greek Pottery) furniture, furnishings, stained glass and tapestry art. Noted styles of decorative art include: Rococo, Pre-Raphaela, Second Empire, Japanese, Art Nouveau and Art Deco, Edwardian, and Retro. Performance Arts This type refers to public performance events. Traditional varieties include, theater, opera, music, and ballet. Contemporary performance art also includes any activity in which the artists physical presence acts as the medium. Thus it encompasses, mime, face or body painting, and the like. A hyper-modern type of performance art is known as Happenings. Applied Arts This category encompasses all activities involving the application of aesthetic designs to everyday functional objects. While fine art provides intellectual stimulation to the viewer, applied art creates utilitarian items (a cup, a couch or sofa, a clock, a chair or table) using aesthetic principles in their design. This wide area includes architecture, photography, industrial design, graphic design, fashion design, interior design, as well as all decorative arts. Noted styles include, Bauhaus Design School, as well as Art Nouveau, and Art Deco. History of art There really is no such things as art history;there are only histories of art .No single way of looking at and interpreting art providesall the answer since there are various methods and approaches to interpretation. For example, we might see the role of art history as a means of communicating factual knowledge, perhaps about the way a work of art was made and the historical circumstances of its production. We may The history of art refers to the history of the visual arts of painting, sculpture and architecture. It is the history of one of the fine arts, others of which are the performing arts and literature. It is also one of the humanities. The term sometimes encompasses theory of the visual arts, including aesthetics. Sculptures, cave paintings, rock paintings, and petroglyphs from the Upper Paleolithic dating to roughly 40,000 years ago have been found, but the precise meaning of such art is often disputed because so little is known about the cultures that produced them. The oldest art objects in the world-a series of tiny, drilled snail shells about 75,000 years old-were discovered in a South African cave. Many great traditions in art have a foundation in the art of one of the great ancient civilizations: Ancient Egypt, Mesopotamia, Persia, India, China, Ancient Greece, Rome, as well as Inca, Maya, and Olmec. Each of these centers of early civilization developed a unique and characteristic style in their art. Because of the size and duration these civilizations, more of their art works have survived and more of their influence has been transmitted to other cultures and later times. Some also have provided the first records of how artists worked. For example, this period of Greek art saw a veneration of the human physical form and the development of equivalent skills to show musculature, poise, beauty, and anatomically correct proportions. In Byzantine and Medieval art of the Western Middle Ages, much art focused on the expression of Biblical and not material truths, and used styles that showed the higher unseen glory of a heavenly world, such as the use of gold in the background of paintings, or glass in mosaics or windows, which also presented figures in idealized, patterned (flat) forms. Nevertheless a classical realist tradition persisted in small Byzantine works, and realism steadily grew in the art of Catholic Europe. Renaissance art had a greatly increased emphasis on the realistic depiction of the material world, and the place of humans in it, reflected in the corporeality of the human body, and development of a systematic method of graphical perspective to depict recession in a three dimensional picture space. In the east, Islamic arts rejection of iconography led to emphasis on geometric patterns, calligraphy, and architecture. Further east, religion dominated artistic styles and forms too. India and Tibet saw emphasis on painted sculptures and dance with religious painting borrowing many conventions from sculpture and tending to bright contrasting colors with emphasis on outlines. China saw many art forms flourish, jade carving, bronze work, pottery (including the stunning terracotta army of Emperor Qin), poetry, calligraphy, music, painting, drama, fiction, etc. Chinese styles vary greatly from era to era and are traditionally named after the ruling dynasty. So, for example, Tang Dynasty paintings are monochromatic and sparse, emphasizing idealized landscapes, but Ming Dynasty paintings are busy, colorful, and focus on telling stories via setting and composition. Japan names its styles after imperial dynasties too, and also saw much interplay between the styles of calligraphy and painti ng. Woodblock printing became important in Japan after the 17th century. The western Age of Enlightenment in the 18th century saw artistic depictions of physical and rational certainties of the clockwork universe, as well as politically revolutionary visions of a post-monarchist world, such as Blakes portrayal of Newton as a divine geometer, or