European History Essay Example for Free

European History Essay When questioned in regards to the Enlightenment, an individual may give the general description that it was a time period ranging from the mid seventeenth to late eighteenth century that stressed the cultivation of philosophical, intellectual and cultural movements. However, they may not be aware of specific implications it had on former central powers such as the church. Although the scientific revolution was a stepping stone to the destabilization of the church, it was the enlightenment that ultimately removed the church from the central control of cultural and intellectual life. The scientific revolution is a time period in history roughly from 1500 to 1700 that is known as one where advances in European mathematical, political and scientific thought occurred. A â€Å"founding father† of the scientific revolution was a polish scientist by the name of Nicholas Copernicus, whose conclusion that it was the sun, not the earth that lies at the center of the solar system, was a direct contradiction to the church, which strongly believed the vice-versa or the Geo-Centric theory. (Merriman,290) It was this initiating step that led other scientists to further question and test traditional church beliefs. An example of this is Galileo Galilee and his creation of a telescope that would confirm the geocentric theory, although for which he was decreed a heretic and put under house arrest. (Merriman 296) In the â€Å"Crime of Galileo: Indictment and Abjuration of 1633† we can directly see Galilee’s theories being refuted by the church in the following quote: â€Å"The proposition that the sun is in the center of the world and immovable from its place is absurd, philosophically false, and formally heretical; because it is expressly contrary to Holy Scriptures†¦ The proposition that the earth is not the center of the world, nor immovable, but that it moves, and also with a diurnal action, is also absurd, philosophically false, and, theologically considered, at least erroneous in faith†¦.Therefore: We pronounce, judge, and declare, that you, the said Galileo . . . have rendered yourself vehemently suspected by this Holy Office of heresy.† (2) Here we can see the church counter-arguing Galilees theory by stating that it contradicts the Holy Scriptures, the biblical text that virtually controlled how individuals interpreted the world. Through Galileo’s thought’s individual’s became encouraged to see the world through measurable means such as experiments and evidence, as oppose to biblical texts that told otherwise. It was only after scientific discoveries such as the one above that philosophers started questioning the natural world. It was discoveries such as the one above that influenced great thinkers such as Isaac Newton, whose discoveries altered not only scientific thought but views about religion for decades to come. (Merriman,300) A Prussian philosopher by the name of Immanuel Kant, who lived from the mid seventeen hundreds to the early eighteen hundreds, was influenced by these ideas of empiricism and reason. In his 1784 publication â€Å"What is Enlightenment† Immanuel Kant writes: †Å"Sapere aude! (Dare to know) Have courage to use your own reason. If I have a book which understands for me, a pastor who has a conscience for me†¦I need not trouble myself. I need not think, if I can only pay others will easily undertake the irksome work for me.† (1-2) This can be interpreted that Kant is advising individuals to use their own sense of logic and to understand the natural world. Here, we can see that traditional church ideas are being pushed away for ones of a logical nature, hence a church that is surely losing its grip on the people of Europe. This idea of tradition church ideas being replaced can be further seen in Kant’s writing when he states: â€Å"The escape of men from their self-incurred tutelage chiefly in matters of religion because our rulers have no interest in playing guardian with respect to the arts and sciences and also because religious incompetence is not only the most harmful but also the most degrading of all.† (12) The interpretation that can be derived from this is that Kant believes that church officials have no concern for the development of man and wish for them to remain uneducated about the world in which they reside. Moreover, the argument can be made is that because the church’s negligence in accepting evolving scientific theories, people came to understand that the need to stray from church beliefs in order to grasp their own sense of understanding was unmistakable, therefore ultimately decreasing the churches once high standing in the lives of early Europeans. The scientific revolution, a corner stone for mankind, whose implications are being felt to this very day, was in addition responsible for the development of a time period known as the enlightenment. Characterized as a movement of philosophical, cultural, and intellectual gains, in addition the enlightenment was responsible for the decentralization of church power in Europe during the seventeenth and eighteenth centuries. Scientist such as Nicholas Copernicus, Galileo Galilee, and Isaac Newton influenced individuals through their theories which stressed using empirical evidence and reasoning to define the world they dwell in. It was through these ideas that Europeans came to understand the Church’s denial to accept reason and empiricism, decentralizing the churches one’s great grasp over society. Works-Cited Kant, Immanuel. â€Å"What is Enlightenment?† Internet Modern History Sourcebook. 15 November 2012. http://www.fordham.edu/halsall/mod/kant-whatis.html. Merriman, John. A history of Modern Europe: From the Renaissance to the age of Napoleon. 3rd ed. Vol. 1. London: W.W.Norton and Company Inc., 2010. N. pag. Print. The Crime of Galileo: Indictment and Abjuration of 1633. . Web. 15 Nov. 2012. http://www.fordham.edu/halsall/mod/1630galileo.asp.

