Saturday, August 31, 2019

Development Planning and Analysis

From the modernization theory up to the present trend about sustainable development and climate change, development planning is a major issue since this dictates the direction in which development will take place. For instance, Earth summit’s Agenda 21 aims to alleviate â€Å"worsening poverty, hunger, ill health and illiteracy, and the continuing deterioration of the ecosystems on which we depend for our well-being. † The corruption or purity of development will then pave the way for the possibility of addressing severe social dilemmas. The manner by which development is directed is necessary for the rise or fall or every country.The importance of development planning is even magnified by the Millennium Development Goals which seek to address social dilemmas that paralyzes countries, especially the third world (. In development planning, several aspects must be put into consideration. For one, the demography of a particular setting should be viewed as a profile that wi ll tell the state of development the place has already attained. Demography includes the socio-economic profile that can tell if people satisfy their most basic needs. Women, on the other hand, are another important factor because of the historically-traced experience in repression.Since 51% of the population is composed of women, they must be seriously put into delicate consideration. They have long experienced struggles, and the status by which they have achieved a degree of equality and freedom from repression indicates development and will then become the starting point of several other development plans. Poverty, on the other hand, is another issue. Poverty or the statuses by which people cannot satisfy their needs should be considered in development planning because only through poverty alleviation will countries attain development.These issues are even intensified by the issue of pollution because this dilemma leads to environmental degradation. Since most third world countri es are in the tropics, they depend largely on the environment. Failure to come up with plans that will conserve and preserve the environment translates to inefficiency of development plans being imposed. These issues are heightened by the current trend known as climate change. Everything now from the social sphere to the political ecology becomes a vicious cycle that has to be addressed by long-term and holistic plans to combat even the worst case scenarios.Water purity and availability, occupational health and safety, child welfare, and public health are also important considerations that have to be solved. If one partition of the mentioned considerations is not solved, or is not prioritized, development planning has not become true to its integrity. As many tag the Non-Government Organizations (NGOs), they are the growing force in the development arena since they carry on the interest of marginalized sectors in the society. The projects that have not been carried out by the govern ment are compensated by the activities performed by the NGOs.The language of everyday politics might suggest that they are part of the dynamism of politics; however, other sectors might label them as the heroes that save lives in the absence of the government arm that supposedly helps the impoverished. More so, the multilaterals are involved in development planning. They swathe every development subject, from granting â€Å"financial aid to technical assistance to pushing for democracy. † The role of government and state institutions in development planning is truly essential because they are constitutionally tasked to provide the needs of the people in their respective territories.The state, which is the primary instrument for development, should always be in the service of the citizenry. Many may question the credibility of these institutions, but their role is truly crucial in the developmental aspect. Development is then measured through the assessment if the state is abl e to provide the needs of the people and if the development considerations are prioritized. The question, furthermore, if the business community is a problem or a solution is subjective because it will only be decided depending on the roles they portray.However, the present trend about Corporate Social Responsibility acts as the charitable arm of the government to reach out to the people who are not as affluent as the business sector. In Asia, CSR is really trending and even the capitalists hang on to this to escape criticism of them being over-profiteering. Development planning is not an easy task. To address this, stakeholder’s analyses are conducted. This will help in identifying sectoral needs and interests that vary within communities.The conclusions that will be derived in the stakeholder’s analyses will be beneficial in formulating objectives for development planning. The five entry points for social impact analysis, based on the lecture at City University of Ho ng Kong, are as follows: Social diversity and gender, Institutions, rules and behaviour, Stakeholders, Participation, and Social risk. The mentioned entry points provide for the framework essential in development planning. The social analysis and project design plus the logframe analysis can also be used. Social analyses may be organic but it will help thoroughly in development planning.Development planning in labor rights, democracy and national development are the future because these are the trends that have to be followed and assessed. If these were achieved, even the third world countries will have their own comparative advantages. REFERENCES Lecture notes in Development Planning and Analysis. (2010). City University of Hong Kong. Lecture notes in Social Equity Issues in Social Forestry. (2010). University of the Philippines Los Banos. Lecture notes in Reimagining Philippine Politics. (2007). University of the Philippines Los Banos.

