C++ Programming :: science

C++ Programming NOTES ON C++ PROGRAMMING Module 1: Pointers and Memory Management NOTES ON C++ PROGRAMMING Module 1: Pointers and Memory Management TABLE OF CONTENTS TABLE OF CONTENTS 1 OVERVIEW 4 BASIC MEMORY MANAGEMENT 5 GROUP ASSIGNMENT 6 INITIALIZATION 8 CONSTANTS 9 INCREMENT AND DECREMENT OPERATORS 10 ELSE-IF 13 SWITCH 14 LOOPS 15 EXAMPLES OF LOOPS 16 BREAK, CONTINUE 18 RETURN 19 FUNCTION DEFINITION: 21 VOID FUNCTIONS 22 FUNCTIONS RETURNING A VALUE 23 OVERVIEW Algorithms: A step-by-step sequence of instructions that describes how to perform a computation. Answers the question "What method will you use to solve this computational problem?" Flowcharts: Provides a pictorial representation of the algorithm using the symbols. Structure Charts: Provides a pictorial representation of the modules contained in the program. Programming Style: Standard form: Function names starts in column 1 and is placed with the required parentheses on a line by itself. The opening brace of the function body follows on the next line and is placed under the first letter of the function name. The closing brace is placed by itself in column 1 as the last line of the function. The final form of your programs should be consistent and should always serve as an aid to the reading and understanding of your programs. Comments: Explanatory remarks made within a program. Help clarify what the complete program is about, what a specific group of statements is meant to accomplish, or what one line is intended to do. Top-Down Program Development: 1. Determine the desired output items that the program must produce. 2. Determine the input items 3. Design the program as follows: a. Select an algorithm for transforming the input items into the desired outputs. b. Check the chosen algorithm, by hand, using specific input values. 4. Code the algorithm into C. 5. Test the program using selected test data. BASIC MEMORY MANAGEMENT Space set aside for the variable: Characters 1 byte (8 bits) Pointers 4 bytes Integers 2 bytes (16 bits) or 4 bytes (32 bits) Short int or short 2 bytes Unsigned int or unsigned 2 bytes Long Integers 4 bytes Floats 4 bytes(single precision, about 7 decimal places) Doubles 8 bytes(double precision, about 15 decimal places) Type Space a) double *values; __________________ ________________________ b) long x[1000]; __________________ ________________________ c) char *s = "string"; __________________ ________________________ d) char s[] = "string"; __________________ ________________________ e) char *name [10]; __________________ ________________________

Corporate Strategy

MGMT611: Strategy Natalya Vinokurova Corporate Strategy Session 15 1 Corporate Scope Corporate center Division A in industry a Division B in industry b Division C in industry c Division D in industry d – The average U. S. Fortune 500 company operates in four different industries – Diversification is even more prominent in other parts of the world †¢ Grupos, chaebol, business houses, keiretsu, and so on – Poor corporate strategy is common â€Å"Excite, one of the leading Internet services companies, yesterday [received a] takeover offer from Zapata, a Texas-based group with holdings in marine protein and food packaging companies.Citing the â€Å"excellent fit with Zapata’s new strategic direction,† Avram Glazer, Zapata’s chief executive officer, said the proposed transaction â€Å"makes sense for Excite’s shareholders because of the capital resources that Zapata can bring to Excite. † Financial Times, May 22, 1998 2 What di versified corporation did this become? 3 Decomposition of Variance in Profitability: Evidence from the United States Year 2% Industry 18% Corporate parent 4% Transient 46% †¢ In the U. S. corporate strategy is typically the icing on the cake, not the cake itself – Business units must be competitive on their own merits – †¦in attractive industries †¢ But the icing can make the decisive difference between a good cake and a bad one Business segment 30% Note: Ignores covariance terms; based on 58,132 observations of 12,296 business segments in 628 industries in the United States Source: Anita M. McGahan and Michael E. Porter, â€Å"How Much Does Industry Matter Really? † Strategic Management Journal, 1997 4Decomposition of Variance in Profitability: Evidence from 14 Emerging Economies †¢ In much of the rest of the world, corporate strategy is more prominent †¢ Membership in a diversified entity has a larger effect on profitability †¢ Th e effect on profitability is more likely to be positive Source: Tarun Khanna and Jan W. Rivkin, â€Å"Estimating the Performance Effects of Business Groups in Emerging Markets,† Strategic Management Journal, 2000 Countries: Argentina, Brazil, Chile, India, Indonesia, Israel, Mexico, Peru, the Philippines, South Africa, South Korea, Taiwan, Thailand, and Turkey Litmus Test of Corporate Strategy †¢ Is the combination of all businesses of the firm worth more than the sum of how much each business is worth individually? – The answer could be less, e. g. J. C. Penney telemarketing division was worth 3X the market value of the entire firm †¢ When deciding whether or not to acquire another business, you need to decide BOTH – whether you have a competitive advantage running that business – AND how it will contribute to the fit among the other 6 businesses you are runningAcrobat Document 7 The Walt Disney Company: Stock Price vs. S&P 