Emotional Bank Accounts Essay Example for Free

Emotional Bank Accounts Essay We all do things that are counter-productive to our relationships. We all like to have people be nice to us. The concept of an emotional bank account is powerful, yet not quite as simple as keeping a ledger of debits and credits. One of the problems is the perception of worth. What is a â€Å"deposit† worth. We may think it is quite valuable. The affected person may consider it so routine it is not even remembered. The trick in making deposits is to know what value the act has for the person holding the account. Herzberg was a psychologist who studied motivational factors in American industry. He came up with the conclusion, since quoted out of context, that money is not a good motivator of people. He called things like money, a safe work place, security and such fundamentals â€Å"hygiene† factors. That is, the employee needed them to be there and assumed they would be there. They were not, however, efficient in motivating job improvement. Herzberg found that various methods of showing personal appreciation were far more important. A company golf team, a compliment, a letter of commendation, a corner office, painting an employee’s name painted on a parking place and such activities were more efficient in motivation. Do you agree? Many students do not. To many people, money is a prime motivator. How then did Herzberg come up with his findings? Is he wrong? No, we have to understand another theory, Maslow’s Hierarchy of Needs. Maslow was also a psychologist who studied motivation and found that people had needs that varied with their circumstances. If you are living in the weeds, any job that provides 3 hots and a cot is your dream. You think you would never want anything else. But when you get that job, those needs are satisfied and you quickly want more. Maslow said the second stage was to want security. You want those physiological needs to be there in the future, not just today. And, if you get that security, you then go to stage three where you want a feeling of belonging to a group that reflects your values and goals. If you get this feeling of belonging, you then go to a stage where you want to be singled out and honored. The last stage is one where you  have all those needs met, so you want to contribute in some special way to something greater than yourself. Herzberg did his studies in a shop where people had stage one and two pretty much assured. Those physiological elements did not motivate because they were already met. Those people were at the stage where they either wanted to belong to a group or be singled out for honors. The ability to read another person and determine what is important to them is critical. This gets back to our emotional bank account deposit value. Similarly, actions may have different withdrawal value to different people. To someone who is feeling very insecure because of seeing everyone around them being dismissed in a general layoff, a curt word may have them dusting off their resume and reacting very defensively. It may not have been intended in that way but its effect is the important thing. Our success in keeping a good emotional bank account with other people then depends upon our sensitivity to the values that other people hold, not our own. This sensitivity is difficult for most of us as we often have â€Å"tasks† to do and keeping track of the effect of our actions and words may not be high on our list of things to do at the moment. Yet, in the long term, nothing is more important. I once heard someone say of a particular organization, â€Å"this place is not about competence, this place is about relationships†. I think that is true of just about any organization.

Architectural Design Proposal of Reading Space

Architectural Design Proposal of Reading Space 3.1 Historical Purpose Context If we surmise that temporary architecture is, essentially, something that is not permanent, then in one form or another as stated it has existed since antiquity, with examples traced from prehistoric wooden huts and shelters, through medieval stage sets, circuses and world fairs, to the mobile home and post-war pre-fabs, and wartime and disaster relief. Interestingly, as early as 58 B.C.E in ancient Rome, such architecture functioned as a form of revolution ancient Romans circumventing governmental opposition to permanent amphitheatres by building temporary versions with the Metropolitan Museum of Art noting that despite their impermanent nature, this architecture was a rich celebration and an expression of anti-establishment ideals. Together with other classical forms, a revival of temporary architecture was also particularly prevalent during the Renaissance; civic groups would welcome King Henry II of France to their cities with festivals showcasing the best and most elaborate in temporary design of the time, such as the specifically commissioned Fountain de Innocents (1550) a collaboration between architect Pierre Lescot and sculptor Jean Goujan. As the University of Torontos Professor of Art History, Christy Anderson, notes: for designers and architects of the Renaissance  the ephemeral nature of the installations lent themselves to design innovations believed to be too unconventional or extravagant for lasting architecture [and] afforded the opportunity for experimentation. Such events were used as tantalising opportunities for the realisation of a new style, made real perhaps for a single day; the transient enjoyably consumed, creating a taste for the permanent. In contemporary architecture, we have become more familiar with the temporary as expressed at exhibitions and pavilions; Le Corbusier and Pierre Jeannerets LEspirit Nouveau Pavilion (1925), Mies van der Rohes Barcelona Pavilion (1929), and Alison and Peter Smithsons House of the Future for the Daily Mail Ideal Home Exhibition in London (1956) each showcasing their designers stimulating philosophies and ideas on the future of architecture, and advertising these compelling forms via memorable, provocative images. Moreover, these challenges to established or conventional approaches to design were yet further inflamed by Archigram, with mobile, inflatable or temporary projects albeit resigned to paper and remaining unbuilt during the 1960s and 70s. 3.2 Academic Discourse Urban Change However, it was the aftermath of the great recession in 2008, which crippled economies with the construction, architecture and engineering sectors arguably hit the hardest and the inevitable temporary suspension of many large-scale projects that ensued which elevated small-scale, bottom-up spatial interventions from niche to mainstream practice, and