Friday, August 30, 2019

Mentoring and Assessing Essay

Over the last decade the National Health Service (NHS) has continued its drive to optimise health outcomes, reduce health inequalities and conform to nationally agreed best practice in order to provide a more patient centred service. Accordingly, the present culture needed to adapt in a way as to encourage and strengthen clinical leadership and develop a workforce seeking to innovate and continuously improve through learning and research (Department of Health, 2005). Such a projected change within the health service has had a direct impact on nursing careers and nurse education both pre-registration and post-registration and has implications not only for those receiving education but also for those providing education. Through review of nursing education literature, this assignment intends to critically analyse the accountability of mentors in practice, looking at how their role as facilitators of learning and assessment is utilised within my own clinical setting, and how we, as nurses, assess a student’s competence. Furthermore discussions will focus around its impact on pre-registration students, identifying limitations mentors have in applying and reinforcing its importance in current practice. The Nursing and Midwifery Council (NMC, 2008a:p19) define the term ‘Mentor’ as a registrant who has successfully completed an NMC approved mentor preparation programme and becomes responsible and accountable for organising and co-ordinating student learning activities in practice. This includes, supervising students in learning situations and providing constructive feedback, setting realistic learning outcomes and monitoring achievement, assessing total performance including skills, attitudes and behaviours as well as providing evidence and liaising with other colleagues if concerns are identified about the student’s achievement. Literature suggests that using of mentors in clinical placements can assist in the learning process and is it beneficial when a good mentor/student relationship has developed with mutual respect, consistency and partnership (Andrews and Robert 2003, Pulsford 2002). The success of any nursing student within a clinical placement is multi-faceted. This is further enhanced by the complicated nature of education and the perception of competencies to be achieved whether mentee or mentor. The process of moving forward with the knowledge and skill-sets must be supported and nurtured in order to facilitate a standard of care that is deemed safe, competent and most importantly accountable. If as nurses, we are to standardise the learning environment and assessment in practice, then the responsibility and accountability as facilitators of learning is of great importance. The Nursing and Midwifery Council monitor current nursing practice. Its main aim is to protect the public by ensuring that high standards of care are maintained through approving and monitoring the educational programme used to train pre and post-registration nurses (Quinn and Hughes, 2007 p67). Such standards within the nursing profession are set and maintained by documents such as the Code of Professional Conduct (NMC, 2004) and Standards of Proficiency for pre-registration nurses, which need to be met in order to ensure nursing students enter the profession providing safe and effective practice for patients (NMC, 2004). In terms of pre-registration nursing, it has become a crucial role for clinical settings such as my own to ensure that standards of proficiency are met and that student nurses gain a wide variety of experience on clinical placement during their training. The principles behind effective mentoring and effective student learning involve a number of factors, which the NMC incorporates into eight domains that provide standards for supporting learning and assessment in practice (NMC 2008b, Ali and Panther, 2008). These include; establishing effective working relationships, facilitation of learning, assessment and accountability, evaluation of learning, creating and environment for learning, context of practice, evidence-based practice and leadership. This has great implications for mentors as they will assess student’s competence in practice and decide whether they are capable of safe and effective practice (NMC, 2006). Within my own area of clinical practice, consideration of time management, leadership and effective working relationships are deemed particularly important for students to become competent practitioners and enjoy a positive learning experience. Caldwell et al, (2008 p39), suggests that the pressures of clinical commitments and lack of available time effects both the organisation and supervision of students during their clinical placements. Other challenges faced may include inconsistency of nurse educators and performance (Duffy and Hardicre, 2007a p28) and students who do not comply despite support (Duffy and Hardicre, 2007a p 29). Further challenges faced within my own practice a rea and indeed many areas of practice are reluctance to fail a failing student due finding the failing process too challenging or to limited and poor assessment. Studies have shown that students appreciate mentors who are positive and supportive and the relationship that develops between mentor and mentee can be central to the success of the clinical placement (Neary, 2000 and Pulsford et al, 2002). However, it is important to identify that other factors such as, the clinical environment, the complexity of the ward and psychological factors such as anxiety can have an impact on the quality of the student support received together with relationships developed (Andrews and Roberts, 2003, Hand 2006). Whilst mentors face many key professional challenges surrounding the facilitation of learning and assessment within the clinical placement the NMC framework to support students and mentors, by the nature of the document, is not deemed comprehensive enough to consider all aspects of competence assessment (Cassidy, 2009 p46). Research highlights that there are some levels of assessment that remains subjective despite the framework, simply due to the inherent nature of those involved and the variation of the skills to be assessed (Freshwater and Stickley 2004, Clibbens et al 2007). However, further support can be given to the NMC standards to support learning and assessment in practice by documents such as ‘Guidance for mentors or nursing students and midwives; (Royal College of Nursing (RCN), 2007). This toolkit is frequently used in my own practice area as it assists nurses to provide support and strategies. Levett-Jones, Tracy, Lathlean et al (2009, p316) suggest that mentor-mentee relationships are an important influence on students experiences of belongingness and their clinical learning. Notwithstanding, the clinical placement experience accounts for 50% of the pre-registration course, the role of the mentor in facilitating learning and educating is therefore optimised, assessing and supporting learners’ throughout their clinical experience. Neary (2000, p467) in his 1997 study, suggested that students described a mentor as someone to ‘emulate, a person of contact, have a chat with, teacher and guide, assessor and supervisor’. Morton-Cooper and Palmer (2009 p42-43) define the role of a mentor as Advisor, Coach, Counsellor, Guide, Role Model, Sponsor, Teacher and Resource Facilitator. Such essential attributes of the mentors role will enhance the learners’ experience of clinical placement, exert a powerful influence on their thought processes, emotions, behaviour, health and happiness in order to achieve the optimum level of success of experience of learning. Dolan (2003 p141) states that the role of an assessor and facilitator of learning is complicated by the balance and demands of every day duties within the clinical placement, this, in turn leads to the learners’ experience of assessment being fragmented and not prioritised. The supportive role of mentoring is to be objective and unbiased. Quinn and Hughes (2007: p300) note that in assessing the learner, caution should be taken in not feeling that our care is solely to the learner by being generous in assessment and evaluation and conversely not underrating the learner with the perception of the general characteristics of the learner. There is considerable opportunity for the mentor to gain knowledge about the learners’ learning needs, previous experience in order to form strategies to aid further learning, Wallace (2003 p36). Kolb (1985 p38) suggests, knowledge of an individuals’ learning style will enable learning to be effective. If a learning style was identified such as Honey and Mumford’s (1992) which defines learner’s into categories such as Activist, Reflector, theorist and Pragmatist, this might determine how the mentor might choose to teach a skill by either teaching theory first (theorist) or letting the learner experiment (activitist) with a skill first, (Hand, 2006). However, Hand (2006) suggests that only learning which incorporates knowledge and skills will inform practice, and that if there is a lack of knowledge then