Artificial Intelligence Related to Wall-E Robot Essay

1. Technological Advancement presented in WALL-E that are existing A. Voice Command This technological advancement presented in the movie is using the voice to execute primarily commands in which we are telling on what should be done. B. Search Command This technological advancement presented in the movie is using also our voice in which the said technology is arranging or systematizing an orderly search object in which the user is wish to know. C. Pattern Recognition This technological advancement presented in the movie is using using pattern schronization in which the agent is moving through patterns in which in provides where the agent direction and avoding collision to the other agent that have another pattern to follow. 2. Technological Advancement presented in WALL-E that are possible to happen A. Eve – flying robot This technological advancement presented in the movie is a robot in which capable of flying attach with scanner sensor and a weapon . This advancement would be possible because we do have some agent(s) that have sensor attach to them and agent that use in that has weapon use in military combat. B. Accel – ship This technological advancement presented in the movie can sustain life specifically human life in space for many years and attach with different system or technology. As presented in the movie they live in the space for 700 years living with sustanable oxygen and gravity balance. This techonology is possible in a way that that are the same to the experience of our astronouts discovering in the space and with the technology use in some science museum in which they can adjust gravity for us to experience space. And now we do have sensors and system that use in the ship ,likely some , thus it is possible for the human race to have. C. Transportation like a speed of light This technological advancement presented in the movie in which tha accel(ship) is returning to earth like a speed of light. It is possible because we do have now this technology boosting to space in which we can go to mars less than the usual frame time .

History of Sepak Takraw

HISTORY OF SEPAK TAKRAW In 1935, during the Golden Jubilee Celebrations for King George V, the game of sepak raga was played on a badminton court, in the Malaysian State of Negeri Sembilan. The development of the game was interupted by the war. In 1945 in Penang the net was again introduced and the popularity spread to surrounding areas and then countries. n 1965 Malaysia hosted the South East Asian Peninsular games (SEAP) and sepak raga was introduced. There were lengthy discussion between Malaysian and Singapore delegates, on the one hand, and Laos and Thai delegates, on the other, with regard to the official name of the sport. An agreement was subsequently arrived at and it was decided that the sport would be known as â€Å"Sepak Takraw†. Sepak means KICK in Malay and Takraw means BALL in Thai word. Almost every nation that played this game knew it by a different name. In Malaysia, Singapore and Brunei, it's called ‘sepak raga', whereas in Thailand it's commonly known as ‘takraw'. The same game goes by the name of ‘sipa' in the Philippines, ‘da cau' in Vietnam, ‘rago' in Indonesia, and ‘kator' in Laos. Since sepak takraw was played and enjoyed in several countries, there were a lot of inconsistencies in terms of how the game was played and judged. In 1960, representatives from Malaysia, Singapore, Indonesia, Lao and Thailand met in Kuala Lumpur to standardise rules and regulations for the game. And after a long and heated debate, consensus was reached that the sport would henceforth be officially called sepak takraw. They also formed the Asian Sepak Takraw Federation (ASTAF), and translated the rules into English, setting the stage for the first international competition, held in Malaysia in 1965, at the Southeast Asian Peninsular Games, or SEAP Games, the predecessor to today's Southeast Asian Games (SEA Games). This chain of events set the stage for the international development of sepak takraw. However, it was the replacement of the natural rattan ball, which tended to splinter and warp, with the more standardised synthetic plastic ball that really kicked the game's popularity into high gear. In 1990, sepak takraw was included at the Asian Games in Beijing. Women also got in on the action with the first women's championships in Thailand hosted in 1997. Today, more than 20 countries have national sepak takraw associations with representatives on the board of the global governing body, the International Sepak Takraw Federation (ISTAF). * FACILITIES AND EQUIPMENT Court The standard court of the Sport Sepak Takraw is an area of 13. 4m X 6. 1m free from all obstacles up to a height of 8m. It is advisable that the court is flat concrete surface. The width of the lines that determines the perimeter of the court should not be more than 0. 04m measured and drawn inside the measurements of the court. The lines of the court should also be at least 3. 0m away from any obstacles. Each side should have a 6. 7X6. 1m area. The centerline of the Sepak Takraw court, measuring about 0. 02m, divides the court into two equal halves. A quarter circle must also be drawn at the intersection of each of the sidelines with the centerline, measuring 0. 9m in radius. The quarter circle must be drawn outwards from the edge of the measured radius. The court should also have a service circle of about 0. 3m in radius. This circle is drawn on the left on the left and from the sidelines. The 0. 04m line will be measured on the right court and should be drawn outward from the ledge. The sideline facing the net should have a 2. 45m distance from the center of the circle and 3. 05m from the side. Posts The post height differs with males and females. The official height of the posts for males is 1. 55m from the floor and 1. 45m for the females. It should be made using very strong material and shall not be more than 0. 04 in diameter. The position of the posts should be 0. 3 m away from the sideline and should be positioned in line with the centerline. * Both male and female players are required to wear shorts and sleeved t-shirts. Players must tuck-in their shirts. The t-shirts for all players must also be numbered permanently in which numbers are only ranged from 1 to 15. The captain of each regu (team of 3 or 4 players) is required to wear an armband on their left arm. Any apparel that could endanger opponents is not allowed. * RULES AND REGULATION 1. THE COURT 1. 1. Area of 14. 4m (7. 2m X7. 2m each side of the court) x 6. 5m free from all obstacles up to the height of 8 m measured from the floor surface. The surface of the court must be beach sand. 1. 2. The width of the lines bounding the court should not be more than 0. 04m measured and drawn inwards from the edge of the court measurements. A tape or rope can be used to be the boundary lines. All the boundary lines should be drawn at least 3. 0m away from all obstacles. 1. 3. The Centerline of 0. 2m should be drawn equally dividing the right and left court. 2. THE POST 2. 1. The posts shall be 1. 55m (1. 45m for women) in height from the ground and shall be sufficiently firm to maintain high net tension. It should be made from very strong materials and shall not be more 0. 04m in radius. 2. 2. The posts shall be erected or placed firmly 0. 3m away from the sideline and in line with the Centerli ne. 3. THE NET 3. 1. The net shall be made of fine ordinary cord or nylon with 0. 06m to 0. 08m mesh. The net shall be 0. 7m in width and not shorter than 6. 50m in length and taped at 0. 5m from tape double at the top and sideline, called boundary tape. 3. 2. The net shall be edged with 0. 05m tape double at the top and the bottom of the net supported by a fine ordinary cord or nylon cord that runs through the tape and strain over and flush with the top of the posts. The top of the net shall be 1. 52m (1. 42m for women) in height from the center and 1. 55m (1. 45m for women) at the posts. 4. THE SEPAKTAKRAW BALL 4. 1. The Sepaktakraw ball shall be spherical having 12 holes, 20 intersections. It shall be made of synthetic fibre of one woven layer covering with synthetic rubber. The circumference shall not be less than 0. 0m and not more than 0. 44m. The weight before play shall not be less than 170 gm and not more than 200 gm for men and women. 4. 2. All world, international, region al competitions sanctioned by ISTAF, including but not limited to, the Olympic Games, World Games, Commonwealth Games, Asian Games and Sea Games, must be played with ISTAF approved sepaktakraw balls. 5. THE PLAYERS 5. 1. A team comprises four players and two reserves. The game is played by two â€Å"REGU's† consisting of four players (per team) on each side. 5. 2. The player serving will position himself behind the baseline of the court. Any one of the four players can execute the serve. 5. 3. The other three players shall be in their respective court. 6. PLAYER’S ATTIRE 6. 1. The players are allowed to wear anything besides jeans, long pants, and as long as the attire is decent. It is forbidden for players to wear anything that endanger themselves or their opponents during the game. 6. 2. Players wearing earrings, chains, watches and any other form of accessories are not allowed to play in the court. 6. 3. For women swimming costume is allowed but shorts or bermudas must be worn to overlap the costume. Jerseys T-Shirt, Singlet Round neck shirts Bermudas Shorts Tights Caps Sunglasses or Visors Goggles 6. 4. The players are permitted to use sun visors, goggles and caps to protect their eyes from the sun. 6. 5. The entire apparel of a player is regarded as part of his/her body 6. 6. The regu captain is identified with a marking or an armband on the left arm. ) 6. 7. Anything that helps to speed the ball or movement of a player is not allowed 7. SUBSTITUTION 7. 1. Substitution of a player is allowed at any time on request made by the Team Manager to the Official Referee when the ball is not in play. . 2. Each â€Å"Regu† is allowed to make one substitution per set only. 7. 3. A Player who has been sent off by Referee during a match may be substituted, provided no substitution has been made. 7. 4. Any player having played in the starting line-up or as a substitute in the current game is not allowed to play again. 7. 5. Any â€Å"Regu† having less than 4 players will not be allowed to conti nue the game and will be considered as having lost. 8. OFFICIALS For International Tournaments, the game shall be managed by the following officials: i) 2 Technical Delegates ii) 6 Jury ii) 1 Official referee (Seated behind the referee’s chair) 2 Referees (1 Referee seated in an elevated position and the other also seated in elevated position to help the referee. ) iv) 2 Linesmen Standing at the baseline facing the Referee 8. 1. Two technical delegates to the Sea Games, Asian Games and World Championships and any other international competitions that are sanctioned by ISTAF. The expenses of the Technical Delegates involving round trip air tickets, accommodations, meals and allowances of US$75. 