subsequently exposed them to more intense levels of critical review. Though this opened up possibilities to test scenarios and subvert preconceptions of what our cities should be like, giving architects and designers, often young, the opportunity to push the boundaries of architecture and [take] the city back into their own hands, as Cate St. Hill writes in her RIBA published book This is Temporary, very soon, and perhaps unavoidably, established companies found they could make use of these strategies too, evaporating [away] any freshness, writes Douglas Murphy in his article for the Architectural Review: The Pop-Up Problem. As a consequence, it has now become utterly commonplace for food drink, fashion or design retailers, for example, to make their inaugural entrance into any given city via a succession of trendy pop-ups before the proper shop opens. Though this could be considered fairly commonplace cool-chasing, it stems from the constant procedure of reducing risk: a temporary shop doesnt require payment for a full lease, and it also has an aura of edgy cool. These types of structure therefore offer us a corporate regurgitation of anti-corporate commerce. Importantly, and perhaps more pressingly, in academic and mainstream media discourse, more original spatial intervention projects, which featured smiling locals and were so often portrayed as joyous and likeable, have also since been subject to a considerable amount of criticism primarily contemplating if the actual impact of these projects is overestimated. Though proponents of the pop-up refer to the wider impact an intervention can have galvanising local communities to change the way their public spaces and buildings are used to the benefit of everyone in practice the actual effect remains limited to the most local scale, involving or reaching out to just a handful of locals. This is due, in part, to the perceived lack of scalability, as Ella Harris highlights in her article for The Guardian: the possibility of scaling up such projects, beyond their immediate surroundings, is often minimal due to the specific local conditions. Therefore, when addressing if temporary architecture can act as a catalyst for urban change in the context of this thesis, a catalyst for urban change relates to the ability of the project or intervention to have an impact on an area wider than its immediate surroundings, stimulating local inhabitants to actively seek to utilise public spaces for betterment of society, or to at least raise the question. 4.0  Formulating a Position 4.1 Understanding Current Trends Despite such criticism into the perceived overestimated effect or corporate commercialisation of temporary architecture projects, there are a plethora of younger architects and designers that are emerging as a new generation of a subversive, socially-minded practices, each combatting these concerns by inspiring new definitions of architecture not just in terms of the physical structure, but in the process of creating them. These practices all share a concern for engaging people and enriching local communities, and their projects are well-considered and endowing ways to create animated, deeply-rooted places in the neglected, disused and sometimes inaccessible parts of a city. Therefore, before attempting to formulate my position within the field of temporary architecture, it was necessary to speak to a few of these firms in order to develop a more succinct, albeit limited, understanding of the temporary situation in this moment in time. Set up by Kevin Hayley and David Chambers in 2009, Aberrant Architecture is a London-based multidisciplinary studio and think-tank who create temporary structures backed up by rigorous research into the history of a place and the construction of whimsical narratives, inspired by the way contemporary lives are evolving, Kevin explains. Featuring projects from a tiny mobile theatre towed by a campervan, to an interactive instillation built in collaboration with local community groups, their work is playful, provocative and interactive. Interestingly, both Kevin and David agreed on the two most prominent driving forces between each of their projects specifically setting and reusability. First is the idea of historical heritage, or setting we always approach a project with attention to the history-we look to engage people, perhaps through participation events, in a way that connects them to a story or history, Kevin stresses, as it is this side of the projects which the public are increasingly embracing, and really enjoy. Also, and equally as importantly, is their desire for temporary projects to have a lasting effect: if something is there for three days or 30 years, does it matter? Surely its about measuring the effect it has on a community. However, though they both agreed that the actual physical thing is temporary but the activity or use should be very permanent, they also stressed that being able to reuse the structure was important if something stays in one place for a long time, weve found it can lose its appeal really quickly. With mobile structures, as soon as you move it to a different context it becomes new again. Contrastingly, Assemble a multidisciplinary collective founded in 2010 and comprised of 16 members each under the age of 30 champion a self-initiated style of building that engage communities in the making process, and rely on collaborative teamwork, as Amica Dall joyfully explained. Fascinatingly, Amica and Jane Hall revealed that this preference of such projects stems from a desire to involve the community in a more holistic way, as habitually, they only participate in a small part of the process of creation, [usually via consultation groups] and involvement often only starts after most of the more critical decisions have been made. Self-built projects such as the Granby Workshop in Liverpool, built in collaboration with local artists and craftspeople afford the chance for everyone involved to be part of the whole life of a project. By collectively working out how to make it possible in the first instance, having to fabricate them ourselves, and then living and working with the outcome whilst running the projects, this method allows them to understand the consequence of our design decisions. This approach to temporary architecture allows the physical structure to underscore some doubts in some areas and give confidence in others, affording a continuously evolving understanding of what a community needs. Ultimately, both Jane and Amica agreed that working with people and for people brings extraordinary opportunity to learn from them, to grow sensitive to new things, and most importantly, to