practice will become unsafe as will lack of skill lead to incompetency. Healthy mentoring relationships often involve some form of accountability and for many, whilst this is great in theory, it remains confusing in practice but makes a healthy contribution to mentoring relationships. Phillip and spratt (2007 p55) suggests that accountability should be based on clear terms, specific goals, objectives and good communication. An open and safe atmosphere will contribute to trust and moves us away from defensive, self-justification or unnecessary self-condemnation attitudes. Accountability should focus on growth, not merely preservation and protection; whilst these are crucial, they can make us more susceptible to failure. Healthy accountability should focus on motivation, helping to visualise growth and take responsibility for modelling and mentoring. Assessment decisions must be evidence based, as mentors, we are accountable for decisions made to either pass, defer or fail a learner, (NMC 2008a:p32). Assessment is defined as the action of evaluating, estimating the nature, ability or quality (Oxford Dictionary 2011). Rust (2002) suggests that assessment includes judgement, which will hold an element of subjectivity; therefore it must be objective, fair and transparent. The mentor is assessing the learners competency which the NMC (2008a) defines as ‘having skills abilities to practice safely and effectively without the need for direct supervision’, this being achieved through periods of clinical experience during the learners’ programme. Practice based assessment is a core method of assessing knowledge, skills and attitudes of students (Wallace, 2003 p 36). Dolan’s study of 2003, (p37) identified that learners’ need to gain the holistic experience of clinical practice in order to achieve some level of competency. The method of assessment must be considered in terms of reliability, validity, acceptability, educational impact, cost effectiveness in order to evaluate the suitability of the assessment itself (Chandratilake et al, 2010). Exposure to a holistic experience gives opportunity for the learner to achieve all aspects of the domains of professional and ethical practice, care delivery, care management and personal and professional development, (NMC, 2004). Assessments may be made by anyone with the clinical placement which could involve the multi-disciplinary team, patients, peers as well as the learners’ self- assessment through reflection, (Gopee 2008:p135). The NMC (2008b) recognise that working with the inter-professional team can offer opportunity for the learner in the formative episodes of assessment. Neary (2000 p474) points out that, skilled practitioners in the clinical setting are dealing with intended and unexpected situations, which will enhance learning and provide opportunity for formative assessment. This illustrates what Quinn and Hughes (2007;p346) describe as an ‘effective’ learning environment in order to develop learning and foster behaviour where the learner may make the most of opportunities for learning and critical judgement. Direct observation is the assessment in which the NMC (2008a) identifies as greater evidence of competency. A formal assessment strategy for direct observation, which is utilised in this author’s clinical setting, is the use of a performance criteria, often Trust wide guidelines and policy, which is a list actions to be demonstrated based on knowledge and skills attained from theory which is evidence based from research and may come from organisations such as the National Institute for Clinical Excellence and the Institute for Innovation and Improvement, (Gopee 2008a: p 106-107). When assessing students, it is important to establish four key areas (Hinchliffe, 2009); knowledge skills, performance and motivation. Checklists or performance criteria can service as a useful tool in establishing a level of observational assessment, Quinn ad Hughes (2007). Cassidy (2009 p46) documented that this performance is a list of behaviours which the learner can demonstrate but it does not indicate how well that behaviour was demonstrated. However, this method of using a set criteria to reference against offers, an opportunity to ensure consistency in the mentor’s assessing role in alignment with other mentors’ consistency, otherwise defined by Goppee (2008) as ‘intra- and inter-mentor reliability. Another assessment strategy partly adopted in my own clinical setting is that of continuous assessment. The use of continuous assessment gives the mentor an opportunity to make a cumulative judgement of the learner’s progress and level of knowledge and competence, (Gopee 2008 p40). Neary (2002 p473) suggests that continuous assessment allows the dynamism in the behaviour of the learner in any given situation which may be expected or unexpected. However, Price (2007 p41) suggests that continuous assessment does have its limitations with regards to validity and reliability for numerous reasons including; stress and anxiety for the learner; they may feel that they are constantly being scrutinised by patients, family, relatives and other professionals within the clinical placement. Additionally, Price (2007) notes that at the summative stage of assessment and through the accumulation of information, could influence the assessor to ‘average out’ the learners’ performance leading to an allowance made for weaker performance. To some extent, this author suggests that this strategy of assessment is utilised because the assessor’s role is balanced with dealing with every day duties such as care management and care delivery or liaising with the multi-disciplinary team. However, caution should be taken as this use of assessment may leave the learners’ time fractured and not a priority, (Rutowski, 2007 p40). Indeed, the high demands on day to day role of the assessor nurse was finding by Phillips et al (2000) study which determined that time factor was a dilemma in the assessor making valid or reliable assessments. Another dimension of continuous assessment is self-assessment by the learner. This is what Gopee (2008:p135) suggests is one of the most valuable forms of assessment at the formative stage of learning as it may include informal learning as well as formal learning through the use of reflective diaries. However, while it is recognised as an important part of assessment, Fordham (2005) suggests that the learner may exaggerate or manipulate their evidence of learning which may go unchallenged, especially by a novice mentor, therefore rendering the learning as unreliable. In Neary’s (2000) study, it concluded with a suggestion to a new approach to assessing clinical competence through utilising what she describes as ‘Responsive Assessment’ which offers the learner and mentor opportunity to identify competency through written reports of assessment and judgement within the situational context. This same study suggests that may incorporate views and opinions from other service users including patients and help the assessor and learner identify current learning, acknowledge necessary adjustments and stimulate reflection to aid future learning. From this study, Neary (2000), established that the participating 80 assessors preferred this approach, as it gave flexibility and enabled them to report learning alongside the pre-set academic objectives. This might suggest that this form of assessment might provide support for effective evaluation of learning assessment and judgement. An important aspect of assessment is regular feedback which needs to be organised by the mentor on a regular basis in order to discuss with the learner the outcomes of pre-planned opportunities of learning, discuss situational learning and reflection retrospectively, discuss the learners’ commitment and self-assessment in order to ensure validity of the assessment process, (Wallace 2003). This will also facilitate an opportunity to discuss limitations and remedies such as the difference in aborting assessment as opposed to failing an assessment or whereby it has been identified that the placement has a lack of capacity for certain assessment which can be remedied by arranging with practice educators for clinical experience elsewhere to fulfil this gap, (Price 2007 p41). Failure to discuss and evaluate learning on a regular basis could ultimately result in problems for the learner not being addressed early enough in the placement resulting in mentors’ giving the student the benefit of doubt in certain situations, (Duffy, 2004). The benefactors of competent mentorship are everyone. Government benefits from improved patient care with improved outcomes. The nursing profession benefits as continuity and quality of care is ensured through sound practice founded through supportive and evidence-based learning, thus promoting a better image and greater emphasis on trust. Patients and their families benefit as the mentored nurse provides the best possible care and treatment ensuring best possible outcomes. Achieving standardised, high quality practitioner in student mentoring has long been a priority for the NMC and will continue to do so.