00 per day shall be paid by the organizing committee. The host country must guarantee proper accreditation for technical delegates who have been appointed. The technical delegates must be allowed to inspect the competition venue, facilities and equipment to insure that they conform to ISTAF regulations 8. 2. ISTAF Members Jury of Appeals – 4 members to be appointed to a Jury of Appeal to any ISTAF sanctioned competitions including Asian Games, Sea Games and other International and Continental competitions sanctioned by ISTAF. The host country shall provide accommodations, meals and internal transportation during the competition period. Members of the Jury shall be paid US$20. 00 per day for their services. Two (2) members of the Jury of Appeal are to be appointed by the host country of whom one of them is the technical committee chairman and shall act as the chairman of the Jury of Appeal. As for the other member of the Jury of Appeal from the host country, he will act as secretary without vote. 9. THE TOSS AND WARM UP 9. 1. Before commencing the game, the Referee will toss a coin or disc and the side winning the toss will choose side or service. The side that loses the toss will abide with the decision. The side winning the tossshall â€Å"warm-up† first for 2 minutes followed by the other â€Å"Regu†. Only 5 persons are allowed to move freely in the court with the official ball. 10. POSITION OF PLAYERS DURING SERVICE 10. 1. At the start of play, the players of both â€Å"Regu's† must be in their respective courts in a ready position. 10. 2. The Player serving the ball must have both feet outside the base line. 10. 3. The other three players shall be within their side of the court and remain in one spot, while ‘serve’ is being made. 10. 4. The opponent or receiving Regu is free to be anywhere within its court. 11. START OF PLAY AND SERVICE 11. 1. The â€Å"Regu† that chooses â€Å"service† shall start the match. 11. 2. Once the Referee calls the score, the player doing the service will toss the ball in the air and kicks the ball over to the opponent. The ball can be kicked in any manner using the foot. If the Tekong throws the ball before the Referee calls the score, it shall be a re-throw and a warning will be given to the thrower. The serve can be executed anywhere along the baseline. 11. 3. During the service, as soon as the Tekong kicks the ball, all the players are allowed to move about freely in their respective courts. 1. 4. The service is valid if the ball passes over the net, whether it touches the net or not, and inside the boundary of the two net tapes and boundary lines of the opponent's court. 12. FAULT 12. 1. The Serving Side During Service 12. 1. 1. The â€Å"Tekong† plays about with the ball (bumping, giving to other player, etc. ) after the call of score h as been made by the Referee. 12. 1. 2. The â€Å"Inside† player lifts his feet or steps on the line or crosses over or touches the net while throwing the ball. 12. 1. 3. The â€Å"Tekong† does not kick the ball on the service throw. 12. 1. 4. The ball touches his own player before crossing over the opponent court. 12. 1. 5. The ball goes over the net but falls outside the court. 12. 1. 6. The ball does not cross to the opponent side. 12. 1. 7. The tekong foot touches the baseline or any other markings in the court before he kicks the ball to serve? 12. 1. 8. A player uses his hand or hands, or any other parts of his arm or arms to facilitate the execution of a kick even if the hand or arm does not directly touches the ball, but it touches other objects or surfaces instead when doing so. 12. 2. For Both Regus During The Game 12. 2. 1. Stepping on the centre line (except during a follow through) 12. 2. 2. Any player who touches the ball on the opponent side. 12. 2. 3. Any part of player's body crosses over into opponent's court whether above or under the net except during the follow through of the ball. 12. 2. For Both Regus During The Game 12. 2. 1. Stepping on the centre line (except during a follow through) 12. 2. 2. Any player who touches the ball on the opponent side. 12. 2. 3. Any part of player's body crosses over into opponent's court whether above or under the net except during the follow through of the ball 12. 2. For Both Regus During The Game 12. 2. 1. Stepping on the centre line (except during a follow through) 12. 2. 2. Any player who touches the ball on the opponent side. 12. 2. 3. Any part of player's body crosses over into opponent's court whether above or under the net except during the follow through of the ball. 15. SCORING OF POINTS 15. 1. A point is given to the Regu when its opponent have committed any fault 16. SCORING SYSTEM 16. 1. The winning point for the match is a maximum of 21 points 16. 2. The change of side shall occur whereby one Regu has reaches 11 Points 17. TEMPORARY SUSPENSION OF PLAY 17. . The Referee can suspend play temporarily in the event of obstructions, disturbances or any injury to a player who needs immediate treatment, for not more than 5 minutes. 17. 2. An injured player is allowed up to 5 minutes injury time-out. If after 5 minutes, the player is unable to continue, a substitution must be made. If the injured player's team has already made a substitution, the match will be declared a forfeit in favor of the opposing team. 17. 3. In the course of such suspension, all players are not allowed to leave the court 18. DISCIPLINE 18. 1. Every player must abide by the rules of the game. 8. 2. Only the Captain of the â€Å"Regu† is allowed to approach the Referee during the game. 18. 3. Players are not allowed to wear any jewelry or accessories e. g. earrings, chains, watches etc. in the court. 19. PENALTY 19. 1. Players disobeying rules will be penalised by the Referee 19. 1. 1. Showing dissent by words or action towards any officials, with regards to any decision and to any players or spectators 19. 1. 2. Using foul or abusive language to any officials, players or spectator 19. 1. 3. To take any improper step or action in order to influence any decision made by the officials 19. 1. 4. To leave the court without the permission of the Referee 19. 1. 5. To commit ungentlemanly conduct 19. 1. 6. To disobey orders and rules of play The Referee may use one of the following cards: Yellow Card – Caution Red Card – Expulsion Red card shall be given to the following offences committed â€Å"INTENTIONALLY† 19. 1. 7. Persist in misconduct after receiving a caution 19. 1. 8. Violent conduct (eg. Striking, kicking the opponent, spitting, etc) 19. 1. 9. Using foul or abusive language Note: Any player who is shown the Red Card shall be sent off the court and disciplinary action shall be taken against him. The Player concerned shall not be allowed to play in any game until sanction has been made. 19. 2. Fouls and misconduct are penalized as follows: Disciplinary Sanctions – 19. 2. 1. Cautionable Offence A player is cautioned and shown the yellow card if he commits any of the following six offences: 19. 2. 1. 1. Is guilty of unsporting behavior by the display of such action that can be reasonably regarded as either a mitigated or unmitigated violation of the norms of sporting ethics, which can be considered as having or will have a detrimental effect on the proper conduct of the match as a wh19. . 1. 4. Delays the restart of play. 19. 2. 1. 5. Enters or re-enters the court without the referee's permission. 19. 2. 1. 6. Deliberately leaves the court without the referee’s permissionole. 19. 2. 1. 2. Shows dissent by word or action. 19. 2. 1. 3. Persistently infringes the Laws of the Game 19. 3. Sending-off Offences A player is sent off and shown the red card if he commits an y of the following five offences: 19. 3. 1. Is guilty of serious foul play. 19. 3. 2. Is guilty of violent conduct, including an act executed with deliberate intent to cause injury to his opponent. 9. 3. 3. Spits at an opponent or any other person. 19. 3. 4. Using offensive or insulting or abusive language and/or gestures. 19. 4. A player who commits a cautionable offence either on or off the court, whether directed towards opponent, team-mate, the referee, an assistant referee or any other person, for which a yellow card is awarded for each the offence committed is disciplined as follows: 19. 4. 1. Offence: First Yellow Card: Penalty: Normal Caution 19. 4. 2. Offence: Second Yellow Card received by the same player in different matches, but in the same tournament. Penalty: a) One Match Suspension 19. 4. 3. Offence: Third Yellow Card received after suspension for the first two Yellow Cards in the tournament by the same player. Penalty: a) Two (2) Matches Suspension b) A Fine of US$100 (One Hundred Dollars is to be paid by the club or any other body the player represent in the match. 19. 4. 4. Offence: Fourth Yellow Card Yellow card received after two matches' suspension for the earlier Third Yellow Card in the same tournament by the same player. Penalty: Immediate suspension from playing in the next or subsequent matches in any tournament sanctioned by relevant Sepak takraw controlling authority until a Disciplinary Committee is convened and a have been reached on the matter. 19. 4. 5. Offence: Two Yellow Cards received by the same player within the Same match. Penalty: b) Two (2) Matches Suspension c) A Fine of US$100 (One Hundred Dollars is to be paid by the club or any other body the player represent in the match. d) A Red Card will be given for a third disciplinary offence committed in any other matches in the tournament. 19. 5. A player who commits a sending-off offence either on or off the court, whether directed towards opponent, team-mate, the referee, an assistant referee or any other person, for which a red card is awarded for each of the offence committed is disciplined according to the nature of the offence committed is disciplined as follows: Offence: 19. 5. 1. A Red Card Penalty: Send-Off from the game and immediate suspension from playing in any tournament sanctioned by the relevant controlling authority for Sepak takraw until a Disciplinary Committee is convened and a decision has been reached on the matter. 0. MISCONDUCT OF TEAM OFFICIALS 20. 1. Disciplinary action will be taken against Team Officials or his team for any misconduct or disturbances committed by the official or team during a tournament whether in or outside the court. 20. 2. Any team official who commits misconduct or disturbances will be immediately escorted out from the arena by the tournament officials and the official referee and will also be immediately suspended from being a team official, until a Disciplinary Committee is convened and a decision has been reached on the matter. 21. GENERAL 21. 