find things you werent already looking for. 4.2 Addressing Systemic Societal Issues Undoubtedly then, pop-up architecture can offer something rare: design that is undiluted. Permanent, traditional architecture often needs to serve multiple purposes and changing surroundings the Shard, for example, is at once an office building, transit hub, hotel and retail space. Contrastingly, temporary architecture, as exemplified by Aberrant and Assemble, can advance a singular purpose and concentrate its impact. However, in completing further research, what also became evident, and highly significant, was that the singular purposes very rarely address some of the real-world systemic challenges we face in society, especially in major cities, with just a handful of examples responding to challenges like social inequality, youth unemployment or public health and wellbeing, for example. Moreover, in the few instances where projects do address such issues, services are regularly provided by unpaid, well-meaning volunteers instead of professionals, often filling the gaps left negligent (local) governments. With pop-up interventions providing services for free, local governments might well be pleased to see that they can get away with formerly expensive services. Further still, as Ella Harris writes for The Guardian, in celebrating these projects, are we simply distracting from the lack of structural public provision in these areas and worse still, normalising, even glorifying, its absence? 4.3 Formulating my position Therefore, as discussed, in conducting interviews with specialised practices, there were several reoccurring key themes which became immediately apparent, and naturally proved decisive in narrowing my research scope chiefly, involving the public in an aspect of building or completing the structure, and using a specific element(s) of a sites historical heritage as a way of engaging the public in a larger story. However, following further research, the noticeable lack of projects, events or constructs attempting to address some of the systemic societal issues we face in modern society and the possibility that even the minority that do may simply be masking the absence of appropriate structural public provisions in those areas was highlighted, again adding to a more refined research scope which could look at the possibility of using architecture to address one such challenge directly. As a consequence, formulating my position came as a direct result of twinning these two key themes, and attempting to address them simultaneously. Firstly, building forms expressive of context styles that embrace the environment they inhabit have always stimulated my interest, so in meeting Aberrant and Assemble and understanding that the uniqueness of a design can be found in the particular embedded in the lives, the people, and in the history of a city the first theme lay in a specific alchemy of Architecture; using the combination of distinctive physical, societal and/or cultural contexts to produce innovative, site-responsive design. The second, in identifying a lack of contemporary projects addressing real-world societal challenges, lay in endeavouring to understand if temporary architecture could be used to do just that, or to at least promote such issues into the public domain. The more defined scope for this thesis therefore became an investigation into if/how Temporary A rchitecture can act as a catalyst for urban change by specifically addressing real-world problems through a contextual approach to design. 5.0 Project narrative alchemy 5.1 City + Site Specific Investigations Embracing Aberrants view that temporary architecture projects can lose their appeal if they remain in one place for an extended period of time, and our joint view that such projects can, and should, be representative of, or embrace their local historical heritage, the decision was subsequently made for the project to move around a selection of sites in Canterbury with each site located in appropriate open public spaces, or pockets of disused, inactive, space to test the structures relative success in various locations (as outlined on the site locations map, left). Therefore, in order to conceive a design taking a combination of Canterburys distinctive historical, physical, societal and/or cultural contexts as its inspiration, studies were conducted into each of the prospective sites so that it could appropriate itself in each site, whilst also being representative of Canterburys heritage as a whole to produce a holistic theme for the project. Following these investigations, one overriding theme became immediately apparent Canterburys vast, enduring, and continuing affinity with literature. Throughout recent centuries, Canterbury has proved home to several authors, poets and playwrights, and the city has been an inspiration to the writers of English literature. Playwright Christopher Marlowe, after whom the Marlowe Theatre is named, was born in a house in St Georges Street, Canterbury in 1564, and despite being a contemporary of Shakespeare, was the most popular playwright of his day, and is often acknowledged as the Father of English drama. Furthermore, Charles Dickens also regularly visited Canterbury, and the protagonist of one of Dickens most loved novels, David Copperfield, has strong connections with the city. Canterbury is also incredibly famous for Geoffrey Chaucers Canterbury Tales collection, which have stood the test of time for more than 600 years and are known throughout the world. Additionally, the instantly recognisable Rupert Bear (which features in the Canterbury Heritage Museum), and Ian Flemmings James Bond book You Only Live Twice, were both conceived in Canterbury, whilst Flemmings Chitty Chitty Bang Bang was based on Canterburys colourful, local character, Count Zborowski. Moreover, Canterburys Buttermarket situated directly opposite the Cathedral entrance in the heart of Canterburys historical town for more than 800 years features in the wartime classic film A Canterbury Tale. In addition to current and historical contextual ties, it was also important to consider links which may have been lost especially those concerned with the built environment a collection of which are remembered in Paul Cramptons Canterburys Lost Heritage. In Canterbury, numerous buildings disappeared in the twentieth century a century, of course, of vast changes and technological progress. However, though the famous Blitz of Canterbury is one of the main tributaries of this, it has now been widely accepted that the City Councils ruthless post-bombing clearance policy accounted for many more properties than the Luftwaffe, as the