Thursday, August 29, 2019

Functional Immunity

This type of immunity arises from  customary international law  and  treaty law  and confers immunities on those performing acts of state (usually a foreign official). Any person who in performing an act of state commits a criminal offence is immune from prosecution. This is so even after the person ceases to perform acts of state. Thus it is a type of immunity limited in the acts to which it attaches (acts of state) but will only end if the state itself ceases to exist.This type of immunity is based on respect for sovereign equality and state dignity. The offices usually recognised as attracting this immunity are Head of State or Head of Government, senior cabinet members, Foreign Minister, and Minister for Defence: see the  Arrest Warrant Case,Pinochet Case  (R v Bow Street Magistrates; ex parte Pinochet Ugarte (No 3)  [2000] 1 AC 147, House of Lords).Such officers are immune from prosecution for everything they do during their time in office. For example, an English court held that a warrant could not be issued for the arrest of  Robert Mugabe  on charges of international crimes on the basis that he was a presently serving Head of State at the time the proceedings were brought:  Mugabe, reported at (2004) 53 ICLQ 789. Other examples are the attempts to prosecute  Fidel Castro  in Spain and  Jiang Zemin  in the USA.However, the moment accused leaves office, they are liable to be prosecuted for crimes committed before or after their term in office, or for crimes committed whilst in office in a personal capacity (subject to jurisdictional requirements and local law). Pinochet  was only able to come to trial because Chile and the UK had both signed and ratified the UN Convention Against Torture through which such immunities were waived. It may be the case that personal immunity is itself being eroded.In 2004 the Appeals Chamber of the  Special Court for Sierra Leone  held that indicted Liberian president  Charles Taylor  cou ld not invoke his Head of State immunity to resist the charges against him, even though he was an incumbent Head of State at the time of his indictment. However, this reasoning was based on the construction of the court's constituent statute, that dealt with the matter of indicting state officials. In any case, Taylor had ceased to be an incumbent Head of State by the time of the court's decision so the arresting authorities would have een free to issue a fresh warrant had the initial warrant been overturned. Nevertheless, this decision may signal a changing direction in international law on this issue. Recent developments in international law suggest that this type of immunity, whilst it may be available as a defence to prosecution for local or domestic crimes or civil liability, is not a defence to an international crime. (International crimes include  crimes against humanity,  war crimes, and  genocide).This has developed in the jurisprudence of the International Criminal T ribunal for the Former Yugoslavia, particularly in the  Karadzic,  Milosevic, and  Furundzija  cases (though care should be taken when considering ICTY jurisprudence due to its  Ad-hoc  nature). This was also the agreed position as between the parties in their pleadings in the  International Court of Justice  Case Concerning the Arrest Warrant of 11 April 2000 (Democratic Republic of the Congo v. Belgium).The reasons commonly given for why this immunity is not available as a defense to international crimes is straight forward: (1) that is genocide, war crimes and crimes against humanity are not acts of state. Criminal acts of the type in question are committed by human actors, not states; and (2) we cannot allow the  jus cogens  nature of international crimes, i. e. the fact that they are  non-derogable  norms, to be eroded by immunities. However, the final judgment of the ICJ regarding immunity may have thrown the existence of such a rule limiting functional immunities into doubt.See in this respect the criticism of the ICJ's approach by Wouters, Cassese and Wirth among others, though some such as Bassiouni claim that the ICJ affirmed the existence of the rule. Regarding claims based on the idea that a senior state official committing International crimes can never be said to be acting officially, as Wouters notes â€Å"This argument, however, is not waterproof since it ignores the sad reality that in most cases those crimes are precisely committed by or with the support of high-ranking officials as part of a state’s policy, and thus can fall within the scope of official acts. Academic opinion on the matter is divided and indeed only the future development of International Customary law, possibly accelerated by states exercising  universal jurisdiction  over retired senior state officials, will be able to confirm whether state sovereignty has now yielded partially to internationally held human rights values.In November 2007 , French prosecutors refused to press charges against former US Secretary of Defense Donald Rumsfeld for torture and other alleged crimes committed during the course of the US invasion of Iraq, on the grounds that heads of state enjoyed official immunity under customary international law, and they further claimed that the immunity exists after the official has left office. [1]

Wednesday, August 28, 2019

Moral Hazard and the Financial Crisis Research Paper

Moral Hazard and the Financial Crisis - Research Paper Example In the present business phenomenon, moral hazards have emerged as a major issue of concern which needs enthusiastic initiatives to develop awareness among the industry participants. Moral hazards normally occur when people file more claims or stick longer to a particular claim irrespective of the consequences likely to occur due to such perseverance causing massive disruptions to the smooth functioning of the industry operations (Butler and Gardner 1). Contextually, it has often been argued that moral hazards have been one of the fundamental reasons for the recent financial crisis where various operations conducted by the financial institutions were observed to disregard their ethical responsibilities towards the various community groups. As stated by Dowd (1), policy measures adopted by financial institutions practicing free markets were the underlying causes to the financial crisis witnessed in 2008. Based on this context, the paper will intend to discuss the moral issues related w ith the occurrence of the financial crisis in 2008 signifying the importance of ethical concerns when designing and implementing policy measures at a country-level. Theoretical Explanation of Moral Hazards as a Cause of Financial Crisis Moral hazards are said to occur when the interests and rights of one party is compromised for the benefits or interests of the other party(s) engaged in the process In the current day context, critiques often argue that moral hazards have today become a persistent and unavoidable occurrence in the financial system of any country that in turn severely affects the stability of any economy. It is worth mentioning in this context that moral hazards are the apparent consequences of intentional or unintentional ethical misconducts by decision makers associated with the various business dimensions. However, in common instances, unethical behaviors conducted at the organizational level by company executive are scrutinized for the critical assessment of the f inancial and social positioning of a particular brand. Although in the context, ethical misconducts may also occur at country level policies fundamentally those which are directed with the intention to manage industry operations in monetary terms (Nowak and O’Sullivan 147-150). In the country-level assessment, occurrences of moral hazards have often been considered to play a prominent role in financial crisis situations. Historic evidences have also revealed that moral hazards within the policy making dimension have caused serious disruptions in the regular business functioning in a particular economy (Isard 193-200). These evidences can be further assessed from two perspectives, i.e. the social perspective of moral hazards and the economist perspective of moral hazards. From a social perspective, moral hazards are criticized as the fundamental causes of systematic risks in the business context. It is in this context that socialists have often depicted their concern towards t he role played by moral hazards in causing industrial threats for systematic risks which is recognized as an initial