1. In the event of any question or any matter arising out of any point, which is not expressly provided for in any of the rules of the game, the decision of the Official Referee shall be final. BASIC AND FUNDAMENTAL SKILLS: Inside Kick. Arguably it is the most important skill. This is the kick you will use the most. Watch any top class players in action and you'll see that this is the control kick of choice. This move sets up all the killer spikes. While doing an inside kick, you should stand in a good athletic stance. Feet shoulder width apart. Remember to bend your support leg at the knee. And, it is important, always keep an eye on the ball! The kicking motion is easy and don't swing at the ball too hard. The ball is bouncy and you need to just hit it in the right spot on your foot as well as with the proper motion. Try a few times of simply tossing the ball to yourself. Focus on the ball and pop it back up to your hands. Catch the ball and then try again. Do this until the ball is consistently coming back up with ease and pop it back up to your hands. Once you have gained consistency in this drill you can begin to try to link some kicks together. Try dropping to your strong foot, popping the ball up and then kicking with your weak foot before catching the ball. Try to link three kicks together, on alternating feet. You should be able to see your progression. All rights reserved. Spiker Dek is owned by Sport Action International in the promotion of sepak takraw in the Takraw Thailand League. All rights reserved. Knee/Thigh kick. The knee and thigh is used when the ball comes fast towards the area between your knees and your waist. This skill is used to â€Å"bump† or deflect the ball up enough to use an inside kick to control the ball. It is also used when kicking consecutive kicks or in a circle and the ball gets to close to your body. The motion is like a high step marching motion. Simply raise the leg with your hip allowing your knee to bend. Try to contact the ball on the thigh where possible instead of the knee as it provides better control. Make sure the ball hits the fleshy part of the thigh to â€Å"bump† the ball up and out a bit. Try a few back up to your hands. Once you feel comfortable, try to link with one inside kick, and then catch the ball. Do this over and over until it comes naturally. Once you get this combination and doing it naturally without thinking, you will be aware of your improvement in skill. Header. The header is probably the second most important skill to have, especially in the net game. The header is used to pop up a ball that comes higher than the waist. The best way to learn the header is like the inside kick. The contact point should be just above the forehead at the hairline, not too much on the forehead and not too much on the top of the head, right in between. Toss the ball to yourself, hit it with your head and then catch it. Do this several times until you feel comfortable with this skill. When doing the header, remember to bend your knees and get low beneath the ball. Like the other kicks, you don't need to focus on power but on accuracy and placement. The next step in this skill drill is to toss the ball higher and again control it with your head before catching the ball. It hurts a bit at first, but you'll get use to it. The graduating step is to a header from a high inside kick or from a header to a controlling inside kick. Try both combinations as you will be using both of them as you begin to play more Front kick/Toe kick. The toe kick is a defensive kick, great for saving a ball that has gotten out in front of you. It is not, however, a good control kick. Those who play soccer may disagree, but in sepak takraw the inside is the right way. Learn the toe kick for saves, the inside for control. The toe kick is achieved by placing the foot out for the ball and depending on the height of the, either lifting the foot with your hip or just letting the ball bounce off. You don't need much power because the ball tends to fly off uncontrollably. Do it slow and take it easy. Like the other kicks, do the same toss and catch drill. Then try with different combinations. Do the same progression. * TERMINOLOGY : Block: Blocking is a defensive skill used to counter a spike coming from close to the net. Block is usually made by jumping in the air and raising a leg and/or back to divert the ball back into the opponents court. A block counts as one contact. Center Line: Divides the length of the playing court into two equal halves. Dig: The act of fielding hard hit ball successfully, usually a spike or block, to regain control. i. e. The Dig by Thailand came at crucial point in the game.. Dink: A soft hit ball -usually either a â€Å"dink serve† or a â€Å"dink spike† Fault: A violation of one of the rules of the game. Feeder: Person who â€Å"sets† the ball to the â€Å"spiker†. First Ball: Term used to describe receiving the serve by the opposing team. Killer: Same as Spiker. Common in international terminology. Quarter Circle: Place on court where the serving team's forwards (left inside and right inside players) must remain until the ball has been kicked by the server or back player. Regu: Malaysian word for team. In takraw, a team of 4 players (3 starters plus 1 reserve) is known as a â€Å"Regu† and a squad of 3 â€Å"Regu's is known as a â€Å"Team†. Roll Spike: Spike in which the player jumps with his back to the net, rotates in the air and kicks the ball over the opposite shoulder from the kicking foot with a flip like motion. The most dramatic and famous move in the game! Service Over: When the serving team fails to return the ball over the net or commits a fault or foul. The opposing team becomes the serving team but a point is not awarded to either team. USA also uses the same term as volleyball – â€Å"Side Out†. Serving Circle: Circle of 1 foot radius located in both halves of the court. The server is required to have one foot touching the ground inside the serving circle during a serve. Set (1): A period of play which is concluded when one team reaches 15 points. Matches consists of the best of three sets. Set (2): A high pass by one player to a team-mate or to self to enable a spike. Service: The act of putting the ball into play by the back player. Service (Hand) Toss: A hand throw of the ball by one of the forward â€Å"inside† players to the â€Å"back† who must kick the ball into play in one try. Spike: A powerfully hit shot directed into the opponents half of the court by the foot or head. Sunback Spike: Spike in which the player jumps with his back to the net and kicks the ball over the same shoulder as the kicking foot. In soccer this is known as a â€Å"bicycle kick† or â€Å"bike† for short. * STRATEGIES: The strategies in Sepak Takraw are very similar to those in volleyball. The receiving team will attempt to play the takraw ball towards the front of the net, making the best use of their 3 hits, to set and spike the ball. THE GOAL The goal in any form of takraw is to keep the hand-woven ball off the ground for as long as possible using any part of the body except hands and arms. Takraw challenges an individual's assumptions of what they are, and are not, capable of doing. As you gain control of the takraw ball, you will find it very rewarding when you can easily whiz through a string of consecutive kicks or place an accurate pass to another player. While amazing yourself and your friends, you will also be having fun, greatly increasing your eye-foot coordination and overall ball control (super for enhancing and refining soccer skills), strengthening your legs and really increasing your flexibility. GETTING STARTED: Try the FIVE BASIC KICKS/HITS shown here. These kicks may seem awkward at first, but be patient and practice each kick individually. What was impossible yesterday, can be achieved today. Once the basics are learned, try the free style kicks (and make up some of your own), then you can play a whole series of games, including the ones below. . INSIDE KICK There are 5 basic kicks/hits that any good Takraw player will have mastered. The most important of these is the inside kick, for it provides maximum ball control. Use this kick to field a ball dropping in front of you. With your planted leg flexed at the knee, lift up your other leg and swing the foot and lower part of the leg in and up sideways like a pendulum in fro nt of you, turning the ankle so that you hit the ball with the flat surface of the inside of your foot. The inside kick is commonly used for passing and setting the ball up high for a spike. 2. THE OUTSIDE KICK The Outside Kick is used when the Takraw ball drops outside your shoulders and slightly behind you. It is similar to the Inside Kick in that your leg swings like a pendulum, but out and upward (rather than in and upward). Shift weight to ball of support foot as you lift kicking leg up away from body. Turn your ankle so that toes are pointing out (not down), which enables you to kick the ball up with the flat, outside surface of your foot. Avoid swinging or kicking your leg forward (only lift it upward). 3. FRONT FOOT KICK This kick is primarily used to save a low ropping ball in front of you. To propel the ball upwards most consistently, the front of your foot must be flicked up in a quick smooth motion as the ball is contacted (remaining loose at the ankle, not stiff). 4. THE KNEE BUMP The Knee Bump is usually used to deflect upwards a low angle pass or a fast serve to the mid-body. Lift your knee up very quickly, with the foot following underneath (not kicking out) . The ball is contacted at about waist level with the front of your thigh, just behind the knee, for maximum upward thrust and height. Contact with ball in mid-thigh area will serve he same purpose, but ball will not be thrust up as high. Note: both the Front Foot Kick and Knee Bump are used for added control when making a save or controlling a pass. They do not always provide consistent control. 