Davids propagandistic paintings. This led to Romantic rejections of this in favor of pictures of the emotional side and individuality of humans, exemplified in the novels of Goethe. The late 19th century then saw a host of artistic movements, such as academic art, Symbolism, impressionism and fauvism among others. The history of twentieth century art is a narrative of endless possibilities and the search for new standards, each being torn down in succession by the next. Thus the parameters of Impressionism, Expressionism, Fauvism, Cubism, Dadaism, Surrealism, etc. cannot be maintained very much beyond the time of their invention. Increasing global interaction during this time saw an equivalent influence of other cultures into Western art, such as Pablo Picasso being influenced by African sculpture. Japanese woodblock prints (which had themselves been influenced by Western Renaissance draftsmanship) had an immense influence on Impressionism and subsequent development. Later, African sculptures were taken up by Picasso and to some extent by Matisse. Similarly, the west has had huge impacts on Eastern art in 19th and 20th century, with originally western ideas like Communism and Post-Modernism exerting powerful influence on artistic styles. Modernism, the idealistic search for truth, gave way in the latter half of the 20th century to a realization of its unattainability. Relativism was accepted as an unavoidable truth, which led to the period of contemporary art and postmodern criticism, where cultures of the world and of history are seen as changing forms, which can be appreciated and drawn from only with irony. Furthermore the separation of cultures is increasingly blurred and some argue it is now more appropriate to think in terms of a global culture, rather than regional cultures. a) When did humans start creating works of art? Up until recently most paleoanthropologists and art historians thought that the history of art begins during the Upper Paleolithic period between 35,000 and 10,000 BCE, as evidenced by a series of cave paintings and miniature carvings discovered mainly in Europe. However, recent archaeological discoveries seem to confirm that prehistoric art begins much earlier almost certainly during the middle Lower Paleolithic between about 290,000 and 700,000 BCE. b) What is the earliest type of art produced by Stone Age Man? The oldest known art form is the cu pule, a hemispherical petroglyph, created by percussion, which occurs on vertical as well as horizontal surfaces. Venus Art In archeology, the term Venus Figurines is an umbrella description relating to Stone Age statuettes of women, created during the Auriga or Gravitation cultures of the upper Palaeolithic (c.32,000-20,000 BCE), throughout Europe from France to Siberia. The general similarity of these sculptures in size and shape [obese or pregnant] is extraordinary. They were carved by Stone Age sculptors in all manner of different materials, ranging from soft stone ( calcite or limestone), bone, ivory, wood, or ceramic clays. The latter type are among the oldest ceramic works yet discovered. Hundreds of such figurines are known, nearly all between 2 and 8 inches in height. Considered by late 19th century archaeologists to represent the prehistoric idea of feminine beauty, they were dubbed Venuses in reference to the Roman goddess of beauty. First Archaeological Discoveries of Venuses The first Stone Age 3-D representation of a woman was discovered in the Dordogne in France around 1864 by the Marquis De Vibratye. Other early discoveries included the Venus of Brassempouy, unearthed in south-west France in 1894, and the famous Venus of Willendorf in 1908 in the Danube valley, Austria. Earliest Known Venus Figurines Somewhat anomalous to the main period of Venus sculpture the Aurignacian and Gravettian periods of the Upper Paleolithic era two Venus-type carvings have been found within the Mediterranean area that predate the Upper Paleolithic by hundreds of thousands of years, making them by far the oldest Venus figurines known to archeology. These include: the Venus of Berekhat Ram, found on the Golan Heights between Israel and Syria, and the Venus of Tan-Tan, discovered in Morocco. Both originate from the Acheulean culture of the Lower Paleolithic epoch, and have been dated to between 200,000 and 300,000 BCE. Although some controversy still exists as to whether they are the product of human design, other even earlier discoveries of Lower Paleolithic art in India suggest that human fine art developed from a much earlier period than first supposed. When the earliest sculpture ever made? The first pro to-sculptures are the Acheulian period figurines made by Homo erects, which date from 200,000 BCE. How old are the earliest cave paintings? Painted by modern Homo sapien, the oldest known cave murals occur in the Upper Paleolithic rock shelters of Chauvet, Pech-Merle, Cos quer and Lascaux ( France) and at Al Ta amira(Ca ntabria, Spain). Modern technologies effect on fine arts In olden periods human used their traditional skills and brain to make an art. For example painting ,pencil drawings,sculpting ,designing etc