Public Speaking, Paraphrase a poem Assignment Example | Topics and Well Written Essays - 500 words

Public Speaking, Paraphrase a poem - Assignment Example The animal might have been beaten by its owner, and has escaped from him. He might have been wandering through the days and nights, in the brickyards and the gutters, without eating anything that could fill him up as much as these flowers did. The bear feels that the flowers that he has eaten up have turned into beautiful fields and meadows of mustard and poppy. He feels that his stomach is filled with sunshine and rain that will convert the withered flowers back into lush and fresh flowers. The bear might have found his way to the forest after wandering through the brickyards and the parking lots, and might have joined his counterpart to whom he would have told his story of suffering, hunger, misery, and imaginative happiness. In this section, I expand and unpack the meanings in the poem. Once, there was a bear that was too fat for himself to carry around easily. He had funny wings that hung down his shoulders. He was smiling, but seemed very sad. He was wandering through the brickyards and gutters, in the month of October when autumn was in. He was feeding himself on flowers. He loved those flowers, and believed that the flowers also loved him. He thought that the flowers had been waiting there for him, lying on the gutters. For him, the flowers were very beautiful- so beautiful that it was unfair that he should have left them on the gutters and the bad brickyards and the parking lots. He wanted to pick them up, and place them in a better place, so that there beauty might not get damaged. So, he kept on eating them, believing that inside his stomach there were all the necessary elements of life, which included the sun, wind and the showers. There were winds, and birds. There were rains that occurred ever y night, and the sun rose in his stomach, giving the flowers all the necessary features of life. The bear was in love with flowers, and wanted to give life to them instead of watching them die in the autumn. The message in the poem

Tuesday, August 27, 2019

32. Describe the impact of race and gender on police officer Assignment

32. Describe the impact of race and gender on police officer careers.Sport - Assignment Example Therefore, men are generally more suitable for such jobs as compared to women as men are stronger physically and generally more balanced emotionally than women. â€Å"[G]ender is a highly relevant factor in examining the sources and coping strategies of stress among police officers† (He, Zhao, and Ren, 2005, p. 537). The race and gender of a police officer may provide the offenders with basis to exploit the police officer. Many people file discrimination suits against the police officers because of their gender or race. The Ohio Civil Rights Commission found that most men frequently used race as a reason to file discrimination suits against the police officers whereas women used gender for the same purpose (Gaines and Kappeler, 2011, p. 95). For example, a group of White American police officers accusing an African American of robbery may be interpreted as racism against the African American. Likewise, since there is always a variation in the representation of the police officers belonging to different races, there is risk of racism in the police department like in any other

Monday, August 26, 2019

GRP Systems Ltd. (GSL) - Supply Chain Management Essay

GRP Systems Ltd. (GSL) - Supply Chain Management - Essay Example This also helps it retain its competitive advantage in the future. Table of Contents About GSL Competitive analysis- SWOT analysis GSL’s competitive advantage and SCM Stakeholder analysis- BCG Matrix Conclusions and recommendations References GRP SYSTEMS LTD. – SUPPLY CHAIN ANALYSIS This report analyzes GRP Systems Ltd. (GSL) market in terms of its competitiveness to assess its ability to cater to a high-end market for 500-1500 pe in the sewage water treatment niche. This analysis is important for GSL’s sustenance in the present market conditions where its core business of catering to 50-500 p.e. (population equivalent) market is soon becoming obsolete with 500-1500 p.e. market gaining importance in the region. The company’s strengths and weaknesses and its supply chain management will be analyzed for this purpose. About GSL GRP Systems Ltd. (GSL) is a South Coast, England based manufacturing company that has grown from providing repair and maintenance ope rations to sailing yachts to suppliers of septic tanks for small properties which are not yet connected to the main sewage system. Over the last 6 years, GSL has become a key player in the ‘package’ sewage treatment services which they identified as a niche market. It provides services to water treatment plants, pubs and hotels among others. It serves its niche market with a 50-500 p.e. with its small ‘package’ sewage treatment solution and has a 25% market share in England and Wales. The solution includes sinking a tank into holes dug in the ground and filling the tank with structured media in which bacteria are allowed to grow that feed off the sewage to neutralize water. Competitive analysis- SWOT analysis Strengths- GSL has a 25% market share in England and Wales for its small ‘package’ sewage treatment solution that offers low cost treatment of water. This segment of the market has few players and the company has a strong hold since 6 year s with potential to expand to the 500-1500 p.e. segment. Its speed of service is its major strength which the company is yet to leverage on to gain a higher market share. Its pricing is also a key strength as it offers cost-saving tanks that can be buried underground unlike the costly steel tanks that are installed above ground which is mostly disapproved. GSL’s technical expertise is also considered on par with the required standards although the tanks are not as robust as the steel tanks. Weaknesses- GSL is short of leveraging its core competencies in expanding its market to the higher-end niche of catering to 500-1500 p.e.. It is also short of manpower as it uses limited manpower who are experts in their respective fields. High lead times for sale and delivery of the services along with low profitability (5%) and high overheads (20%) is a constraint on the company’s business. Procurement of inventory for the tanks along with high cost of labour is another factor res tricting GSL’s growth. Opportunities- GSL can leverage its core competencies in terms of low cost ‘package’ sewage treatment solutions to expand its business to cater to the higher end market of 500-1500 p.e.. GSL can also try to devise effective strategies to address the need to cater to custom design solutions through its expertise that it can leverage along with its effective delivery. The company can also train its staff to meet the