5. THE HEADER The fifth basic hit is the Header, and it is used frequently in games to deflect upwards a high angle pass or fast serve to the upper body. With legs flexed at the knees, put the top of your forehead in front of the ball, lifting up your chin and spring up from the legs as the ball strikes the forehead so as to deflect it up high in your own court. General Helpful Hints: aIways be in a ready stance, with feet pointing ahead and shoulder width apart, knees slightly bent, weight low and slightly forward. – with the basic kicks/hits, usually you should face the direction t hat you want to direct the ball to as you contact it. – approach contact with the ball in a slow, easy and relaxed fashion, it is more important to first develop good timing (knowing when and how to contact the ball) than it is to kick the ball hard. – the support leg provides your balance so should maintain a low profile and be flexed at the knee as your other foot executes the kick. ambidexterity is key to being a more versatile player, when ball approaches your right side, kick it with your right foot – left side, left foot. FREE STYLE This is your chance to expand on your basic kicks and come up with some more challenging moves of your own. Here are a couple to get you started. FLYING CLIPPER Leap off the same foot that you'll use to kick the ball. Cross your kicking foot behind and under your other leg. Lift your kicking foot, turning your ankle and making contact with the ball with the flay surface on the inside of your foot. HAND LOOP This move can be don e with a number of kicks. Position our arms to form a loop. The idea is to have the ball first fall through the hand loop then kick it back upward through the loop. Different Games SOLO PLAY The object of play is to keep the takraw ball in the air as long as possible without using hands or arms, anything else goes! CIRCLE GAME The object of the traditional â€Å"Circle Game† is the same as â€Å"SoIo Play†, except with a group of players standing in a circle. This activity was played as far back as the 14th century in India, Laos, Malaysia, Myanmar (Burma), the Philippines and Thailand using a similar ball that was woven out of a rattan material, available in abundance there. SEPAK TAKRAW – THE NET GAME â€Å"Sepak† is Malay for â€Å"kick† and â€Å"Takraw† is Thai for the â€Å"hand-woven ball† that is used. In 1945 enthusiasts added a court and net with the same dimensions as in doubles badminton, and a set of rules similar to volleyball (without using hands or arms) to form a fantastic spectator sport with world championship tournaments held in both Malaysia and Thailand. In western countries it has been mostly Laotian immigrants who have first introduced Takraw to others. Now ASEC INTERNATIONAL is also happy to help introduce, promote and organize this fun and exciting recreational activity/sport! PLAYER'S POSITIONS: 1. The serving team's forwards must remain in their quarter circles' while the back player must have only one foot in the ‘serving circle' until the ball is contacted by the servers foot. 2. The receiving teams players may stand anywhere in their side of the court, but usually the back player stands just in front of the serving circle with the forwards on either side of him. 3. Players are allowed to move freely on each half of the court once the ball is has been served. TO BEGIN PLAY: The game begins by one of the forwards tossing the takraw ball to the back player. The back player must then kick the ball, with the foot that is outside the serving circle, into the opponent's court in one try (usually with an extended version of the inside kick). The serve is still good if the ball hits the net as it goes into the other half of the court. SCORING: 1. Only the serving team can make a point. 2. A fault by the team possessing the ball constitutes a loss of serve'. 3. A set is won by scoring 21 points, unless the points are tied 20 -20, then the set shall be decided on a difference of two points, up to a ceiling of 25 points. 4. A match is won by winning two out of three sets. . If each team wins one set, the tie breaker set only goes to 15 points,unless the points are tied 14 – 14, then the set shall be decided on a difference of two points, up to a ceiling of 17 points. FAULTS: 1. The back player does not kick the ball over the net on the service toss. 2. The ball falls to the ground inside or outside of the court. 3. The ball is hit more th an three times in succession by one side. 4. The ball hits the net but does not go over it. 5. The ball hits the hand or arm of a player. 6. Any part of the body touches, crosses the plane, or goes under the net. . The ball rolls on the body or is stalled. Note: One player may hit the ball twice, or even three times, consecutively. The ball may be hit up to 6 feet outside court's perimeter. CONTROL: When receiving a serve, stay low and deflect the oncoming ball upwards (head and thigh shots are highly effective for this purpose). SETTING: Setting is a skill which is executed by propelling the ball high above the net to enable the same, or another, player to smash the ball into the opponent's court. Usually the player with the best ball control is setter. SPIKING: After the ball has been set, it can be spiked down into the opponent's court by the spiker's head or foot. This is the most effective and dramatic move in the sport. Usually one of the forward players is designated as spiker during the game so that no confusion will arise as to who will spike the ball. BLOCKING: A block is a defensive skill used mainly for the purpose of preventing a spiked ball,that is coming from above and close to the net, from flying into the defending side. A block is usually made by jumping and raising the side of one's foot and leg above the net, or by turning and jumping up with the back to the net. OFFICIALS: a. Member of Referees' Committee b. Referee c. Assist. Referee d. Reserve Referee e. Standby Referee f. Team's Manager g. Team's Coach h. Players i. Spectators Referees shall avoid getting themselves involved in dispute members of the public, the press, Sepak Takraw officials or players on matters pertaining to refereeing. An unpleasant incident encount ered must promptly be reported to Chairman Referee. Referees must at all times uphold the Laws of the Game, The Rules and Regulations. Referees must at times observe the 3Fs – Firm, Fair and Fit. The level of physical fitness must always be maintained to ensure consistency with the requirements of good refereeing. Referees must behave as professionals and conduct themselves in a manner that will bring honour to themselves and the country. Referees detailed to officiate in a sepak takraw tournament must report at the venue at least 30 minutes earlier for local games and 1 hour earlier for International Games. Official Referees must ensure that all referees stay behind until all games have ended before giving a short briefing and officially release the referees to go home. Official Referee is responsible to record down the names of

Personal & Professional Healthcare Communication Paper Essay

Communication, according to the Free Dictionary, is â€Å"the exchange of thoughts, messages, or information, as by speech, signals, writing or behaviors†. It is vital in the development and maintenance of personal and professional relationships. It is important to understand communication also includes non-verbal as well as verbal acts. According to Rane (2010), 93% of communication is nonverbal and body language is an effective nonverbal communication tool. There are two essential components in communication, which are a sender and receiver of a message. In the personal and professional health care communication paper, I will discuss the definition of healthcare communication, the relevancy of effective personal healthcare communication to health outcomes, how the lack of effective personal and professional healthcare communications contributes to poor health outcomes, and the theories and principles of therapeutic communication in health care settings for the healthcare pro fessional (UOP, 2012). Healthcare communication definition In the healthcare field communication is vital to provide optimal care for the patient and enhancing the ability to make informed decisions. Healthcare communication relates to communication between people in health care organization, according to Northouse, 1998. This communication allows for questions and answers to who, what, where, how and when about health-related information in the patient-healthcare professional relationship. When used correctly communication enhances patient outcomes and results from patient surveys. Relevancy of effective personal healthcare communication with other healthcare professionals, clients, and patients (UOP,2012) Communication with the healthcare team including the patient, their family, medical professionals such as the doctor, nurse, and ancillary services such as X-ray department, pharmacy is vital in achieving the best outcomes as a result of evaluation, intervention, and the overall status of the patient. In order to give high-quality health care, it requires effective communication between the team and the patient. In cases of Non-English speaking patients or individuals with hearing impairments, they require other resources for effective communication such as interpreters, picture board or other devices. The healthcare professional must explain procedures or management of care to the patient or family to ensure optimal goals. It is through effective communication that the healthcare professional empowers the consumer with knowledge related to their illness, its ’ schedule of care by increasing patient compliance. It is when the patient does not understand what is happening in the health care system they need the professional to be understanding and sensitive by taking time to explain. This aids the patient by meeting their need to understand according to Northouse, 1998. Relevancy of effective professional healthcare communication to health outcomes (UOP, 2012) Effective professional healthcare communication is relevant to desired health outcomes. Successful communication is essential between team members because it allows for the development of specific objectives to accomplish. The health care team strives as one but individually they ensure the patient reaches the desired outcomes. If all team members are not â€Å"on board† to assure the patient reaches the goals set forth causes an uphill battle which produces conflict. This conflict could be productive by encouraging the team to review a difference in opinion that can be beneficial for the patient. How the lack of effective personal and professional healthcare communications contributes to poor health outcomes (UOP, 2012)   The lack of effective personal and professional healthcare communication affects teamwork, patient satisfaction, patient safety, patient management, compliance with treatment, level of anxiety, job satisfaction efficiency, which potentially leads to poor patient health outcomes (www.health.vic.gov.au/qualitycouncil/safetymodul/page22.htm). The purpose of effective communication in healthcare is to provide first-class medical care, minimal to no medical errors and have precision; and without it there is room for medical errors, poor patient care and an ineffective team that produces undesired outcome. In the professional and patient relationship, the lack of good communication causes the patient to be apprehensive in asking questions, to worry about being bothersome because they feel other patients are sicker, and there is an assumption that the patient doe s not have any concerns. There are barriers to communication that include only one between the sender and receiver of the message understands the message, cultural differences, and lack of education. In sending the message it is essential that the message is received with clarity, it is concise and complete. If the patient has a language barrier, it can be masked by the patient not responding to information and it is detected as a result of poor or no compliance. In literacy concerns, all information should be presented on a 5th grade level to aid in the comprehension of the information. The care of the patient should be patient/family centered which helps in detecting any language, cultural or literacy barriers (Schyve, 2007). For example, a 46 year old single male patient