they use their own skills and techniques but today that method is changed .Now a days all human are busy that is the reason they are depending on the modern technologies such as computer graphics or softwares. If we look some olden art techniques we can see how much the technology  has developed. a) Paintings Painting is the practice of applying paint, pigment, color or other medium to a surface (support base). The application of the medium is commonly applied to the base with a brush but other objects may be used. In art the term describes both the act and the result, which is called a painting. Paintings may have for their support such surfaces as walls, paper, canvas, wood, glass, lacquer, clay or concrete. Paintings may be decorated with gold leaf, and some modern paintings incorporate other materials including sand, clay, and scraps of paper. Painting is a mode of expression and the forms are numerous. Drawing, composition or abstraction and other aesthetics may serve to manifest the expressive and conceptual intention of the practitioner. Paintings can be naturalistic and representational (as in a still life or landscape painting), photographic, abstract, be loaded with narrative content, symbolism, emotion or be political in nature. b) Pencil Drawings A sketch is a rapidly executed freehand drawing that is not intended as a finished work. If in oil paint it is called an oil sketch. In general, a sketch is a quick way to record an idea for later use. Artists sketches primarily serve as a way to try out different ideas and establish a composition before undertaking a more finished work, especially when the finished work is expensive and time consuming (as in the case of a large painting or fresco). Sketching sharpens an artists ability to focus on the most important elements of a subject and is a prescribed part of artistic development for students. Dry media such as pencil or pastel are often preferred due to time constraints, but a quickly done watercolor study or even quickly modeled clay or soft wax can also be considered a sketch in the broader sense of the term. Graphite pencils being a relatively new invention, the artists of the Renaissance could make sketches using the expensive method of a silver stylus on specially prepared paper (known as silver point), with results similar to a modern pencil sketch, or, more cheaply, using charcoal, chalk, or pen-and-ink. Digital Art Digital art is an umbrella term for a range of artistic works and practices that utilize digital technology. Since the 1970s various names have been used to describe what is now called digital art including computer art and multimedia art but digital art is itself placed under the larger umbrella term new media art. Digital production techniques in visual media The techniques of digital art are used extensively by the mainstream media in advertisements, and by film-makers to produce special effects. Desktop publishing has had a huge impact on the publishing world, although that is more related to graphic design. It is possible that general acceptance of the value of digital art will progress in much the same way as the increased acceptance of electronically produced music over the last three decades. Digital art can be purely computer-generated (such as fractals and algorithmic art) or taken from other sources, such as a scanned photograph or an image drawn using vector graphics software using a mouse or graphics tablet.Though technically the term may be applied to art done using other media or processes and merely scanned in, it is usually reserved for art that has been non-trivially modified by a computing process (such as a computer program, micro controller or any electronic system capable of interpreting an input to create an output); digitized text data and raw audio and video recordings are not usually considered digital art in themselves, but can be part of the larger project of computer art and information art.Artworks are considered digital painting when created in similar fashion to non-digital paintings but using software on a computer platform and digitally outputting the resulting image as painted on canvas. Computer generated visual media There are two main paradigms in computer generated imagery.The simplest is 2D computer graphics which reflect how you might draw using a pencil and a piece of paper. In this case, however, the image is on the computer screen and the instrument you draw with might be a tablet stylus or a mouse. What is generated on your screen might appear to be drawn with a pencil, pen or paintbrush. The second kind is 3D computer graphics, where the screen becomes a window into a virtual environment, where you arrange objects to be photographed by the computer. Typically a 2D computer graphics use raster graphics as their primary means of source data representations, whereas 3D computer graphics use vector graphics in the creation of immersive virtual reality installations. A possible third paradigm is to generate art in 2D or 3D entirely through the execution of algorithms coded into computer programs and could be considered the native art form of the computer. That