city fathers were seduced by the ideas of Corbusier and the contemporary styles exhibited at the Festival of Britain. Interestingly, though there was no special reason why they should disappear one of the most lost building typologies was Schools (and School Buildings). Demolished, with the site sold for other uses such as the Simon Langton Boys School which occupied the current Whitefriars site in 1959 or in more recent years, closed and amalgamated with adjacent schools the majority of Canterburys principal Schools are now located on the outskirts of the city. This prompted teachers like Frances Bingham to initiate her own one-room schoolhouse, which has since been converted into a family home. Teaching children from the ages of 4-10, Frances taught 32 students over a period of 6 years in Canterbury, achieving the same results as students who were educated in separate classrooms, with some of her students going on to become lawyers, engineers, teachers and nurses. Therefore, given the citys, and each respective sites, respective affinity with literature expressed in all forms and education, via the loss of School building and the resulting captivating story of Frances, the contextual narrative of the project was to draw on Canterburys historical literature and educative ties as a way to draw activity to a space. 5.2 Identification of Associated Real-World Problem Upon identifying a contextual narrative, sequentially, the next step was to identify a real-world problem associated with both literature and education, and, naturally, the logical bridge between these two themes is reading. Interestingly, though reading is a pleasurable pastime for many, following further research into current discourse around reading in schools, in recent years the UK has seen a serious decline in the number of parents reading with their children, as the headlines in Figure XX demonstrate, to the point where several studies have found the situation to be one of the fastest growing systematic societal challenges faced in the current climate. In a survey conducted by the Oxford University Press, it was found that more than half of primary school teachers have seen a least two children begin formal education with no experience of being told stories at home, whilst another study managed by YouGov found that only 51% of children said they love or like reading books for fun, compared to 58% in 2012, and 60% in 2010. Moreover, according to the report, only 54% of children up to the age of five are read to at home at least five days a week, with this declining to 34% of six to eight-year-olds, and drastically, just 17% of nine to 11-year-olds. The studies also discovered that the main causes of this issue stem from the home-life, with parents often finding a lack of available space at home, being too busy with other commitments, unable to afford appropriate literature, or simply feeling embarrassed at their own inability to read to their children. However, Pie Corbett, an educational advisor to the government, stated that: This isnt just an economic thing its not just people who come from poor backgrounds, its across the whole of society. You get a lot of children coming from very privileged backgrounds whove spent a lot of time in front of the TV and not enough time snuggled up with a good book. The TV does the imagining for you and it doesnt care whether youre listening or not. This is despite research clearly demonstrating that children who are read to on a regular basis before, and after, they start school are most likely to succeed its a key predictor in terms of educational success, Corbett continued, as children who are told stories are the ones who first form abstract concepts across the curriculum- [and though] parents may have lost faith with this idea, education is the way out of poverty. Furthermore, these studies have shown that regular access to books has a direct impact on pupils results, irrespective of parents own education, occupation and social class, as keeping just 20 books in the home can boost childrens chances of doing well at school, it was claimed. Finally, YouGovs study of over 17,000 young people also revealed a strong correlation between childrens literacy and what goes on outside school specifically that being raised in a household with a large amount of literature would result in a child remaining in education for an average of three years longer than those with little or no access, which could be the difference between leaving school at 18 and going to university, which can be worth up to  £200,000 more in lifetime earnings. 5.3 Project Narrative Construction Therefore, given the systemic societal issue currently faced in the UK with the number of children reading with their parents being in sharp decline, and that several studies have repeatedly, and explicitly, identified that reading at home and access to books has a proven, positive impact on a childs future life, the project would aim to address this issue specifically either by attempting to solve the issue directly, or simply raising awareness of it via a contextual approach to design which would use Canterburys historical, and continuing, affinity with literature and education as its main source of inspiration. 6.0 Design response and realisation 6.1 Design Response Out of this defined project narrative and a subsequent series of design iterations and developments (for which Kevin from Aberrant kindly provided assistance and advice, and are shown in the Appendix), and scale and structural models was born the Fun-Size Story Box of Canterbury, as shown. The final design was a 2.5 meter cube, constructed entirely of softwood and corrugated cardboard (as they are low-value, easy to source and condition materials), featuring both recessed and projecting volumes inspired by stacked books, and the nature of Canterbury High Streets various building facades. The structure was also to open up to the public, much like a book opening along the spine, to reveal the interior performance and open reading spaces. Via a series of these fun and colourful reading corners, story creation + performance spaces, and open seating areas, the design aimed to provide parents and children with a safe and fun architectural intervention in which to read together. The projected volumes were also to be transparent, so as to make the bookshelves visible from the exterior, creating a sense of intrigue, and the selection of books available would be free for children to take home, donated from local retailers and charity shops, such as the Demelza Childrens Hospice, and HMV. The recessed reading corners and story creation + performance spaces come as a