500, 1984-1994 8 The Walt Disney Company: Stock Price vs. S&P 500, 1995-2005 9 Two big problems 1. Growth at all costs: †¢ This is an example of what happens when a solid corporate strategy meets an aggressive growth goal 2. Mismatch between strategy and organizational structure: †¢ You can have a corporation with businesses that are closely connected like the classic Disney businesses and then run the businesses together in a tightly integrated way.That can work. †¢ You can have a corporation with the broader scope of later Disney and run them in a loosely coupled way. That can work. †¢ But if you have a corporation with the broader scope of later Disney and run them like the classic Disney, with heavy-handed management from the top, searching for synergy that doesn’t really exist†¦then you get into trouble. – In 2005, ABC President Robert Iger replaces Eisner 10 The Walt Disney Company: Stock Price vs. S&P 500, 2005-2012 11 The Walt Disney Company: Take-aways Co re lessons of corporate-level strategy †¢ Competition occurs at the level of the business unit †¢ Corporate strategy is a success or failure to the extent that it enhances business unit competitive advantage – Is the relative gap between WTP and cost larger than it would be otherwise? †¢ Two tests: – Better-off: Does the presence of the corporation in a given market improve the total competitive advantage of business units over and above what they could achieve on their own? (What’s the added value of the corporation? – Ownership: Does ownership of the business unit produce a greater competitive advantage than an alternative arrangement would produce? †¢ A corporation is more likely to pass the tests when it has some shared resource that (a) creates competitive advantage for the business units and (b) is difficult to trade efficiently via the market – E. g. , access to animated characters – Making business units â€Å"be tter off† sounds easy, but it typically requires sophisticated structures, systems, and processes, plus cultural supports 12 Corporate strategy entails trade-offsEither focus on†¦ or focus on†¦ Guidance on the Projects Overall Grading †¢ The project must cover all three components of the class – Human and Social Capital – Strategy – Multinational Management Components of Grade (NOT equally weighted) †¢ Use of frameworks (most important issue) †¢ Quality of research †¢ Innovativeness/Insight of analysis †¢ Integration of different components of class †¢ Quality of communication 14 †¢ ? of grade will be based on presentation; ? on final project write up †¢ We will also use a peer assessment to adjust the grade for effort put in by each team memberA Word on Plagiarism †¢ Any text (more than 2 consecutive words) taken from another source must be – In inverted commas – Clearly identified with the source †¢ It is NOT sufficient to simply note that you used a source. You must identify which text came from it. †¢ Failure to identify the source of your work is a serious breach of academic ethics and will be treated accordingly †¢ If in doubt, ask Professor or TAs for guidance †¢ (It is generally not a good idea to reproduce whole sentences or paragraphs from other sources without a very good reason anyway) 5 Next Class: Firm Scope and Strategy †¢ – – – – Case: Monitor’s Opportunities in India (A), 9708-482 What are the benefits and costs to Monitor of moving each of its back-office functions to India? In light of those benefits and costs, what would you recommend to Mark Fuller, Monitor’s CEO, about the location of each function? Should Monitor tap into the Indian pool of talent somehow, perhaps by conducting business research there? If so: Should it conduct research only for Monitor case teams or sell its re search services directly to external clients? 16

Modernism in Two Poems by Marianne Moore

Introductionâ€Å"The most serious poetry today is still modernist. Modernism in literature is not easily  summarized, but the key elements are experimentation, anti-realism, individualism, and a stress on the cerebral rather than emotive aspects† (Wills 24). To some extent, Marianne Moore's poems The Fish and A Grave really follow the discussed modernist principles, but it is difficult to agree that Moore completely denies emotiveness and replaces it with modernist cerebral attributes. As a result, it is possible to assume that The Fish and A Grave are the two examples of non-traditional modernist writing, in which experimentation, realism, and individualism are combined with unusual writing techniques, complicated poem structure, and extreme emotiveness.To start with, The Fish and A Grave display vivid similarities in the tone of writing, and the use of similar images. â€Å"The barnacles which encrust the side of the wave† in The Fish are evidently similar and are almost parallel to â€Å"the blades of the oars / moving together like the feet of water-spiders† in A Grave: the unpleasant and almost tragic character of water in both poems is critical to understanding the modernist implications of both poetic works. However, in order to completely realize the scope and meaning of Moore's modernist verses, we should analyze each poem separately.