that is functionally literate is admitted with a diagnosis of acute angina. During the admission process it is disclosed he completed the 7th grade which renders him functionally literate and there is no language barrier. The cardiologist (heart doctor) comes in and discusses his plan of care that includes a stress test. The nurse asks the patient if he has any questions and he reports he cannot do any exercise. The nurse provides information related to the procedure that includes using medications to mimic the manual exercise. The theories and principles of therapeutic communication in health care settings for the healthcare professional (UOP, 2012) Therapeutic communication is a process in which the nurse consciously influences or helps the client to better understanding through verbal or nonverbal communication (The Free Dictionary). There are detailed approaches that promote the expression of feelings and ideas that convey approval and respect in a non judgmental manner. Therapeutic communication encourages the patient to participate in the plan of care. The patient would not be receptive to engaging in communication if the nurse runs in and out of the room hurriedly or promises to perform a task and not complete it. It is important that the patient views the care professional as one that is cari ng and willing to go the extra mile for the patient. The patient can be appreciative of any act of kindness displayed by the professional in as they promote Jean Watson’s Theory of Human Caring. Most nurses chose this career because of a genuine caring attitude toward all mankind therefore using the Watson’s caring theory will enhance the caring system. The information found in Watson’s caring theory helps the nurse revisit the place of traditional values, which is the foundation of becoming a nurse The following are Watson’s clinical caritas process (es): †¢Ã¢â‚¬Å"Practice of loving-kindness and equanimity with context of caring-consciousness† (Alligood & Tomey, 2006 p.116); †¢Ã¢â‚¬Å"Being authentically present and enabling and sustaining the deep belief system and subjective life world of self and the on-being-cared-for† (Alligood & Tomey, 2006 p.116); †¢Ã¢â‚¬Å"Cultivation of one’s own spiritual practices and transpersonal self, going beyond ego self. Being sensitive to self and other† (Alligood & Tomey, 2006 p.116); †¢Ã¢â‚¬Å"Developing and sustaining a helping-trusting, authentic caring relationship† (Alligood & Tomey, 2006 p.116); †¢Ã¢â‚¬Å"Being present to and supportive of the expression of positive and negative feelings as a connection with deeper spirit of self and the on-being-cared-for† (Alligood & Tomey, 2006 p. 116); †¢Ã¢â‚¬Å"Creative use of self and all ways of knowing as part of the caring process and engagement in artistry of caring-healing practices† (Alligood & Tomey, 2006 p. 117); †¢Ã¢â‚¬Å"Engaging in genuine teaching-learning experience that attends to unity of being and meaning and attempts to stay within other’s frame of reference† (Alligood & Tomey, 2006 p. 117); †¢Ã¢â‚¬Å"Creating healing environment at all levels (physical as well as nonphysical) whereby wholeness, beauty, comfort, dignity, and peace are potentiated† (Alligood & Tomey, 2006 p. 117); †¢Ã¢â‚¬Å"Assisting with basic needs, with an intentional caring consciousness; administering human care essentials, which potentiate alignment of mind-body-spirit, wholeness, and unity of being in all aspects of care; attending to both embodied spirit and evolving emergence†, (Alligood & Tomey, 2006 p. 118) and †¢Ã¢â‚¬ËœOpening and attending to spiritual-mysterious and existential dime nsions of one’s own life-death; soul care for self and the one-being-cared-for† (Alligood & Tomey, 2006 p. 118). The Caring Theory facilitates therapeutic communication because it addresses all aspects of the patient’s being which encourages the patient to be more open and receptive to the treatment and procedures needed to promote desired outcomes. â€Å"Give to everyone who asks of you, and from the one who takes what is yours do not demand it back. Do to others as you would have them do to you† (King James Bible, Luke 6:30-31). In conclusion, effective communication is understood by the patient and healthcare team and if there is a misunderstanding the communication is nonexistent, the terms of health care cease or continues with poor quality and high risks to patient safety (Schyve, 2007). Effective communication enhances the potential to provide error-free care of the patient. When there is an error it is viewed as the inability to provide optimal patient care (O’Daniel & Rosenstein, date unknown). In order to provide premium quality patient care effective communication is a requirement; therefore it is an important role of communication and teamwork to reduce errors in the medical field thus increasing patient safety and promoting desired outcomes (Grover, 2005). I believe in providing therapeutic effective communication the health care professional should utilize professional skills learned especially those the endorse a caring and nurturing nurse-client/patient or professional-professional relationship. References Alligood, M. R. & Tomey, A. M. (2006). Nursing theory: Utilization & application (3rd ed.). St. Louis, MO: Mosby Elsevier Grover, S. M. (2005). Shaping Effective Communication Skills and Therapeutic Relationships at Work. AAOHN Journal, 53(4), 177. King James Version. (1976). The Holy Bible. Nashville, Tennessee: Thomas Nelson, Inc Northouse, L. & Northouse, P. (1998) Health communication: Strategies for health professionals (3rd ed.) Upper Saddle River, NJ: Prentice Hall O’Daniel, M. & Rosenstein, A. ( ). Chapter 33. Profession Communication and Team Collaboration www.ahrq.gov/qual/nurseshdbk/docs/O’DanielM_TWC.pdf Rane, D. B. (2010). Effective Body Language for Organizational Success. IUP Journal Of Soft Skills, 4(4), 17-26. Schyve, P. (2007). Language Differences as a Barrier to Quality and Safety in Health Care: The Joint Commission Perspective. Society of General Internal Medicine The free dictionary. http://medical-dictionary.thefreedictionary.com/therapeutic+communication†>communication The free dictionary. http://medical-dictionary.thefreedictionary.com/therapeutic+communication†>therapeutic communication University of Phoenix, 2012. HCS/350-Health Care Communication www.uop.edu Why is communication important in health care? http://www.health.vic.gov.au/qualitycouncil/safety_module/page22.htm

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Argument Paper#1 - Essay Example e method through which the government and the policy makers can increase and encourage others to donate organs is by paying donors and their family members for donations either by paying them in hard cash or providing them with benefits that have a monetary value such as tax credit or a better retirement plan. There is a heavy debate amongst policy makers about whether to use monetary incentives to promote organ donation or not. There are several reasons due to which opponents of monetary incentives are against this method, but the proponents have a very solid case to defend the position of using monetary incentives. Selling of organs should be encouraged and should be legalized in order to save important lives, in order to make organs more accessible and to decrease the healthcare cost of the government. Selling of organs should be legalized by the government if it wants to save significant lives that are waiting on the list of receiving organ donation. A huge number of people who are waiting for the donation are those who belong to the youth category of the society. This section of the society is very essential for the better future of the society. Siegel in his article has stated that there are young and healthier individuals who are waiting for a donation (Siegel, 2011). If selling of organs is legalized, it will encourage living people to donate their organs and it will even encourage people to get themselves registered for donating their organs after their death. This in turn will help in saving several young individuals who are healthy and can contribute to the society in a healthy manner. Legalizing sale of the organs will increase the accessibility of the organ donation amongst those who cannot afford to purchase organs. Currently there is a black market of organ donation and in this black market a huge number of organs are being sold at very high prices which are only accessible by those who belong to high income earning groups. At the same time there

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Risk Analysis Look Magazine - Research Paper Example A risk can be termed as the possibility of losing something of value or an uncertainty that hinder normal operation. This project aims at focusing on the various risks facing the Look Magazine and how they can be mitigated. The Look Magazine has the challenge of sourcing funds through sponsorship. Organizing a fashion show is an expensive undertaking that requires enormous resources and funds. The Look Magazine is not certain about getting sponsors to fund the entire undertaking. Lack of sponsors might result in finance problems, and this might paralyze the effective execution of the undertaking. The Magazine face stiff competition from other established brands such as Grazia, Glamour and Cosmopolitan. For this reason, vigorous advertisement and various promotional strategies have to be done to ensure that the Look Magazine does not exit the market (Mather, 2013). Therefore, lack of sponsors may hinder the Magazine from holding a glamorous fashion show. Launching the new app for the magazine is not a cheap venture. The magazine requires enormous funds for it to develop a unique App that is different from those of its competitors. In this regard, the magazine faces the risk of sourcing funds to launch the App. In addition, the Look Magazine faces the risk of technical problems since the existing staff is not well acquainted to the new App. Generally, launching the new App is not a smooth process and therefore several risks are anticipated to take place. Competitor magazines such as the Grazia, Glamour and Cosmopolitan have established various marketing strategies that are tailored to win more customer. The three main competitors (Grazia, Glamour and Cosmopolitan) may choose to organize fashion shows as well. If the competing magazines organize a similar event, the Look Magazine is at risk of losing some of its existing customers if effective measures are not taken on time. Competitors pose a challenge to any business and therefore firms should

Research for Career Path for BSN(only) Paper Example | Topics and Well Written Essays - 1250 words