Sunday, August 25, 2019

The importance of regulation in the financial markets Essay

The importance of regulation in the financial markets - Essay Example The regulatory policies safeguard the interest of the borrowers and investors. In addition, these policies remedy economic instability. (Ahearne, William & Francis, 330). The financial market regulation in the US focuses on prudence. The Financial institutions are regulated to ensure their reliability. Scholars argue that the regulations are aimed at providing a smooth credit cycle (Cetorelli, Nicola & Philip, 454). The financial market regulation dates back to the mid 19th century when the money supply solely relied on bank credits. The US Federal Reserve was established in 1907 as a lender of last resort. The paper will analyze the circumstances under which the financial market functions poorly. In addition, it will also discuss the importance of regulations in the financial market. The banking sector can perform better in a market system in which the demand and supply of credit are self-adjusting. Interest rates are determined by the interplay of demand and supply for money. In addition, they play a primary role in the resource allocation process within the economy. For as long as there is an economic freedom, the banking sector plays a positive role in enhancing the national output. Classical economists argue that the state interference with the market, inhibit economic growth. The state interferes with the market by imposing an interest rate ceiling, directed credit and selected credit control. Direct government intervention in the in the financial market can result in financial repression. It has severe effects on the saving and investment levels in the economy (Eichengreen, 360). Strict regulations in financial markets inhibit the functioning of the financial sector. The rules restrict entry into the financial market. A high capital requirement for establishing a financial firm makes it difficult for potential entrants. As a result, the already established financial institutions gain monopoly and charge high-interest rates for their

Saturday, August 24, 2019

National Curriculum Science Essay Example | Topics and Well Written Essays - 2750 words

National Curriculum Science - Essay Example   In the UK, national curriculum was introduced in England, Wales and Northern Ireland following the recommendation of Education Reform Act 1988. However, the independent schools do not follow the national wide curriculum as they are free to set their own curriculum. The National Curriculum is only applicable to state schools of the entire local education authorities. The Science Enquiry 1 came into existence after the introduction of the National Curriculum. A basic curriculum of the national curriculum and religious education is required to be taught to all state students according to the Education Reform Act 1988. The main aim of the National Curriculum was to ensure that all pupils in the UK cover certain basic material and as time went on; all state schools had adopted the National Curriculum in their system. Teachers are expected to set learning and teaching objectives that are challenging, realistic and relevant to the group they are teaching according to the Standards for t he award of qualified teacher status. These objectives can be set by taking into consideration the level of the pupils, their expected achievement together with their current and past achievements. The entire paper will discuss the intended missions and objectives of the National Curriculum Science in relation to Science Enquiry 1 especially in Key Stages 1 and 2. A National Curriculum usually sets out a statutory entitlement that is supposed to be learned by all students attending state owned schools.... The entire paper will discuss the intended missions and objectives of the National Curriculum Science in relation to Science Enquiry 1 especially in Key Stages 1 and 2. National Curriculum Science 1 A National Curriculum usually sets out a statutory entitlement that is supposed to be learnt by all students attending state owned schools. It has set target that are supposed to be achieved at the end of each key stage. The curriculum also states how the students are going to be accessed as far as performance is concerned and how the performance will be reported. For a National Curriculum to be effective it should be in a position of telling elaborating the kind of skills and knowledge that will be gained by students and this is useful information to parents, pupils, teachers and even employers. Initially, England, Wales and Northern Ireland education system was governed by Butler Education Act 1994 which was replaced by Education Reform Act 1988 that was implemented in 1988. The following are the main provisions of Education Reform Act 1988. By studying Science, the pupils are able to understand the nature of the universe hence they are in a position of understanding the world. When pupils at the foundation stage study science, they develop a crucial knowledge and skills that enable them to make sense of the real world. This facilitates them to learn other subjects in science such as ICT as they lay a good foundation that is necessary for their understanding. At this stage, children have an opportunity of solving problems, do experiments, plan, make decisions, predict and ask question in a wider context. It is still at this stage that pupils

Friday, August 23, 2019

Just-In-Time Inventory Management Assignment Example | Topics and Well Written Essays - 750 words

Just-In-Time Inventory Management - Assignment Example An automated inventory replenishment system would also aid in quick responses to reduced inventory levels. The manner through which firms arrange their human resource and jobs for functionality is known as the organizational structure. The best organizational structure is determined by various factors such as the nature of work, number of employees, and range of businesses. A small physician’s office may use a line organizational structure where there are only direct and vertical relationships between its various levels. The board of directors, physician (medical director), office manager, nurse practitioners, accountant, medical staff, and orderlies all fall underline departments. These departments are directly involved in achieving the primary goal of the office. The line organizational structure simplifies and clarifies authority, responsibility, and accountability relationships. Fast decision making is also promoted. A hospital with one large facility in a city may use the line and staff organizational structure. This structure is suitable due to the need for direct, vertical relationships between various levels as well as specialists that are tasked with providing advice to line managers. The hospital will have both staff and line departments, where the former will provide the latter with guidance and help in specialized areas. Lastly, a major, nationwide insurance company will use the divisional organizational structure that is usually adopted by big firms that cover a wide geographical area. Moreover, the company will have separate smaller divisions within the umbrella organization to cover different market areas. In this structure, the company can have a different basis for forming departments, such as; function, product, and geographic territory.