â€Å"Repeated / evidence has proved that it can live / on what cannot revive / its youth. The sea grows old in it† (Moore 32). This is where we face the complicatedness and incomprehension of modernist poetry. What did Moore want to say with this passage? Is it that she imagined nature in its full purposefulness which was not characteristic of traditional classical poetry? It is more probable that a thirty-year-old poet was striving to express her sympathies with the nature, which she persistently viewed as deeply abused.The description of nature's violence, its wholeness, the sea as the sou rce of physical injury and actually a threat to a human life – these are the signs of modernism in Moore's writing. Having depicted nature as the threat of violence, Moore risked causing misinterpretation of the literary and sensual implications in The Fish. For many of those who have read The Fish, violence in poetry may initially seem inappropriate and confusing. Yet this is not a reader's mistake: Moore was really trying to show the nature in its power which bordered on violence against human beings. â€Å"The water drives a wedge / of iron through the iron edge / of the cliff†, and the â€Å"external marks of abuse† (Moore 32) is the combination of nature's violence and the violence against nature; it is the combination of the two incompatible elements, which is the distinguishing feature of poetic modernism.The modernism of The Fish is in that Moore was actually trying to combine the incompatible images, allusions, implications, and ideas. The initially inc ompatible conjunction of accidental and purposeful is another distinguishing feature of modernism in Moore's poem. Criticizing Moore's works, Heuving writes that â€Å"it should not be surprising that ‘the chasm side is dead', but if the chasm side is dead, ravaged as it clearly has been by the force of water it contains, how does it live on the barnacles that adhere to its surface? Why does the sea, clearly the most active and powerful force in this scene, grow old within this teeming shelter?† (29)Moore neither answers these questions, nor provides the reader with a single opportunity to find these answers anywhere else within the poem. The reader finds himself in the slow motion of the undersea world, with which he is hardly familiar, and which seems even more threatening and complicated through Moore's descriptions: â€Å"All / external / marks of abuse are present on this / defiant edifice† (Moore 32).Moore writes her poem in a way to create an image of sini ster beauty of the sea she describes. The rhythm of her poetic lines does not break the smooth and threatening movement of the undersea. The eight stanzas of the poem display the evident and easily noticeable repetition of the consonants, as if waves create a cyclic sound pattern. â€Å"Whereupon the stars, /   pink, / rice-grains, ink-/ bespattered jelly fish, crabs like green / lilies and submarine /   toadstools, slide each on the other† (Moore 32).While the sea is the central image in The Fish, A Grave is the expression of Moore's impossibility to see this sea. Some â€Å"man looking into the sea† seems to close â€Å"the view from those who have as much right to it as / you have it to yourself† (Moore 49). A Grave is frequently interpreted as the expression of Moore's feminism: â€Å"Moore calls attention to two difficulties here: the problem of seeking through a man, including a man's viewpoint, and the related problem of establishing herself as a cen tered speaker when she cannot stand ‘in the middle of this' (Wills 110). However, modernism of A Grave is not in its feminist expressions, but rather in the opacity of its meanings and the confusion of various symbolic implications similar to those in The Fish.Modernism in poetry is invariably linked to difficulties of interpretation, and these interpretation difficulties and ambiguities are evident in both The Fish and A Grave. Moore has been extremely individual in her modernist expressions, and the poetic structure of A Grave again suggests that poetic modernism may and probably should exist in the area of extreme emotions. The sense of crisis makes both poems similarly modernist: the description of nature and its scenes are central to both poems, and it is very probable that Moore seeks resolution of her crisis in those natural sceneries.â€Å"The wrinkles progress among themselves in a phalanx – beautiful / under networks of foam, / and fade breathlessly while the sea rustles in and out of the / seaweed† (Moore 49). The two poems seem to create a single line of nature's threat and power. This â€Å"violent† line of nature is developed in The Fish, where Moore emphasizes the threat of nature towards a man; this line of nature's abuse reaches its climax in A Grave, where Moore asserts that â€Å"the sea has nothing to give but a well excavated grave† (Moore 49).The rhythm of Moore's A Grave is another display of modernism in her poetry. Moore seems to treat her rhythms and stanzas with almost painful desire to keep the rhyme. The reader is frequently obsessed by an impression that the rhythm of the poem prevails over its meaning. Yet, modernist writings are traditionally characterized by unusual and often difficult rhymes. The combination of complex stanzas with complicated meanings and literary implications makes certain works of modernist writing completely incomprehensible.This is not the case with Marianne Moore. Each l ine makes the rhymes enervated, and creates an unusual combination of the sea's threat and immobility: â€Å"the birds swim through the air at top sped, emitting cat-calls [†¦] and the ocean, under the pulsation of lighthouses