is, it cannot be produced withou t the computer. ,Fractal art algorithmic art and Dynamic painting are examples. Computer generated 3D still imagery 3D graphics are created via the process of designing complex imagery from geometric shapes, polygons or NURBS curves to create three-dimensional shapes, objects and scenes for use in various media such as film, television, print, rapid prototyping and the special visual effects. There are many software programs for doing this. The technology can enable collaboration, lending itself to sharing and augmenting by a creative effort similar to the open source movement, and the creative commons in which users can collaborate in a project to create unique pieces of art. Computer generated animated imagery Computer-generated animations are animations created with a computer, from digital models created by the artist[not specific enough to verify]. The term is usually applied to works created entirely with a computer. Movies make heavy use of computer-generated graphics; they are called computer-generated imagery (CGI) in the film industry. In the 1990s, and early 2000s CGI advanced enough so that for the first time it was possible to create realistic 3D computer animation, although films had been using extensive computer images since the mid-70s. A number of modern films have been noted for their heavy use of photo realistic CGI. Graphic art software Graphic art software is a subclass of application software used for graphic design, multimedia development, specialized image development, general image editing, or simply to access graphic files. Art software uses either raster or vector graphic reading and editing methods to create, edit, and view art. Many artists and other creative professionals today use personal computers rather than traditional media. Using graphic art software may be more efficient than rendering using traditional media by requiring less hand-eye coordination, requiring less visualization skill, and utilizing the computers quicker (sometimes more accurate) automated rendering functions to create images. However, advanced level computer styles, effects and editing methods may require a steeper learning curve of computer technical skills than what was required to learn traditional hand rendering and visualization skills. The potential of the software to enhance or hinder creativity may depend on the intuitiveness of the interface. Image development software Image development professionals may use general graphic editors or may prefer more specialized software. Although images can be created from scratch with most art software, specialized software applications or advanced features of generalized applications are used for more accurate visual effects Traditional medium effects Vector editors are ideal for solid crisp lines seen in line art, poster, woodcut ink effects, and mosaic effects. Some generalized image editors, such as Photoshop are used for digital painting (representing real brush and canvas textures such as watercolor or burlap canvas) or handicraft textures such as mosaic or stained glass. However, unlike Photoshop, which was originally designed for photo editing, software such as Corel Painter and Photo-Paint were originally designed for rendering with digital painting effects and continue to evolve with more emphasis on hand-rendering styles that dont appear computer generated. Photorealistic effects Unlike traditional medium effects, photorealistic effects create the illusion of a photographed image. Specialized software may contain 3D modeling and ray tracing features to make images appear photographed. Some 3D software is for general 3D object modeling, whereas other 3D software is more specialized, such as Poser for characters or Bryce for scenery. Software such as Photoshop may be used to create 3D effects from 2D (flat) images instead of 3D models. Add Depth is a discontinued software for extruding 2D shapes into 3D images with the option of beveled effects. Meta Creations Detailer and Painter 3D are discontinued software applications specifically for painting texture maps on 3D Models. Hyper realistic effects Specialized software may be used to combine traditional medium effects and photorealistic effects. 3-D modeling software may be exclusively for, include features for, or include the option of 3rd party plugins for rendering 3-D models with 2-D effects (e.g. cartoons, illustrations) for hyperrealistic effects. Other 2-D image editing software may be used to trace photographs or rotoscope animations from film. This allows artists to rapidly apply unique styles to what would be purely photorealistic images from computer generated imagery from 3-D models or photographs. Some styles of hyperrealism may require motion visual effects (e.g. geometrically accurate rotation, accurate kinetics, simulated organic growth, life-like motion constraints) to notice the realism of the imagery. Software may be used to bridge the gap between the imagination and the laws of physics. Computer graphics Computer graphics are graphics created using computers and, more generally, the representation and manipulation of