For Career Path for BSN(only) - Research Paper Example The lack of appropriate knowledge means that nurses will, at all times, be lacking in certain areas where they are expected to perform the best. Thus, student nurses require long-term motivational aspects that will make them enjoy their profession and help people more in the future (Buerhaus, Auerbauch, and Staiger, 2009). Many who have upgraded their Registered Nurse diplomas to a bachelor’s degree have cited an improved perception of their work and an eventful stint at their work settings; the bachelor’s degree just adds the required confidence to the nurse as a way of ensuring that they perform their duty as expected. However these nurses are quickly running out of options in their career path. Nurses provide at least 80% of direct patient contact, and thus expect to be trained well and awarded career options that will serve them for long-term benefits and not for the short-term goals alone (Marsland and Hickey, 2003). Rewards have limited most people from entering t his education level and have thus led to attrition. However, this report will seek to search for three career options that a graduate holding a Bachelor of Science in Nursing (BSN) can choose. Career Options A BSN prepared registered nurse (RN) has several options from which they can choose. For the purpose of this report, the three choices are public health nurses, military service nurses and long-term care nurses (Buerhaus, Auerbauch, and Staiger, 2009). These choices are entrusted to them because it is believed that the knowledge they hold at this level can be used for national service. There are reports that show that the more knowledgeable a nurse is, the higher the chances for their patients to survive. This is because they have a greater awareness that is helpful in the increase of a substantial survival advantage. It is also statistically proven from a research carried out by Metz, Fouad and Ihle-Helledy (2009) that at least 25% of all BSN graduates interviewed want to pursu e a career in faculty role and 76% wanted to further their education to fit into the national grid. However, even as BSN they have a high chance of being recruited into the workforce and serve as nurses in the long-term care centers, as public health nurses or military nurses as they would prefer. Why These Choices It is projected that by the year 2025, the number of nurses required to serve the public will have increased to at least 1 million. The growing number of baby boomers has necessitated a review of the way nurses are registered given that at least 260,000 registered nurses will be required to cater for this increase (Buerhaus, Auerbauch, and Staiger, 2009). Further, an increase in the number of chronically ill currently placed at over 100 million, means that the current number of nurses is strained and the ill are not receiving the care they require. The increasing complexities in the medical world also require knowledgeable people in different areas who can multitask and h elp to alleviate any backlogs that may arise while ensuring the safety of the patients. Despite this increased need for nurses it is also reported by the American Association of Colleges of Nursing (AACN) that a large number of qualified undergraduate baccalaureate applicants are being turned down annually (Fang et al., 2011). They claim that the limited number of facilities as well as an inadequate number of faculties in the nursing field has limited the number of

Computers in Society Essay Example | Topics and Well Written Essays - 750 words

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A Raisin in the Sun Essay Example for Free

A Raisin in the Sun Essay The significance of Lena Younger in the screenplay and movie A Raisin in the Sun by Lorraine Hansberry, directed by Kenny Leon In the movie A Raisin in the Sun derived from the screenplay by Lorraine Hansberry, the character of Lena Younger is effectively portrayed to show the importance of the plant as a symbol of Lena being in possession of a garden to call her own. However, the theme of dreams, especially Lena’s, is not made prominent enough to show Lena as a symbol of African American’s in the 50’s owning a house and moving up in society. In the screenplay of A Raisin in the Sun, Lena Younger is a sensitive mother and grandmother to the Younger household. She is very religious, and demands of her kids to thank God for their lives. This is shown when Lena slaps Beneatha for challenging the idea of God in her life. Lena says, â€Å"Now you say after me, in my mothers house there is still God† (Hansberry 39). This scene is effectively remade in the movie. The actress that plays Lena makes her anger and shock in Beneatha’s comment very believable, which further emphasizes the fact that Lena’s values are portrayed just as effectively in the movie as they were in the written screenplay. Lena also stands up for herself, much like her daughter Beneatha. This is shown in the scene where Lena goes to the market to buy some apples that are in very bad condition. Lena says, â€Å"Got the nerve to be askin’ people thirty-five cents for them apples look like they was on the scene when Moses crossed over Wouldn’t be tryin’ to sell ’em over yonder where I work† (Hansberry 54). In this scene of the screenplay, Lena’s character seemed very headstrong. In the movie however, this quote was not included. Instead Lena told the clerk, in a sarcastic tone, â€Å"Am I being charged for the worms too? † (A Raisin in the Sun), which means that the quality of the apples was not good. Although the scene was different, the point Hansberry was trying to make came across both ways. Lena came across as a headstrong woman who only wants the best and nothing less, within her budget. In these ways Lena Youngers character was portrayed effectively, however, her character has more significance that just good acting. One of the most important symbols in the screenplay A Raisin in the Sun is the plant. Throughout the screenplay and the movie, no one else in the Younger household cares for the plant except for Lena, which is why the symbol directly links to her. In the screenplay, as soon as Lena enters her apartment she goes to open the window. â€Å"Lord, if this little plant dont start getting more sun, it aint never going to see spring again†. (Hansberry 66). This shows that after a long day, she still cares for her feeble little plant, and its growth. In the movie this scene was not portrayed effectively, mostly because the apartment the director chose does not accurately fit the description in the screenplay, thus making the symbolism of the plant ineffective. Despite that, the true symbolism of the plant is that Lena was longing for her own garden, and that was shown effectively in the movie. The quote from the movie corresponding to this scene is â€Å"If that plant don’t get more sunlight than it’s been getting, it’s just gonna give up† (A Raisin in the Sun) which shows that Lena does care for the plant, but can’t do anything about its well-being. Later on in the screenplay Lena starts to get stressed and worried about her children. The only thing she turns to then is her plant, which shows that Lena is in control of at least one thing in her house. When Ruth brings up the fact that Beneatha is home later than usual Lena replies, â€Å"I dont believe this plants had more than a speck of sunlight all day† (Hansberry 76). This could be to direct her worries elsewhere, which makes sense because in other emotional scenes, such as when Lena is hearing about Mr. Linder, the camera focuses in on Lena touching the plants soil with her hands. The reply could also be because she sees her dream in the plant she sees it is in a weak state and that it is barely growing. Lena also sees that Beneatha and Walter, her children, are experiencing new things and are growing to become people of the new generation. Because of this, she may turn to the plant and hope the same for it hope for it to blossom into something better and of that generation. Lena’s dream of owning a garden represents not only her dream, but the dream of all the lower class african americans of the 50’s. Although Lena tries to keep her run down apartment looking polished, she makes it clear that she dreams for bigger things. While conversing with Ruth about when her and Big Walter bought the house Lena said, â€Å" But Lord, child, you should have known all the dreams I had about buying me that house and then fixing it up and making me a little garden in the back† (Hansberry 69), which clearly shows Lena’s dream. Not only does she want a nice garden for herself, but she wants a house for her family, so they can all enjoy living. This scene was not effectively shown in the movie mostly because, as mentioned before, the apartment they were living in did not look run down as was described in the screenplay. Due to this, when the characters were talking about the â€Å"ratty-ness† of the apartment it did not make sense, because their dialogue did not fit the visual. The ultimate dream for african americans of the time was to live in a place full of life, and of course with less rent. The screenplay implies that the apartment is small and that â€Å"weariness has, in fact, won in this room† (Hansberry 23), which means that the room is in poor condition. The movie shows the living room as small but it does not show it as tattered, like the screenplay implied. At that time and now, this is considered poverty, however the movie displays the room as well kept and does not appear worn out, which is what Lena tries to make it seem like. After Mr. Lindner comes to the Younger household, Beneatha, Walter and Ruth explain what he wanted from them, which was to buy their house off of them. Lena does not completely understand at first why he would come, which shows that she does not comprehend that there will be complications with moving into a white neighborhood. â€Å"Father give us strength. (Knowingly and without fun:) Did he threaten us? †(Hansberry 169). This shows that although Lena feels threatened by Mr. Lindner, she does not realize that the new generation does not directly say what they feel. This creates the tone that, just like Beneatha and Walter have been telling Lena, she is not educated enough on the new generation. Since Lena represents the African Americans of the 50‘s expanding in society, it was ineffectively shown in the movie and the screenplay, because of he automatic assumption that they were threatened. All in all, the character of Lena is ineffectively portrayed in the movie to symbolize what the african american’s of the 1950’s should have been like. Taking a look at Lorraine Hansberry’s idea of having a character like Lena in the screenplay, one understands that she is a statement rather than just a character with a dream. Lena Younger is a statement to show that women in the 1950‘s can work all day to provide for their families and still be caring rather than miserable. The condition the Youngers were living in was one where Lena could easily have been sour to her family members rather than nurturing. This is what Hansberry wanted to show. Also the plant symbolizes Lena’s nurturing side, that she will do anything to make the people (or things) she cares for grow and succeed. Overall, the directors of the movie A Raisin in the Sun did a decent job in interpreting Lena’s role in the screenplay.