and noise of / bell-buoys, / advances as usual, looking as if it wee not that ocean in which / dropped things are bound to sink† (Moore 49). The heavy contrast in this passage creates the impression of a deceptive revelation: one might think that the sea and its threats were unreal and were produced by an ill mind.However, it is a surface feeling: a Man and the sea are real. The word â€Å"consciousness† with which Moore concludes her poem, is the ultimate expression of her position against the described Man and against the sea as the grave for humanity. â€Å"Moore reserves her climactic position for the quality of attentiveness to self and to ‘other' which is her highest aesthetic and moral value, while giving her sea the last word, the last hiss† (Martin 63).ConclusionPoetic modernism was traditionally viewed as the combination of several critical attributes: poetic individualism, self-expression, complicatedness of writing, and emotional indifference. Moore has completely denied these approaches: poetic modernism cannot live without emotions. On the contrary, Moore's modernism in itself stems from the climactic emotions the poet wanted to express and to deliver to her reader. Poetic modernism of Marianne Moore is something more than the self-expression and the description of individualistic regressions. In Moore's hands modernism becomes global, challenging, and almost revolutionary. For many of us the sea and its threats will look as the end of everything, A Grave for humanity; yet, in Moore's vision it is only the beginning of everything that is meaningful to a person.Works CitedHeuving, J. Omissions Are Not Accidents: Gender in the Art of Marianne Moore. Detroit,Wayne State, 1992.Martin, T. Marianne Moore: Subversive Modernist. Austin: University of Texas Press, 1986.Moore, M. â€Å"A Grave†. In M. Moore, Complete Poems, Penguin Classics, 1994, p. 49.Moore. M. â€Å"The Fish†. In M. Moore, Complete Poems, Penguin Classics, 1994, pp. 32.Wills, P. Marianne Moore: Woman and Poet. National Poetry Foundation, Inc., 1990. Modernism In Two Poems By Marianne Moore Marianne Moore was one of the eminent poetesses of the Modern times. An integral contributor to the modern American literature, Moore’s poetry is considered as a linkage between nature and the human world. She alludes to scientific and historical knowledge and tries to evade literary allusions to prevent her from being casted as a stereo-type. Her poems are full of keen observations and generally hold up the images of birds, butterflies, animals, landscapes of England and New York. She is a â€Å"literalist of the imagination† who can â€Å"present for inspection†¦imaginary gardens with real toads in them.†In A Grave, Moore begins with a meditation on the impossibility of seeing the sea, when a â€Å"Man looking into the sea† takes â€Å"the view from those who have as much right to it as you have to it yourself.† Moore calls attention to two difficulties here: the problem of seeing â€Å"through† a man, including a man's viewpoint, and the related problem of establishing herself as a centered speaker when she cannot stand â€Å"in the middle of this.† Moore's depiction of the sea correspondingly emphasizes its opacity over its translucency and its surface activities over its symbolic meanings.While Moore may well have written this poem out of a personal crisis that involved thoughts of suicide, the speaker reminds herself that to seek relief in the sea is not to be mirrored in any improved way or to be freed of her. The speaker works her way out of her crisis by establishing and confronting the actuality or literality of the sea and of death, and her difference from them. The sea interestingly, in Moore's poem is not a reflective object but a grave. Also, it is man’s careful acts, that is, his surface activities that save him and not his self- projections. Men â€Å"lowering nets† unconsciously â€Å"desecrate this grave,† â€Å"as if there were no such thing as death,† the speak er of this poem, conscious of the ultimate meaning of penetrating the depths of the sea, trains her vision to the surface:â€Å"The wrinkles progress among themselves in a phalanx—beautiful under networks of foam  the tortoise-shell scourges about the feet of the cliffs, inmotion beneath them;†The end of the poem marks its intensity. Unlike the exposition, the last lines of the lyric compel us to view the surroundings and not just concentrate on the opacity of the sea surface. A forced consciousness of the meditation on the outer scene is emphasized by the poetess. The sound of birds and bell-buoys make â€Å"noises† which break the ambience of a visual representation of the situation. The poem resolves with its initial perspective of assuming something as what it is not and an intrigue picture of the ocean’s opacity in the concluding lines:â€Å"and the ocean, under the pulsation of lighthouse and noise of  bell buoys,  advances as usual, looking as if it were not that ocean in  which dropped things are bound to sink—  in which if they turn and twist, it is neither with volition nor  consciousness.