image data by a computer. The development of computer graphics, has made computers easier to interact with, and better for understanding and interpreting many types of data. Developments in computer graphics have had a profound impact on many types of media and have revolutionized animation, movies and the video game industry. Graphics are visual presentations on some surface, such as a wall, canvas, computer screen, paper, or stone to brand, inform, illustrate, or entertain. Examples are photographs, drawings, line art, graphs, diagrams, typography, numbers, symbols, geometric designs, maps, engineering drawings, or other images. Graphics often combine text, illustration, and color. Graphic design may consist of the deliberate selection, creation, or arrangement of typography alone, as in a brochure, flier, poster, web site, or book without any other element. Clarity or effective communication may be the objective, association with other cultural elements may be sought, or merely, the creation of a distinctive style. Image types 2D computer graphics 2D computer graphics are the computer-based generation of digital images-mostly from two-dimensional models, such as 2D geometric models, text, and digital images, and by techniques specific to them. The word may stand for the branch of computer science that comprises such techniques, or for the models themselves. 2D computer graphics are mainly used in applications that were originally developed upon traditional printing and drawing technologies, such as typography, cartography, technical drawing, advertising, etc.. In those applications, the two-dimensional image is not just a representation of a real-world object, but an independent artifact with added semantic value; two-dimensional models are therefore preferred, because they give more direct control of the image than 3D computer graphics, whose approach is more akin to photography than to typography. Pixel art Pixel art is a form of digital art, created through the use of raster graphics software, where images are edited on the pixel level. Graphics in most old (or relatively limited) computer and video games, graphing calculator games, and many mobile phone games are mostly pixel art Vector graphics Vector graphics formats are complementary to raster graphics, which is the representation of images as an array of pixels, as it is typically used for the representation of photographic images. There are instances when working with vector tools and formats is best practice, and instances when working with raster tools and formats is best practice. There are times when both formats come together. An understanding of the advantages and limitations of each technology and the relationship between them is most likely to result in efficient and effective use of tools. 3D computer graphics 3D computer graphics in contrast to 2D computer graphics are graphics that use a three-dimensional representation of geometric data that is stored in the computer for the purposes of performing calculations and rendering 2D images. Such images may be for later display or for real-time viewing. Despite these differences, 3D computer graphics rely on many of the same algorithms as 2D computer vector graphics in the wire frame model and 2D computer raster graphics in the final rendered display. In computer graphics software, the distinction between 2D and 3D is occasionally blurred; 2D applications may use 3D techniques to achieve effects such as lighting, and primarily 3D may use 2D rendering techniques. 3D computer graphics are often referred to as 3D models. Apart from the rendered graphic, the model is contained within the graphical data file. However, there are differences. A 3D model is the mathematical representation of any three-dimensional object. A model is not technically a graphic until it is visually displayed. Due to 3D printing, 3D models are not confined to virtual space. A model can be displayed visually as a two-dimensional image through a process called 3D rendering, or used in non-graphical computer simulations and calculations. Digital painting Digital painting is an emerging art form in which traditional painting techniques such as watercolor, oils, impasto, etc. are applied using digital tools by means of a computer, a digitizing tablet and stylus, and software. Traditional painting is painting with a physical medium as opposed to a more modern style like digital. Digital painting differs from other forms of digital art, particularly computer-generated art, in that it does not involve the computer rendering from a model. The artist uses painting techniques to create the digital painting directly on the computer. All digital painting programs try to mimic the use of physical media through various brushes and paint effects. Included in many programs are brushes that are digitally styled to represent the traditional style like oils, acrylics, pastels, charcoal, pen and even media such as airbrushing. There are also certain effects unique to each type of digital paint which portraying the realistic effects of say watercolor o n a digital watercolor painting. In most digital painting pro