direct result of twinning classroom reading techniques with brain development in children research data, outlining where, why and how children like to read. According to the Centre on the Developing Child at Harvard University, traditional reading corners employed in schools do not conform to childrens actual reading habits, with most spaces tailored instead to improving scores in assessments. Alternatively, children actually prefer smaller, more interesting and inviting reading spaces a small space, often hidden away, where children can enjoy a book therefore, the Story Box features recessed areas where children can do just that with their parents. Furthermore, in early years, children learn best through active, engaged, meaningful experiences, and research suggests that learning is easier when experiences are interconnected rather than compartmentalised into narrow subject areas. This is echoed by ground-breaking kindergarten architect, Takaharu Tezuka, who states in The Guardian that designing for children involves recognising their right to play as well as learn, as from these experiences, they construct their own knowledge and apply their taught knowledge by interacting with their environments. Therefore, rather than having all reading material collected in one space, the Story Box has books arranged throughout the structure, with the provision for interconnected interior and exterior story creation + performance spaces, where children can imagine their own story with their parents, and then act it out, engaging them in a playful experience. 6.2 Council + Legislative Influence In addition to research data, council guidance and legislation were hugely influential on the design. Prior to any formal discussions with representatives of the council, a Planning Analysis was conducted to identify any legislative and/or planning requirements which the project may or may not have to adhere to forming a paper trail. This study found that as this projects Temporary Structure would be classed within the Building Regulations Exemption as a Class 4 Temporary Building, it would subsequently be exempt from several, if not all, regulations, providing it did not (amongst other possible objections) remain where erected for more than 28 days, and the floor area did not exceed 30m ². The project was subsequently designed following these requirements, however, the design continuously evolved following feedback from council representatives David Kemp (CCC Property Asset Manager), and Andy Jeffery (CCC Emergency Planning Events Officer) all of which is collated in the appendix Council Correspondence. This correspondence tackled many issues, such as; ensuring children didnt get their fingers caught in hinges, impeding pedestrians or emergency services vehicles, proximity to any highways, gaining relevant liability insurance, and proving the projects structural integrity. Once these issues were satisfied, and all required documentation was completed and accepted (Event Application Form, Events Policy Terms + Conditions, Event Management Plan, Events Risk Assessment and Public Liability Insurance Certificate) permission was granted to stage the event in the Buttermarket and Marlowe Theatre Forecourt on the weekend of the 11th-12th February 2017. 7.0 Implementation and feedback 7.1 Placement Despite a fully designed and rationalised scheme, like many temporary architecture structures, the project was affected by time and financial constraints, and as a result, only one of the two sides to the Story Box project was fully realised and constructed as outlined in the appendix Construction + Realisation. Yet, despite the unfortunate inclement weather conditions, the project was implemented on site (in the Buttermarket, between 11th-12th February 2017), acting as a prototype to test the validity or relative success of each part of the design, and project. Furthermore, though the event only lasted for two days (running from 10am to 5pm both days), and adverse weather ultimately hampered opening times and the possibility to set-up in more than 2 of the prospective sites, there was sufficient opportunity to engage with members of the community, and to receive valuable feedback. 7.2 Representative Data Movement Firstly, due to the stated limitations, it is important to note that the data collected doesnt represent a statistically significant number, therefore cannot be wholly accurate (this data was recorded by myself, and the 2 other staff members present throughout the day). However, one of the main ambitions of the project was to attempt to attract people to (or activate) pockets of often neglected or disused space, to highlight that these spaces can be re-invented and used for something more and in this sense the project was successful. Due to the weather conditions on the first day, the project was set up under the arcade of arches on Burgate Road, and though this was not envisaged, it meant that the project was truly located in dead space as, on average, only 20 people pass this location every 10 minutes (throughout the day), and of that number less than 10% (2 out of 20) stop in the immediate area for more than 30 seconds. However, whilst the event was held, though the people traffi c remained fairly constant, the amount of people stopping for more than 30 seconds trebled to 30% as people stopped to inspect, or engage with, the structure. On average, parents and children who stopped spent 17 minutes with the structure a significant increase. On the second day, when set up in the more exposed Buttermarket Square (in considerably better weather), on average, the amount of people passing through the site was much higher, at around 120 every 10 minutes, whilst people stopped for around 13 minutes. Again, though traffic remained constant, persons who stopped at the structure spent an average of 37 minutes there almost a 300% increase in time spent in the site. 7.3 Community Engagement + Feedback Aside from statistical data, the design featured tell us what you think message boards and Post-it notes, whilst several interviews were video recorded (stills of which can be found in the appendices) affording parents and children opportunities to express their opinions, either written or verbally. As shown in Figure XX, the written feedback was overwhelmingly positive, with parents agreeing that in attempting to raise awareness of declining reading levels the structure was a good idea-[and] interesting for architecture. One user wrote that she though the project was a really creative idea, imaginative and engaging- [with] fairy tales brought to life before your eyes, before, interestingly, adding that it captures your