Speaker Driver: Comparison of Options

Speaker Driver: Comparison of Options Speaker driver choice is a very important consideration, since the transducers themselves are of course the most fundamental part of the speaker. Regardless of other factors, one can never expect inferior drivers (and hence the system as a whole) to perform well. There are two main options when choosing drivers; electrostatic or conventional voice-coil designs. Although many seem under the impression that electrostatic loudspeakers are a modern invention this is not the case; Janszen was granted the first U.S. patent for such a device in 1953[1]. Considering the relatively small market penetration of electrostatic transducers and the fact that they tend to appear largely in high-end designs, one might be led to assume that electrostatic panels are superior to conventional drivers. This however is only partially true. One advantage of electrostatic panels is that full-range designs are possible, eliminating the need for crossovers and hence the associated problems with frequency and phase response in the crossover band. Another advantage is that the electrostatic panel is generally very light and hence offers excellent transient response, whilst also offering very good directionality and imaging. The latter may also be seen as disadvantage, since it effectively makes the ideal listening position rather narrow. In terms of disadvantages, the chief problem with electrostatic designs is a difficulty in reproducing bass frequencies at high SPLs. Generally the panel excursion is small, which makes it hard for electrostatic transducers to move the required volume of air at low frequencies. Furthermore, since electrostatic transducers are not meant for use with an enclosure, phase cancellation is an issue, again resulting in reduced bass performance. Audiostatic, a company that manufactures audiophile full-range electrostatic speakers, admit of their own devices with regard to bass that â€Å"Obviously because of the limited membrane excursion they wont produce ear shattering levels at that frequency†[2]. As a result of the aforementioned bass performance, many high-end electrostatic speakers are in fact hybrids, using voice-coil woofers for low frequencies with electrostatic panels covering the mid and high range. One example is the Martin Logan Summit[3], which whilst described as â€Å"our most advanced and sophisticated full-range loudspeaker† nevertheless makes use of two 10† woofers for low-end reproduction. Of course in this situation a crossover is still required, so the advantage of the possibility of a full-range design is often nullified in practice. Still, electrostatics may prove very attractive as high quality mid to high frequency drivers, although they are certainly not cheap. In choosing conventional voice-coil drivers, there are many factors to consider. In terms of quality, it is certainly true that one does indeed get what one pays for. Whilst high quality manufacturers such as SEAS[4] are happy to provide detailed frequency response plots and Thiele-Small parameters for their transducers, many cheaper manufacturers are less transparent about their devices. One common trick to beware of, often used by less scrupulous manufacturers, is the quoting of a recommended frequency range without stating the variation in output (in dB) across this range. A recommended operating range without any indication of the actual performance within the frequency band is virtually meaningless. Many assume a  ±3dB range is implied when reading such data; it is unwise to make such assumptions. Furthermore, even if frequency response across a range is qualified with the variation in output in dB, this is still not ideal. Obviously one desires that any variation in output magnitude will be a smooth variation; one still has no idea of how â€Å"lumpy† the response might be. For these reasons it is best to choose drivers that are accompanied by frequency plots, since this gives a far more accurate representation of true performance. Another important consideration in choosing a driver is the application for which it is intended. For example, a woofer with a high maximum cone excursion and low Fs may perform very well in a large sealed cabinet but be totally unsuited to a ported implementation (Dickason, 2000). One can make use of the quoted Thiele-Small parameters to ascertain whether the driver is suitable for its intended purpose. Construction materials also give an indication of how the driver may sound. In terms of woofer and midrange drivers, for example, an aluminium cone may indicate greater bass precision than an otherwise equivalent transducer with a paper cone; softer cones are associated with greater distortion than their stiffer counterparts. However, as Larsen (2003) notes â€Å"cone break-up behaviour and frequency response was shown to be strongly dependant on the Geometrical Stiffness of the Cone†. Hence the geometry of the design may be more important than the material used. Diameter of the driver is also a hugely important factor for woofers, although of minor importance for tweeters. To reproduce bass frequencies at good SPLs, a large volume of air must be moved by the driver. To this end, there is absolutely no way a 6† driver can compete with a 12† driver of similar quality in terms of bass extension; it is simply not physically possible. Power handling is another consideration that must be given thought when choosing a driver; the peak short-term power dissipated by a transducer can easily be double its long-term rating. Naturally for the best performance it is desirable to ensure that the driver is not operating too close to its quoted limits. One should think carefully about how hard the driver is likely to be driven and ensure its power handling is adequate; overdriving a unit at best will result in distortion and at worst may cause irreversible damage. In many cases users overdrive and damage units in an attempt to achieve a higher SPL, particularly in the bass region. If the system requirements are adequately specified and designed for, this should not happen. For the high-budget client, the best solution will either be high-quality voice-coil drivers carefully selected to complement each other, or a hybrid electrostatic implementation. It is difficult to recommend a fully electrostatic solution due to the associated problems with low frequency performance, although for some clients this may be acceptable. For the low-budget client, standard voice-coil drivers are the only solution. The quality of the drivers used will largely be influenced by pricing; one should carefully consider all factors and attempt to find the best solution within budget. Datasheets should be closely scrutinised to identify the strengths and weaknesses of each option before a solution is chosen. In conclusion, notwithstanding the electrostatic debate, driver choice is largely influenced by price and performance. In general, the better specified the driver, the more expensive it is likely to be. If working with a high budget, one is likely to simply choose the best specified drivers. Conversely, with a limited amount of capital, one must make the best compromise that can be reached within budget. Sources Larsen, Peter. (2003). Geometrical Stiffness of Loudspeaker Cones, Loudsoft. Borwick, John. (2001). Loudspeaker and Headphone Handbook, Focal Press. Dickason, V. (1995). The Loudspeaker Design Cookbook, Audio Amateur Publications. Rossing, T. (1990). The Science of Sound, Addison-Wesley. 1 Footnotes [1] United States Patent 2,631,196 [2] http://www.audiostatic.com/faq.html [3] http://www.uk.martinlogan.com/speaker_intro/summit.html [4] http://www.seas.no Effect of Globalisation on Culture: Annotated Bibliography Effect of Globalisation on Culture: Annotated Bibliography John Tomlinson Globalization and Culture John Tomlinson analyses the globalization and the culture relationship, Globalization is in the center of modern culture; cultural practices are in the globalization center.  In John Tomlinson view, globalization and culture could be interpreted as relationship that they complement each other. John Tomlinson thinks that researching Globalization from the fields of political science, economics, sociology and communication to lead the field of culture, cultural practices are designed to reveal the meaning of globalization On globalization, John Tomlinson thinks the point of view from the daily life experience and to analyze the sense of intimacy, uniqueness.  On culture, John Tomlinson reflect on the cultural and political and economic relationship between the practice to clarify the complex cultural purposes, that is what makes life full of meaningful experience. John Tomlinson focused on the Deterritorialization of the concept that deterritorialization of our current globalization and cultural conditions, it exists in everyday experience among the grasp of many aspects of cultural globalization. Globalization fundamentally is the place we live, it makes our cultural practices, cultural identity and cultural experience and the relationship between the occurrences of the transition, it reduces or removes the daily dynamic between cultural and territorial positioning Contact; This culture, the opportunities and pitfalls. So, John Tomlinson called for world unity. Hardt, Michael; Negri, Antonio, (2000) Extract from Hardt, Michael; Negri, Antonio, Empire pp.xi-xvi,3-21, Cambridge, Mass.: Harvard University Press Hardt, Michael; Negri, Antonio, hardt criticize the globalization, their bookempire could be considered as the representative of the anti-globalization works. They argue that the globalization is the capitalist production and economic relations have become more autonomous from political controls ,But with the traditional left to some of the different anti-globalization, this book address the global changes in an attempt to put forward in the context of globalization, new practice ideas. Hardt, Michael; Negri, Antonio books argument can be roughly simplified as follows: Globalization has led to changes in capitalism, the nation-state boundaries disappear, the new Empire has been formed, showing a new form of sovereignty, is composed of many countries and a joint supranational organizations  . Empire does not establish a power center, nor rely on fixed boundaries or barriers. Empire is a decentralized to the regions with the tools of the rule, and gradually  areas into the global expansion of its open and whole. Such an abstract rather than concrete empire how to rule? Finally, Hardt, Michael; Negri, Antonio called the masses are a utopian construct. Sociology of knowledge that, in the absence of any organized sports, leadership, and the dominant ideology, even if there is no amount of suffering, it will only submit to humiliation.  The authors argue that the masses is the seed of the revolution, they need international links to change the empire, but these people in todays nation-states under the barrier, how could the international links, how to overcome language differences Saskia Sassen (2008), Neither global nor national: novel assemblages of territory,  Authority and rights Columbia University, USA,  Ethics Global Politics, Vol. 1, No. 1 2, 2008, pp. 61 79 Saskia Sassen is the Professor of Sociology, Columbia Universityà ¯Ã‚ ¼Ã…’the globalization leads the Unequal distribution of material resources, cultural colonialism and the depletion of non-renewable raw materials, the source of political conflict between North and South. Consequences of this phenomenon, such as global climate change to all social classes and the widening between the poor countries  gap between the rich have led to greater social crisis. Sassen thinks that the world only about 40 nodes in a transnational influence in the city, most of them located in the North Atlantic global subsystem; Globalization and World Cities Study Group believes that the world only 50 World City  , and another 60 to 70 cities to show the world the city part of the evidence Saskia Sassen states that Economic globalization not look at the globalization of capital accumulation, but also the production process of globalization.  If the economic globalization, the globalization of the production process as we see more than just capital, capital is only one aspect of economic globalization, it is another aspect of the globalization of labor, especially in the international movement of labor.  In the process of economic globalization, the cities, especially global cities, a place of convergence of capital and labor, the coordination center of the world economy, and thus become the problem of inequality in the globalization process of strategic intervention  place.  Specifically, how interventions, A Brief History of Neoliberalism, David Harvey, Oxford University Press David Harvey Examine the new liberalism in the past few decades to stir up trouble, and largely reshaped the pattern of international politics, not only for our understanding of the financial crisis, but also for understanding the development of global capitalism. With the new round of financial crisis sweeping the world and impact on all walks of life, people have tried from all aspects, directly or indirectly, to discuss the origin and development of the crisis, including the re-study of world history over the past few decades in the political  and economic theory and practice.  In this context, there is a scholar claim that the capitalist world have long been in crisis for a long time.  