†For Moore, in A Grave, meditation on the sea becomes meditation on the limits of human power and human language, and immersion, literal or figurative, threatens dissolution. â€Å"Death† is the central theme of the poem with an under cutting allusion to Moore's own brother’s death. Many critics have tried to see the poem in the light of Moore’s feminist voice. In the poem, as many critics believe, Moore defines the male dominium and tries to break it with her strong and persuasive words. A grave is a place where dead things are put to rest, but Moore's A Grave is a locus of vital and challenging re-vision.The poems of Marianne Moore have arguments, often difficult to follow but always worth the effort. Distrustful of overt emotion, her poems rely on understatement and reserve to create it, a s in the simple What are Years? or the penetrating A Grave. What Are Years? is a stellar lyric which ends by paradoxically equating a bird's joyful song with both mortality and eternity? Both the poems have a dominating â€Å"sea imagery†. The tone of morality in both the poems is unsurpassable. The genesis of these poems can be owed to the World War II. These two poems are typical of Moore’s. These are not meant for the pleasure of reflection.They refuse to be simpler than the world is and make more sense when read again and again until one understands the perspective for which they are written. Moore exploits imagery and visuals from the nature and embeds them in her poems. The linking of morality with a bird in What are Years? is quite similar to the theme of death and survival in A Grave. The poems deal with the strong imagery of the sea-how in one poem it is â€Å"continuing† and in the other, â€Å"the sea is a collector, quick to return a rapacious look. † The imagery of bird or flying is also present in both the poems.This imagery is evident to prove the aspiration of the speaker to be free and boundless. In both the poems, Moore indicates the sea’s power to erode and destroy; strongly alluded in A Grave and subtly done in What are Years. A deep penetration of this concept might find it’s parallel to the society and humanity- the dominium of man over everything and his struggle to free himself. This idea or concept might be traced to the World War aftermath. The vulnerability of the society and the deterioration was enough to evoke the modernist flame inside Moore to conceptualize the social, political and economical conditions into a poetic expression.Many American poets see Moore as one of the monuments of modernism, up there with Robert Frost and Wallace Stevens. Vision and viewpoint, an integral quality of modernist poets is present in the poems of Moore as well. She once wrote that poems were â€Å"imagina ry gardens with real toads in them.† Her poems are conversational, yet elaborate and subtle in their syllabic versification, drawing upon extremely precise description and historical and scientific fact. A â€Å"poet's poet,† she influenced such later poets as her young friend Elizabeth Bishop. A Grave â€Å"offered Bishop, as it offers us, an example of how a woman well-versed in the literary tradition, rather than capitulating to the convention of female silence, can wield that tradition and write her own eloquent verses.†To conclude, in the words of eminent literary critic, Jeredith Merrin, â€Å"Her ocean/grave represents death, humanity's common enemy, and yet her sea as re-former of inherited poetic patterns acts too as Nature's and Woman's ally. The heavy sibilance throughout Moore's poem (in all versions) reminds us of Satan, of the serpentine and treacherous ladies of Romantic poetry, of the actual foaming ocean that advances and retreats over the shing le of land, and of mortality which menaces and circumscribes our lives.But with her insistent sound-play–e.g., â€Å"you cannot stand in the middle of this†; â€Å"repression. . . is not the most obvious characteristic of the sea†; â€Å"their bones have not lasted†Ã¢â‚¬â€œMoore also hisses back at Man, and at the arrogant male poet in particular, who arrogates to himself dominion, who is always trying â€Å"to stand in the middle of a thing.† By choosing to conclude her poem with the word â€Å"consciousness,† Moore reserves that climactic position for the quality of attentiveness to self and to â€Å"other† which is her highest aesthetic and moral value, while giving her sea (as retributive force) the last word, the last hiss.†ReferencesMarianne Moorehttp://www.poets.org/poet.php/prmPID/96On Marianne Moore's Life and Career http://www.english.uiuc.edu/maps/poets/m_r/moore/life.htmMarianne (Craig) Moore (1887-1972) http://www.k irjasto.sci.fi/mmoor.htmTHE POEMS OF MARIANNE MOORE  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  http://query.nytimes.com/gst/fullpage.html?res=9F0CE2DE1F3FF937A35752C0A9629C8B63 The Collected Essays and Criticism -By Clement Greenberg, Johnhttp://books.google.com/books?id=N5yfxzOr4j8C&pg=PA85&lpg=PA85&dq=%22what+are+years%22&source=web&ots=8EvqzAyM3v&sig=pchzURGxqaSTHBL3I-kmOagGf-g#PPA85,M1

Scientific Inventions