Thursday, August 22, 2019

Speech Outline Essay Example for Free

Speech Outline Essay When responding to a medical emergency you should take three main stepssurvey the scene, contact emergency medical services, and start CPR. Method of Organization: Chronological Introduction (Begin your presentation with the statement beside Roman numeral I) IFirst Sentence: Imagine youre at home eating a holiday dinner with your family and your uncle begins to suffer a heart attack. Would you know how to handle the situation by administering cardiopulmonary resuscitation, better know as CPR? IIISpecific Purpose: As a lifeguard, I have been certified in CPR for the past four years and Ill teach you what to do when responding to a medical emergency. . IVThesis: Tonight I will explain the lifesaving process of surveying an emergency, contacting emergency medical services, and administering CPR. Body I. According to the American Red Cross, the first step in an emergency is to survey the scene. A. The most important thing in administering First Aid is to make sure you and the victim are safe B. If it is safe to proceed and the victim is not moving, gently shake the victim and ask if she or he is O. K. C. Then, call for help. II. The second step in an emergency is to contact an emergency medical service (EMS). A. There are several ways to contact an EMS. One way is to call 911 If there is no 911 service in your area, call the police or hospital directly. You can also call the operator, who will contact the police or hospital for you. B. Designate one person around you to call EMS. C. If there is no one around, you must call EMS yourself III. The third step in an emergency is to administer CPR. A. Position the victim. Move the victim into the correct position, keeping the persons body as stable as possible. Position yourself next to the victims shoulders. B. Check the ABCs Opens the airway. Check for breathing a. Look, listen, and feel for the victims breath. b. If the victim is not breathing, give him or her two quick breaths right away. Check the pulse C. If there is no pulse, begin chest compressions immediately. Position your hands on the victims chest. Straighten your arms and lock your elbows so your shoulders are directly over your hands Compress the chest of victim 1-1/2 to 2 a. Compress the chest fifteen times while counting out loud. Compress for one second each time. D. Repeat the cycles of breathing and chest compression four times. After the fourth cycle, check the victims pulse. If there is still no pulse, resume the cycles of breathing and chest compression until the victim starts to breath or until medical professionals arrive. Conclusion IThis short speech has shown you the importance of surveying the scene of an emergency, contacting an emergency medical service, and starting CPR. IIBecause of your knowledge of these three steps, you can be the vital link in an emergency such as that described in my introduction and you can help save a life.

Wednesday, August 21, 2019

To live a purposeful life, you need a clear VISION Essay Example for Free

To live a purposeful life, you need a clear VISION Essay If you live each day as if it was your last, someday you’ll certainly be right†¦ (Steve Jobs) †¢If today was my last day in my life, would I do what I am about to do today? †¢If the answer is â€Å"NO† for too many days in a row, I know I need to change something. †¢All external expectation, fear, pride, embarrassment and almost everything falls away in the face of the ending of a life, leaving what is truly important †¢No one wants to die,†¦but even if I lived, I live as if this life is a gift lent to me, which I shall someday exchange for another purer life †¢Do not shrink your inner voice at the altar of others’ noise and false reports†¦somewhere in your heart, God has placed a treasure which only you can dig out and benefit from. †¢To dig this treasure will take you a while. You will have to plan to know exactly what it is, and exactly where it is. You’ll have to have the right crew by your side. †¢This treasure, planning, journey and digging is what I am calling VISION†¦ Vision is not only the power to see, but also of foresight and imagination. Even the visually impaired have this power†¦the ability to see and comprehend beyond what their brains could interpret as optical data. Human beings have the ability to translate words and instructions imaginatively. We are able to draw mental pictures more clearly than we can even draw on paper or explain verbally. The greatest gift is not the ability to see, but this ability of vision. God put dreams where we cannot miss them. Because of vision, I am the best raw material to myself. A vision is a supernatural appearance, which only a supernatural ability can make comprehendible and tangible. †¢Where there is no vision, people perish†¦Prov 29:18 †¢My people perish because of lack of knowledge†¦Hosea 4:6 †¢Now to Him who is able to do immeasurably more than we ask or imagine according to His power that is at work within us†¦Ephesians 3:20 †¢Prov 1:7 and 9:10†¦The fear of the Lord is the beginning of knowledge/ wisdom. †¢Habakkuk 2:2†¦write the vision down†¦though it tarry’s, it shall come to pass †¢Do not despise the days of your humble beginnings†¦Job 8:7 VISION PART II By Dominic Khaemba From: The Ageless Note-book Teach me oh Lord to number my days that I may gain a heart of wisdom and lead a fulfilling life to you, myself, family and friends†¦Psalms 90:12 This section will make a stronger connection if you read it as a follow-up to part I. You can never remember what you never knew, and you can never apply what you cannot remember. As the world changes and perfects the struggles and the suffering that we face; as the world changes and justifies the insignificance of individual strength by being too complicated and fast; many people find themselves feeling impatient, hopeless and unworthy: When this happens, you need a reminder that you are still on a journey, and that your best days are ahead. But you cannot tell if you’re your best days are ahead if you have nothing to look forward to. This is where a vision for your life comes in as the ability to anticipate future events, touch them and believe in them as if they were real. Also, you will need a reminder of what your future plans are†¦but since you cannot remember what you never knew, you therefore come back to Knowledge as; a clear awareness and information gained through devoted study and Experience. This knowledge is what you shall apply in preparing for your future and this preparedness is what keeps us from despairing too quickly when overwhelmed by circumstances around us. Our creative imagination also plays a big part in determining how far God chooses to bless us. If we do not use this faculty to envision better lives for ourselves in the future, we limit God in terms of how much He also decides to bestow on us. Eph 3:20. Knowledge does two important things. It distinguishes us from fools and it is a sure preservative of our lives. But the knowledge acquired in the boundaries of God’s instruction is the one that is able to do this. Otherwise, this knowledge is useless†¦and can quickly turn our hearts into pride. Pride goes before a fall. From the verses above, without knowledge and vision, we perish. Without creative imagination, we receive little from God. It is only in the fear of the Lord that our knowledge can begin to yield better lives for us and the people around us. Living as you move towards your dreams is a life full of joy and peace in dimensions and depths one can never experience otherwise. With a sense of calling, †¢MY VISION IS ENLARGED THROUGH IMAGINATION and this way, †¢I won’t MIND THE SMALL SACRIFICES that I have to make as part of the journey. Personal inventory A personal inventory is a way to store up our vision. Habakkuk 2:2 says write the vision down. Though it tarry’s, it shall surely come to pass. Write it so that whoever reads it may run with it/ facilitate your attaining of that vision. Keep a personal inventory in a journal. This is among the questions you may ask yourself as you do so. 1.What is my calling? †¢The thing is to find ideas which allow me to power all my experiences, gifts and talents, all my wisdom and knowledge A calling is a duty to which one attaches special importance and devotes special care. It must be strong enough to allow me to combine a)Talent harnessed by discipline b)Passion paired with hard work c)Love united with commitment d)Consistency which wipes away complacency If you are leaving your calling, you exude an enjoyment and connection to the gifts that transcends the recognition, fame and fortune you may receive for expressing those talents. †¢If you find the thing which you can do for free, simply for the fulfillment of doing it, you have found your calling.