People who make this assertion is David â‚ ¬Ã‚ ¢ Harvey At the beginning, David Harvey analyze the U.S. war in Iraq, the United States in the implementation of the new Chilean liberal reform, pointed out that neo-liberal reforms, but at outside the United States once again in the experiment, then it could be the sample as their internal reform Of course, we should not forget the teachings of Marx In the past philosophers only interpret the world, but the important thing is to change the world. For understanding the status of our world today and the new liberalism of the context, although this small book may be many areas for improvement, but still occupies an important position. Arjun Appadurai, Disjuncture and Difference in the Global Cultural Economy, 1990 7: 295 Theory Culture Society, DOI: 10.1177/026327690007002017. Arjun Appadurai thinks that disjuncture and difference are normally in the global cultural economy, today, the central issue is the tense relationship between global interaction heterogeneity and cultural homogeneity. Homogenization is globalization and the universal, heterogeneous, that the pursuit of ethnic, indigenous rights and the maintenance of cultural identity.  As mentioned earlier, the key is, homogeneity of the substance at the expense of heterogeneity as the price, The basic efforts are to discuss the disadvantaged and marginalized groups in the cultural status quo from the inequality freed.  From an academic perspective, the demands of cultural heterogeneity consist of the following reasons: First, the cultural standpoint, it has a position of cultural relativism.  The need for different cultures to maintain their autonomy, because whether it is strong or weak culture, are equal in rights, no one culture is superior to other cultures, nature.  Therefore, there is no one culture can be for other cultural legislation, and its own advantages and disadvantages of other cultures for the evaluation criteria.   Thus in Arjun Appadurai thinks that which derived from the resistance of a strong culture means that it is not for the emphasis on their own than any other culture their own special appeal, but in Europe or the male-centered center of power has become a universal rule in the context of intercultural  the pursuit of equal status. Ulrich Beck, the Terrorist Threat: World Risk Society Revisited, 2002 19: 39 Theory Culture Society, DOI: 10.1177/0263276402019004003 the British sociologist Ulrich Beck, with his point of view, representation of contemporary social structures and life patterns generated by the many changes in availability of a second modern the character, and different from the traditional modern / post-modern painting points.   In this book, the second modern and cosmopolitanism, points out the first modern over-development, will turn off the collapse of global market and the nation-state patterns, and will generate reflection type of cultural development.  Cultural development in the reflection type, the modern rational and the Universe would have been a powerful challenge of all; society will also be the inner self to begin conversion.  Peoples cultural experience and experience in space, including the cultivation of various degree of recognition, diversity of life forms of the cross, the Political Action Without Borders, etc., will have a more diversified development. Risk society has the global common foundation, because in the second modernity, whether political, economic or ecological crisis, the risk of the spread is no national boundaries; so modern risk society, must put in the context of globalization down interpretation.  However, Baker on the second modern in the description of the world, the globalization of the past simply is not the same.  In order to interpret more in line with the concept of global development community, and puts forward a cosmopolitan, containing the words all men are brothers, David held Anthony McGrew, David Goldblatt Jonathan Perraton, Global Transformation Early in the 20th century, David held and the famous sociologist Anthony Giddens, Professor, who put together the relevant risk society of the concepts and theories Ecological, financial, military, terrorists, biochemical and information, and other risks in our contemporary world in a way there is overwhelming.  To the risk we experience everywhere; we could only make the following three types of reaction: denial, indifference and transformation.  The first approach is largely rooted in modern culture, but it ignored this attitude has denied that the political risks; second approach succumb to the kind of postmodern nihilism which type of argument;  The third approach led to my theory of world risk society issues raised: the future of man and the diversity of the expected consequences with the risk of changes in how the impact and awareness of modern society, survival  conditions and the system? Global default is a rational increase in demand uncertainty.  Caused by industrial society because of the uncertainty does not necessarily lead to confusion or disaster.  Rather, the uncertainty can not be calculated can also a source of creativity, which is a contingency to allow reason and experiment new things.  Thus, the current end of a pervasive sense of the kind of odds Mike Featherstone, Global Culture: Nationalism, Globalization, and Modernity Mike Featherstone is currently Britains consumer culture theorists.  In this book, consumer culture, as his object of study, reviews the theory of consumer culture Featherstone three main aspects: first by an aesthetic theory of everyday life, this is the theory of consumer culture Featherstone core and foundation.  While the previous practice of daily life and consumption has some research, and creation of daily life for the Featherstone laid the foundation of aesthetic theory, but he did not think life is a tool that strict control of rational consumer space, but also  do not think life is a fragment of a fragmentation.   Featherstone believes that everyday life is consumer spending the main field of practice, and in this field, the emergence of consumer practice of aesthetic tendencies. Featherstone follows the performance of the control and resistance theory. practice in the analysis of consumption during the fight right to speak, on the one hand explains how to control the ideology of everyday life cultural practices of consumers, but also pointed out how consumers the possibility of a boycott., on the whole, daily control of the consumer ideology is growing, but from specific consumer practice, consumers have been symbols of consumer culture transformation and substitution.  Mike Featherstone lamented that some disorder of literature, Michael Gurevitch, Culture, Society and the Media Michael Gurevitch based on the world, from an interdisciplinary and cross-cultural perspective of globalization and democratization of the media between the complex and sometimes mutually reinforcing and sometimes conflicting multi-faceted relationship.   This book proposed a new theory about generalities, but not to provide a description of the micro, but the relevant proposition was different theoretical and historical sort, from which new problems.   firstly discusses the theory of globalization and the globalization of media organizations in the media, marketing, form, movement, effects and management aspects of change, and the media bottom-up globalization process and practice.  Then, the article in English literature of the existing market liberals, liberals in the public domain, and the radical democrats of different concepts of democracy and the spread of globalization and its significance for the different media analysis were reviewed, Finally, the book was put forward, including media ownership diversity, multi-directional flow of the global media in the political and theoretical significance, the Western model and views the adequacy or relevance media for political information than the broader identity  role during the formation of macro issues such as 7, to promote the breadth and depth of study.  The globalization and democratization of media there are complex interactions between the relationships between two, which is far from even a discussion of two books could come to an end.   Oliver Boyd-Barrett, Terhi Rantanen. The Globalization of News   Oliver Boyd-Barrett, Terhi Rantanen research from the social perspective ,and emphasizes the role of government era of globalization, and the Government can play a complementary effect and the market potential to give more attention. Using of statistical methods proved that external risks can not be ignored, but the state is playing an important integral role in providing social security and protection of social justice. Government maintains economic openness and balance between domestic needs of the community as a crucial and irreplaceable role.  The implication is: If the Government is up to the role that globalization will be able to smooth the contrary, this process will be reversed.     Oliver Boyd-Barrett,Terhi find some latest new which find the process of globalization, which in many ways is very different.  For example, todays international financial system from the conclusions of historical research in analysis and interpretation should be applied to contemporary events, there will be quite limited indeed.  But the basic values of the market mechanism and social hundred years did not occur in a large change fundamentally.  Since the markets expansion on a global scale in fact has brought individuals and the income gap between countries and the widening gap of economic welfare, just as happened 80 years ago as; it will be useful to draw lessons from history. How is Hamlet Character Influenced by Greek Philosophy? How is Hamlet Character Influenced by Greek Philosophy? Hamlet, protagonist of Shakespeares tragedy of the same name, is one of the most ambiguous and enigmatic characters of the history of literature. He is a thinker, and extremely philosophical, meditative and suspicious, indeed, he is always pondering about question with no answer. His monologues are very contemporary, because they are about psychological struggles that are still unresolved. His character is strongly influenced by philosophy and, particularly, by Greek philosophy. We can understand that Hamlet was interested in Greek culture by his numerous references to Greek mythology, and by the main topics of his soliloquies: the conflicts between right and wrong, thought and action, life and death, and the importance of the mind and thoughts of an individual. They all refer to important philosophical concepts of Greek philosophy, such as relativism, skepticism and humanism, which are rooted in ancient Greek philosophers thoughts and studies. About the references to Greek mythology, we can observe citations about many characters belonging to myths. Hyperion, Satyr, Niobe, Hercules (Act I, Scene II, 140-153), where Hyperion is a Titan or a byname of Helios, God of the sun; a Satyr is a lecherous creature, half-man and half-goat; Niobe was the Queen of   Thebes, who wept for her dead children even when she was turned to stone; and Hercules is a mythical Greek hero, notorious for his strength. Nemean lion (Act I, Scene IV, 83), which was a vicious monster who lived at Nemea. Priam, Hecuba (Act II, Scene II, 422-459), where Priam was the King of Troy during the Trojan War, and Hecuba was his wife. From this analysis, we can observe that not only was he interested in Greek mythology, but also on Greek literature, indeed, he probably read Homeric poems, Iliad and The Odyssey. Another evidence that Greek philosophy influenced Hamlet is that he often refers to Relativism. For example, when he says to Rosencrantz: there is nothing either good or bad, but thinking makes it so (Act II, Scene II, 240), he is referring to the Sophist theory that the truth or justification of moral judgments is not absolute, but relative to the moral standard of some person or group of persons1[1]. Another example is the most iconic monologue of the tragedy: To be, or not to be: that is the question: / Whether tis nobler in the mind to suffer / The slings and arrows of outrageous fortune, / Or to take arms against a sea of troubles, / And by opposing end them?. Hamlet is struggling whether is more noble to kill himself or to continue living though the problems he is facing. We can consider this as a form of moral relativism because, from Hamlets perspective, even something collectively thought as so morally incorrect like suicide can become correct, noble. According to Protagoras , a pre-sophist philosopher, The human being is the measure of all things, of those that are, that they are, and of those that are not, that they are not. By this, Protagoras apparently meant that each individual person is the measure of how things are to that person: things are or are not, to me, according as they appear to me to be or not be. Briefly stated, moral relativism is the view that moral judgments, beliefs about right and wrong, good and bad, not only vary greatly across time and contexts, but that their correctness is dependent on or relative to individual or cultural perspectives and frameworks.2[2] We can also consider the same monologue as an example of skepticism, because Hamlet is fond of pointing out questions that cannot be answered because they concern supernatural and metaphysical matters. Hamlets monologue What a piece of work is a man! / How noble in reason! how infinite in faculty! in form and moving how / express and admirable! in action how like an angel! / in apprehension how like a god! the beauty of the / world! is an evidence of another philosophical trend: Humanism. Even if the word Humanism was invented by Latins (Humanitas), we can observe Humanist thoughts in Sophist philosophers, Socrates and Plato. In that period, indeed, the subject of the philosophical speculation changed from transcendental topics, like Gods or the origin of the universe, to the human being. They became interested in human mind and experiences, and related topics such as ethic and ideas. To understand Hamlets tragedy deeply, first we have to understand its historic, religious and philosophical context. From the philosophical point of view, I found evidence of many philosophical trends influences, to both Hamlets character and Shakespeare, but I can state that most of them are related to the most important Greek philosophical trends.