ASSEMBLY LINE: Primitive assembly line production was first used in 1901 by Ran some Eli Olds (1864-1950), an early car-maker (he manufactured the Oldsmobile, the first commercially successful American car). Henry Ford (1863-1947) used the first conveyor belt-based assembly-line in his car factory in 1913-14 in Ford's Highland Park, Michigan plant. This type of production greatly reduced the amount of time taken to put each car together (93 minutes for a Model T) from its parts, reducing production costs. Assembly lines are now used in most manufacturing processes. BAEKELAND, L. H. : Leo Hendrik Baekeland (November 14, 1863 – February 23, 1944) was a Belgian-born American chemist who invented Velox photographic paper (1893) and Bakelite (1907), an inexpensive, nonflammable, versatile, and very popular plastic. BAKELITE: Bakelite (also called catalin) is a plastic, a dense synthetic polymer (a phenolic resin) that was used to make jewelry, game pieces, engine parts, radio boxes, switches, and many, many other objects. Bakelite was the first industrial thermoset plastic (a material that does not change its shape after being mixed and heated). Bakelite plastic is made from carbolic acid (phenol) and formaldehyde, which are mixed, heated, and then either molded or extruded into the desired shape. Bakelite was patented in 1907 by the Belgian-born American chemist Leo Hendrik Baekeland (November 14, 1863 – February 23, 1944). The Nobel Prize winning German chemist Adolf von Baeyer had experimented with this material in 1872, but did not complete its development or see its potential. Baekeland operated the General Bakelite Company from 1911 to 1939 (in Perth Amboy, N. J. , USA), and produced up to about 200,000 tons of Bakelite annually. Bakelite replaced the very flammable celluloid plastic that had been so popular. The bracelet above is made of â€Å"butterscotch† Bakelite. BAROMETER: A barometer is a device that measures air (barometric) pressure. It measures the weight of the column of air that extends from the instrument to the top of the atmosphere. There are two types of barometers commonly used today, mercury and aneroid (meaning â€Å"fluid less†). Earlier water barometers (also known as â€Å"storm glasses†) date from the 17th century. The mercury barometer was invented by the Italian physicist Evangelista Torricelli (1608 – 1647), a pupil of Galileo, in 1643. Torricelli inverted a glass tube filled with mercury into another container of mercury; the mercury in the tube â€Å"weighs† the air in the atmosphere above the tube. The aneroid barometer (using a spring balance instead of a liquid) was invented by the French scientist Lucien Vidie in 1843. BATTERY: A battery is a device that converts chemical energy into electrical energy. Each battery has two electrodes, an anode (the positive end) and a cathode (the negative end). An electrical circuit runs between these two electrodes, going through a chemical called an electrolyte (which can be either liquid or solid). This unit consisting of two electrodes is called a cell (often called a voltaic cell or pile). Batteries are used to power many devices and make the spark that starts a gasoline engine. Alessandro Volta was an Italian physicist invented the first chemical battery in 1800. Storage batteries : are lead-based batteries that can be recharged. In 1859, the French physicist Gaston Plante (1834-1889) invented a battery made from two lead plates joined by a wire and immersed in a sulfuric acid electrolyte; this was the first storage battery. BUNSEN BURNER: The laboratory Bunsen burner was invented by Robert Wilhelm Bunsen in 1855. Bunsen (1811-1899) was a German chemist and teacher. He invented the Bunsen burner for his research in isolating chemical substances – it has a high-intensity, non-luminous flame that does not interfere with the colored flame emitted by chemicals being tested. CASSEGRAIN TELESCOPE: A Cassegrain telescope is a wide-angle reflecting telescope with a concave mirror that receives light and focuses an image. A second mirror reflects the light through a gap in the primary mirror, allowing the eyepiece or camera to be mounted at the back end of the tube. The Cassegrain reflecting telescope was developed in 1672 by the French sculptor Sieur Guillaume Cassegrain. A correcting plate (a lens) was added in 1930 by the Estonian astronomer and lens-maker Bernard Schmidt (1879-1935), creating the Schmidt-Cassegrain telescope which minimized the spherical aberration of the Cassegrain telescope. CELLOPHANE: Cellophane is a thin, transparent, waterproof, protective film that is used in many types of packaging. It was invented in 1908 by Jacques Edwin Brandenberger, a Swiss chemist. He had originally intended cellophane to be bonded onto fabric to make a waterproof textile, but the new cloth was brittle and not useful. Cellophane proved very useful all alone as a packaging material. Chemists at the Dupont Company (who later bought the rights to cellophane) made cellophane waterproof in 1927. CELSIUS, ANDERS: Anders Celsius (1701-1744) was a Swedish professor of astronomy who devised the Celsius thermometer. He also ventured to the far north of Sweden with an expedition in order to measure the length of a degree along a meridian, close to the pole, later comparing it with similar measurements made in the Southern Hemisphere. This confirmed that that the shape of the earth is an ellipsoid which is flattened at the poles. He also cataloged 300 stars. With his assistant Olof Hiorter, Celsius discovered the magnetic basis for auroras. COMPOUND MICROSCOPE: Zacharias Janssen was a Dutch lens-maker who invented the first compound microscope in 1595 (a compound microscope is one which has more than one lens). His microscope consisted of two tudes that slid within one another, and had a lens at each end. The microscope was focused by sliding the tubes. The lens in the eyepiece was bi-convex (bulging outwards on both sides), and the lens of the far end (the objective lens) was Plano-convex (flat on one side and bulging outwards on the other side). This advanced microscope had a 3 to 9 times