dreams with your child which may be lost on a busy shopping day, and stating that nothing is more important than a parent seeing their childs imagination grow. Similarly, a mother, Jane, who took the time to read with her 6-year-old daughter, Emma, stated that the structure was a really great use of space showing that you can create engaging and creative spaces for public engagement without costing loads! This sentiment was also echoed in the video interviews, with one mother stating that its nice to have somewhere to sit and read because they [her children] get fed up around the shops, giving a little bit of time for them before adding that its such a simple idea, but no-one else has ever thought of it before. In another interview, Adam, a father of two girls added: Its very homely and cosy. We took the girls to visit the Cathedral, but they got a bit bored, and kept talking about coming back to the Story Box the whole way round. As you can see, theyre having a whale of a time drawing all over the walls. I think the durability of it, and the fact you can just scribble all over it is great because they cant do that at home! Fascinatingly, though blank create your own story pages were placed on the interior walls as a place for children to draw and write, most children drew directly onto the cardboard walls, an unintended feature that another parent appreciated: Great portable pop-up s pace ideal to give kids somewhere to be free and creative to draw on the walls (like they cant do at home!) Moreover, during the event, I had the opportunity to observe if the project was actually attracting parents who werent necessarily reading wi

Artistic Form in King Lear Essays -- essays research papers fc

King Lear has remained one of Shakespeare’s best works, and one of the best tragedies of all time, since the beginning of the 17th century; however, some early critics believe that certain elements of the story do not satisfy the criteria for a proper tragedy. The two plot elements under speculation are the subplot and the catastrophic ending. The primary focus of the story is set on the elderly King Lear, whose pride and greed blinds him, causing him to banish his only pure daughter, Cordelia, along with his most loyal subject, Kent. He bestows his power and land upon his ungrateful daughters Regan and Goneril, who immediately plot to strip him of the remainder of his power as well as his pride. A similar subplot emerges where the Earl of Gloucester is duped by his Don John-esque bastard son, Edmund, into banishing his real son, Edgar. Both fathers realize their misjudgments before the end, but not before their downfalls. The play ends with the gradual insanity and death of Lear, as well as the deaths of Cordelia, Regan, Goneril, Gloucester, and Edmund. The happy ending or â€Å"poetic justice† is never achieved and the only exception to the seeming lack of justice is the pronouncement of the loyal Edgar as King, and the inferred bright future.   Ã‚  Ã‚  Ã‚  Ã‚  The earliest record of a criticism of King Lear is a letter from the Irish playwright Nahum Tate to a friend, written in 1681. In the letter, Tate describes King Lear as â€Å"a Heap of Jewels, unstrung and unpolisht.† He describes in detail how he plans to rework several major elements of the story, adding a love affair between Edgar and Cordelia, rescuing Lear and Cordelia from execution, omitting The Fool (a source of wisdom as well as comic relief), and establishing â€Å"poetic justice† at the plays end. Tate proposes these changes in order to â€Å"rectifie what was wanting in the Regularity and Probability† of King Lear. He also reasoned that the audience would like a happy ending where justice and virtue prevailed. His reworking of the tale complies with the strict Neoclassical formula that was expected at the time. Tate’s predictions proved correct when his altered version overshadowed the original for over a century. (Tate 344 -45) (SC2 92) During the 18th Century, the controversy over the ending of King Lear continues as well as new controversy over Tate’s rewritten ending. Critic Joseph Addison... ...s it unstoppable once it has been let loose. (Stampfer 3) The 20th century marked a period of speculation of the intent behind plot elements, specifically the ending. The style and structure of Shakespeare’s writing is no longer questioned as it is in earlier criticisms of King Lear. King Lear is one of the most debatable plays ever written because the situations that arise are the result of the complex relationships between characters and the judgments that these characters make. The structure, especially the unexpected ending, is ahead of it’s time, and the meaning behind the ending is arguable. King Lear’s unique character relationships and structure are the reasons that it is still a popular topic in literary criticism. Works Cited Gale Research Company Shakespearean Criticism Vol. 2 Kansas City, Missouri: Typographics Inc. 1985. Moss, Joyce; Wilson, George â€Å"Overview: King Lear, by William Shakespeare Literature and its times: Profiles of 300 notable Literary Events and the Historical Events that Influenced Them. 1997. Literature Resource Center. 9 March 2005. Price, Thomas â€Å"King Lear: A Study of Shakespeare’s Dramatic Method† PMLA, Vol.9 No.2 1894 Jstor 9 March 2005.

The Graphic Novels: Maus, Persepolis, Fun Home, and Barefoot Gen Essay

The super-genre of what collectively can be called ‘comics’ represents a cultural phenomenon which has exploded in the last fifty-plus years onto the public scene. Evolving from newspaper strip comics to superhero stories in paperback periodicals, the world of comics spread further and further into public appeal. With the publication of Art Spiegelman’s Maus, however, comics opened the door onto a world of possibilities. After Maus received high acclaim, despite its academic taboo as a medium, many more historical-commentary graphic novels found their way into the public eye: Marjane Satrapi’s Persepolis, Alison Bechdel’s Fun Home, Keiji Nakazawa’s Barefoot Gen, and a legion of others. Taken together, this new sub-genre of the super-genre provides a personal glimpse into many historically tragic, enlightening, or revolutionary events. These historic-autobiographic stories can effectively introduce people, whether students in a classroom or a curious independent reader searching for truth, to history, because of the format, the popularity of the historical events they encircle, the relatable personal perspective, and the groundbreaking, attention-amassing approval they enjoy. While graphic novels such as Maus, Persepolis, Fun Home, and Barefoot Gen may differ greatly in content, the format