power of magnification. Zacharias Janssen's father Hans may have helped him build the microscope. DA VINCI, LEONARDO: Leonardo da Vinci (1452-1519) was an Italian inventor, artist, architect, and scientist. Da Vinci had an interest in engineering and made detailed sketches of the airplane, the helicopter (and other flying machines), the parachute, the submarine, the armored car, the ballista (a giant crossbow), rapid-fire guns, the centrifugal pump (designed to drain wet areas, like marshes), ball bearings, the worm gear (a set of gears in which many teeth make contact at once, reducing the strain on the teeth, allowing more pressure to be put on the mechanism), and many other incredible ideas that were centuries ahead of da Vinci's time. DAVY, HUMPHRY: Sir Humphry Davy (1778-1829) was an English scientist who invented the first electric light in 1800. He experimented with electricity and invented an electric battery. When he connected wires from his battery to two pieces of carbon, electricity arced between the carbon pieces, producing an intense, hot, and short-lived light. This is called an electric arc. Davy also invented a miner's safety helmet and a process to desalinate sea water. Davy discovered the elements boron, sodium, aluminum (whose name he later changed to aluminum), and potassium. EDISON, THOMAS ALVA: Thomas Alva Edison (1847-1931) was an American inventor (also known as the Wizard of Menlo Park) whose many inventions revolutionized the world. His work includes improving the incandescent electric light bulb and inventing the phonograph, the phonograph record, the carbon telephone transmitter, and the motion-picture projector. Edison’s first job was as a telegraph operator, and in the course of his duties, he redesigned the stock-ticker machine. The Edison Universal Stock Printer gave him the capital ($40,000) to set up a laboratory in Menlo Park, New Jersey, to invent full-time (with many employees). Edison experimented with thousands of different light bulb filaments to find just the right materials to glow well, be long-lasting, and be inexpensive. In 1879, Edison discovered that a carbon filament in an oxygen-free bulb glowed but did not burn up for quite a while. This incandescent bulb revolutionized the world. ELION, GERTRUDE: Gertrude Belle Elion (January 23, 1918 – February 21, 1999) was a Nobel Prize winning biochemist who invented many life-saving drugs, including 6-mercaptopurine (Purinethol) and 6-thioguanine (which fight leukemia), Imuran, Zovirax, and many others. Elion worked at Burroughs- Glaxo Wellcome for decades (beginning in 1944) with George Hitchings and Sir James Black, with whom she shared the Nobel Prize. She is named on 45 patents for drugs and her work has saved the lives of thousands of people. ENIAC: ENIAC stands for â€Å"Electronic Numerical Integrator and Computer. † It was one of the first all-purpose, all-electronic digital computers. This room-sized computer was built by the physicist John William Mauchly (Aug. 30, 1907 – Jan. 8, 1980) and the electrical engineer John Presper Eckert, Jr. (April 9, 1919 – June 3, 1995) at the University of Pennsylvania. They completed the machine in November, 1945. FARNSWORTH, PHILO T. : Philo Taylor Farnsworth (1906-1971) was an American inventor. Farnsworth invented many major major components of the television, including power, focusing systems, synchronizing the signal, contrast, controls, and scanning. He also invented the radar systems, cold cathode ray tube, the first baby incubator and the first electronic microscope. Farnsworth held over 300 patents. FOUCAULT, JEAN: Jean Bernard Leon Foucault (1819-1868) was a French physicist who invented the gyroscope (1852) and the Foucault pendulum (1851). A gyroscope is essentially a spinning wheel set in a movable frame. When the wheel spins, it retains its spatial orientation, and it resists external forces applied to it. Gyroscopes are used in navigation instruments (for ships, planes, and rockets). Foucault was the first person to demonstrate how a pendulum could track the rotation of the Earth (the Foucault pendulum) in 1851. He also showed that light travels more slowly in water than in air (1850) and improved the mirrors of reflecting telescopes (1858). FRANKLIN, BENJAMIN: Benjamin Franklin (January 17, 1706-April 17, 1790) was an American statesman, writer, printer, and inventor. Franklin experimented extensively with electricity. In 1752, his experiments with a kite in a thunderstorm (never do this, many people have died trying it! ) led to the development of the lightning rod. Franklin started the first circulating library in the colonies in 1731. He also invented bifocal glasses and the Franklin stove. The idea of daylight savings time was first proposed by Benjamin Franklin in 1784. GALILEI, GALILEO: Galileo Galilei (1564-1642) was an Italian mathematician, astronomer, and physicist. Galileo found that the speed at which bodies fall does not depend on their weight and did extensive experimentation with pendulums. In 1593 Galileo invented the thermometer. In 1609, Galileo was the first person to use a telescope to observe the skies (after hearing about Hans Lippershey's newly-invented telescope). Galileo discovered the rings of Saturn (1610), was the first person to see the four major moons of Jupiter (1610), observed the phases of Venus, studied sunspots, and discovered many other important phenomena.

Philosophy Phenomenology and existentialism Sartre on BeinginItself Essay

Philosophy Phenomenology and existentialism Sartre on BeinginItself and BeingforItself - Essay Example His main saying was "Existence precedes Essence". According to Sartre, humans do not have any predetermined nature or course that they should follow. They can decide to do anything that is valuable to them. They have free choice and independent action. The human nature is shaped through these free choices and values. According to the Existentialist view, we create our own nature through our actions, desires, decisions, plans and ambitions. His above slogan negates the traditional view where essence comes before existence and this is the centre of the conventional argument that human beings are born pre-endowed with a nature of their own. According to the pre-determined nature, the individual's chances, opportunities, values, concept in life and achievements are all pre-determined and he will accept life according to the predetermined nature guided by his characters and nature. There is very little he can do about it and alter neither the own nature nor the course it is taking. But Sartre argues against all of it. So, according to his Existentialism it is all in the hands of Man and his likes and dislikes that makes life's rulings. His arguments on being-in-itself and being-for-itself are grounded on this basic assumption. "I suppose that it is accurate to say loosely that being in itself is nonconscious being and that being-for-itself is conscious being. And, at least pragmatically, we may as well restrict being-for-i tself to human being," says Howells (1992, p.49). He says that the external world is connected to the state of being-in-itself and it is a way of existence, an unconscious one, neither passive, nor active, and has no capacity of transcendence. According to Sartre humans like to play God and have a compulsive desire to reach the status of being-in-itself, which means, an ardent longing to be the master of one's own destiny, to be identified in a gratifying way, and attain complete control over his own and other's existence. The difference between the two states is shown in the most simplistic way possible by Sartre. His famous example of a waiter is very interesting. A waiter in the caf thinks that he is a born waiter and nothing else. He thinks that the caf cannot work without him and he is the epitome of perfection in his job. But Sartre says that this cannot be so. He says a man cannot be a complete waiter the way an inkwell is an inkwell. This means, inkwell cannot be anything else other than inkwell, while the man can be many more things other than being a waiter. If he loses the job, or if he gets some other opportunity, he will be come a policeman, or a shopkeeper or a lawyer, or anything else. He could get into any other identity, many of them, one of which is being a waiter because a human being is constantly creating and recreating himself and adapting himself to any role that becomes a necessity of the moment. As inkwell is inkwell, the man is a man. The difference is man can adapt himself to many more identities; but he still continues to be a man which is the state of being-for-itself. In the state of being for itself, he does not ha ve any fixed nature or essence. Actually he should focus more on being for itself instead of being in itself, and he commits this error constantly. While doing so, he becomes a

Introduction to Modern Art and Visual Culture Essay

Introduction to Modern Art and Visual Culture - Essay Example The essay "Introduction to Modern Art and Visual Culture" analyzes modern art and visual culture. There was need for creation of accurate pictures of ancient times. Contemporary human conditions took center stage focus with an accompaniment of an empirical mindset on the rise of conflicting ideas regarding the traditional role and hierarchies in society and nature. The nineteenth century art paved way for modern perspectives into the field of visual art. The French art embeds the redress of long-term imbalance in artistic developments. There were trials by artists to maintain reality from different perspectives. Many are the occasions when misinterpretations took a toll on artworks whenever the public or critics never augured well with any work. The Gross was largely considered as public propaganda making it hard to see through the artists’ eye. The French military was plague stricken and affected by rumors, body politics, and colonial aggression and poisoning. Critics found t he painting to be more of a focus on masculinity. According to Grigsby, there was need for new courage in facing the military regalia. The argument maintains that the Gros covered up irrationality in the French army and citizens. The uniformed officer represents positive response to domestic disintegration and civil war and not by any chance an endorsed propaganda on the state. Drawings made a leeway into the era of visual arts. Artists like Millet took this with passion portraying what the world was in the ancient times. In this artistic practice, Millet took drawing as a platform step to completion of his paintings. There is rural imagery n the painting showing the plight of farmers. The painting brings out the controversy of poverty and countryside depopulation with a need for social change. The painting makes a creation of rural vocabulary in epic naturalization. The drawing gives a picture of what the painter must have been surrounded with at the time of his works. The peasants of the time must have hung on existence. The plougher having hunched shoulders faces constrain from the landscape with the plougher firmly set on the ground. This painting seems to remind the viewer of the earthbound nature of humans in an endlessness of labor focusing on harvesting. Criticisms that face the 19th century arts do not leave Manet’s Olympia. There have been hoards of negative criticism from both Parisian public and critics.(Kahn, 67) The painting of Olympia was from the point of View of Manet. The time s must have influenced his point of view and produced the results that face so much criticism of his artistic display. It only seemingly became an oversight through the nudity of the painted woman, which the 1865 generation was not ready to receive. The controversy came about with Olympia perceived as a portrayal of prostitution by the Parisian public. It was a fear of the changes that could face the society and the arousal of a political air on the magnitude of permissiveness of changes in rules. Creativity at the time faced so much influence from public opinion and critics. The society was tied to old traditions and beliefs and was not so receptive to art works displaying the realities of the times in which they were living. The nudity of Olympia though intended to raise the presentation of Venus to a higher-level faced criticism at the blunt exposure, which it gave to female nudity.the nudity of Olympia, scandalized the wretch in the society. It brought out the reality of prostit ution that was present in the Parisian society

(Ethics and Comunication) Reflection on organizational change Article

(Ethics and Comunication) Reflection on organizational change - Article Example Whether the change is big or small, it will still impact us. Unsurprisingly, we react to change by putting up a wall around us to protect ourselves from the effects of change. However, there are those individuals who embrace change and its effects on their lives. The good thing with this attitude is that if the organizational change results in a good outcome, the people who embrace change will be the first ones to reap the rewards. The downside to this mindset is that if the organizational change doesn’t go so well, these types of people will be the first to bear the full force of its effects. I believe that organizational change can be a good thing if conducted in the right atmosphere and if the wider organization can come to a consensus. The best type of organizational change is change that is accepted by the wider majority so its effects will then be lessened. I myself am sceptical of change because I see no need for changing something just for the sake of changing. If an o rganization is already running smoothly, then there is no need to upset the balance in the organization.