of conveying a story of novel-length complexity through sequential art consolidates all these titles into one sub-genre. These graphic novels would effectively represent history in a classroom setting (besides a personal, individual enjoyment) due to the changed demographic of students in high schools and colleges in the United States (if not throughout the world). With the advent of the Internet and the popularity of the television and video... ...tting within significant historical periods, and relatable, personal point of view, historic-autobiographic novels effectively represent historical events. The next step toward gaining academic respect requires proving their efficacy to scholars both of history and of literature. Once these works secure an educational following similar to the public fanbase, perhaps history classes and interdisciplinary venues may begin incorporating the graphic novel into their reading lists. Until then, the usefulness of Maus or Barefoot Gen as commentaries on World War II, Fun Home on homosexuality and the Sexual Revolution, and Persepolis on the Iranian revolution must be enjoyed purely from an individual standpoint. Works Cited "Your Right-Brained Visual Learner." Time 4 Learning. Time 4 Learning, Web. 6 Oct 2009. . The Graphic Novels: Maus, Persepolis, Fun Home, and Barefoot Gen Essay The super-genre of what collectively can be called ‘comics’ represents a cultural phenomenon which has exploded in the last fifty-plus years onto the public scene. Evolving from newspaper strip comics to superhero stories in paperback periodicals, the world of comics spread further and further into public appeal. With the publication of Art Spiegelman’s Maus, however, comics opened the door onto a world of possibilities. After Maus received high acclaim, despite its academic taboo as a medium, many more historical-commentary graphic novels found their way into the public eye: Marjane Satrapi’s Persepolis, Alison Bechdel’s Fun Home, Keiji Nakazawa’s Barefoot Gen, and a legion of others. Taken together, this new sub-genre of the super-genre provides a personal glimpse into many historically tragic, enlightening, or revolutionary events. These historic-autobiographic stories can effectively introduce people, whether students in a classroom or a curious independent reader searching for truth, to history, because of the format, the popularity of the historical events they encircle, the relatable personal perspective, and the groundbreaking, attention-amassing approval they enjoy. While graphic novels such as Maus, Persepolis, Fun Home, and Barefoot Gen may differ greatly in content, the format of conveying a story of novel-length complexity through sequential art consolidates all these titles into one sub-genre. These graphic novels would effectively represent history in a classroom setting (besides a personal, individual enjoyment) due to the changed demographic of students in high schools and colleges in the United States (if not throughout the world). With the advent of the Internet and the popularity of the television and video... ...tting within significant historical periods, and relatable, personal point of view, historic-autobiographic novels effectively represent historical events. The next step toward gaining academic respect requires proving their efficacy to scholars both of history and of literature. Once these works secure an educational following similar to the public fanbase, perhaps history classes and interdisciplinary venues may begin incorporating the graphic novel into their reading lists. Until then, the usefulness of Maus or Barefoot Gen as commentaries on World War II, Fun Home on homosexuality and the Sexual Revolution, and Persepolis on the Iranian revolution must be enjoyed purely from an individual standpoint. Works Cited "Your Right-Brained Visual Learner." Time 4 Learning. Time 4 Learning, Web. 6 Oct 2009. .

Essay --

Jane continues her new life at Thornfield now with the interest of Mr. Rochester and she thinks about the concept of marriage. Charlotte Bronte shows the way each character thinks of each other and how they treat each other. Jane is treated like an invisible un-acknowledgeable maid. Mr. Rochester treats her oppositely unlike his guests. While Jane sits and observes the guest she has an interesting analysis on their looks, behavior and status. Jane’s response to Mrs. Ingram’s engagement made her look like she is better than Mrs. Ingram. When Mr. Rochester’s guest first arrived Jane did not interact with them rather than Adele who wanted to see them. Jane felt that there was no use for her to be friendly with them. Jane doesn’t know them and took the advice of Mrs. Fairfax by sitting at distance and let the guest get comfortable. Jane also felt that as governess she will only assist Adele and Mr. Rochester’s which is the reason for her long stay with the guests. â€Å"But understand that so long my visitors stay I expect you †¦ †(Mr. Rochester, 183). Jane could have socially approached them ...

Paper Chromatography

The Hydrogen Atom Spectrum Evan J. Collins C. N. Peck June 16, 2009 INTRODUCTION MATERIALS _Emission Spectra an the Electronic Structure of Atoms_ Spectroscope Black Ink Pen Graphite Pencil Notebook Mercury Spectrum Hydrogen Spectrum PROCEDURE Calibration of the Spectroscope: Using the spectroscope the four most visible lines on the scale were measured. Violet, blue, green, and yellow were all visible. With the ink pen the measurements were recorded. A known wavelength (nm) vs. measured lines (cm) graph was then drawn from the measurements. Observation and Measurements of the Hydrogen Spectrum: Using the calibrated spectroscope the scale position of the observable lines of the hydrogen emission spectrum were measured. Red, turquoise, violet, and purple were all visible. Using the measurements and the calibration graph the wavelength of the lines were determined. The relative error was calculated using: Accepted Value Values of wavelength for the hydrogen atom spectrum were converted to kJ/mol. Using a form of the Rydberg equation, the Rydberg constant was calculated for each of the lines measured. This constant was used to then calculate percentage error. Data Calibration of the Spectroscope Observations and Measurements of the Hydrogen Spectrum CALCULATIONS (Convert wavelength values to corresponding energy in kJ/mol) 680 x 10^-9 2. 92 x 10^-19 J x (6. 022 x 10^23) / (1000 J) = 176 kJ/mol (Calculate the value of the Rydberg constant) (1/680)/(. 25-. 30) = . 00147059/(. 25000-. 11111)= 0. 0105042 x 10^-7 = Rh= 105,040 cm ^-1 (Calculate Percentage Error) 105040 – 109678 X 100 = 4. 23% Error 109678 DISCUSSION/CONCLUSION