Advantages and Disadvantages of Plastic Surgery

Advantages and Disadvantages of Plastic Surgery When the goal is to make yourself look better in any form, the first option that would strike your mind would perhaps be plastic surgery. Like everything, plastic surgery also involves many pros and cons. And when it comes to advantages and disadvantages, you need to plan things before you make up your mind to go for plastic surgery. Although there are many disadvantages associated with plastic surgery the advantages of plastic surgery will definitely outweigh the disadvantages of plastic surgery. Teasing and taunting by someone about your features will take their toll on a persons emotional and mental well-being. Not only years of teasing cause emotional scars but a person who is dissatisfied about something in them will be equally affected. Well in this case even a small procedure that would affect your self-esteem positively can work wonders for such persons. Plastic surgery is a procedure to change ourselves not only to look better but to feel better as well. Disadvantages of Plastic Surgery The obvious risk of plastic surgery is that it not only involves complications but also the risk of receiving bad work. This is for sure, no one wants to spend substantial amount money to look even worse that before or to be affected by side effects involved in plastic surgery. In order to clarify all the possibilities of plastic surgery, whether good or bad, you should consult your doctor before you plan any surgery for you. This will assist you in knowing the risks involved and to get prior knowledge of the medications to which your body reacts unpredictably. With cosmetic surgeries, results may be unrealistic, not up to the expectations of the person undergoing surgery. Advantage of Plastic Surgery The advantages of plastic surgery are no doubt dramatic, like the ability to use a hand, remove skin cancer or close an open wound, or subtle like cosmetic or skin surgery or rhinoplasty for a young woman etc. Cosmetic surgery has become one of the most common events in the lives of people of all age groups, after all everyone takes due advantage from this processes. The motive behind the surgery can be any, removing birth marks or unattractive looking scars, re-scaling of noses, get rid of enlarged breasts or any other problem. The sole purpose behind plastic surgery is to get a good appearance and therefore to enhance self-confidence. While doing all this, you should not forget that these surgical procedures can prove to be fatal and has a lot of risks involved in it. Taking decision in favour of plastic surgery is like putting yourself under testing as there is no guarantee of the results in the surgical treatments. Another important thing that you should keep in your mind is that, the surgeon who will perform the surgery is certified and has been qualified for conducting such kind of surgery. Do not risk yourself just to enhance your outwardly appearance to get mental pleasure. The factors that will affect you if you undergo should not be overlooked but the problems should be considered and rectified.

Tuesday, August 20, 2019

Differences in Absentees in the Workplace between Smokers and Non-smokers :: essays research papers

The unit of observations were random samples of twenty-five various employees divided into two distinct, independent populations, smokers and non-smokers. Then data on their absences from work for the previous year were obtained and used in this statistical inference. Because of a strong association between smoking and ill-health, it is generally accepted that smokers miss more work than their non-smoking counterparts. Does the smoker miss more work than the non-smoker? Data from these random samples were used to draw a conclusion†¦. SMOKERSDATA **VERSUS**DEFINITION NON-SMOKERSTABLE   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Unit of Observation: Smoking and Non-Smoking Employees  Ã‚  Ã‚  Ã‚  Ã‚   Variable Name:   Ã‚  Ã‚  Ã‚  Ã‚   Definition:   Ã‚  Ã‚  Ã‚  Ã‚   Unit of Measurement:   Ã‚  Ã‚  Ã‚  Ã‚   Data Source: Smoker   Ã‚  Ã‚  Ã‚  Ã‚   Employee   Ã‚  Ã‚  Ã‚  Ã‚  Days Absent in Past Year   Ã‚  Ã‚  Ã‚  Ã‚   http://lad.org/issues/4/horizon.html;   Ã‚  Ã‚  Ã‚  Ã‚   Smokes   Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚   July 11, 2000   Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚   Non-Smoker   Ã‚  Ã‚  Ã‚  Ã‚   Employee Does   Ã‚  Ã‚  Ã‚  Ã‚  Days Absent in Past Year   Ã‚  Ã‚  Ã‚  Ã‚   http://lad.org/issues/4/horizon.html;   Ã‚  Ã‚  Ã‚  Ã‚   NOT Smoke   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   July 11, 2000 RANDOMDATA SAMPLESLISTING   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Smokers:  Ã‚  Ã‚  Ã‚  Ã‚  Absentees:  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Non-Smokers:  Ã‚  Ã‚  Ã‚  Ã‚  Absentees:  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Employee 1  Ã‚  Ã‚  Ã‚  Ã‚  10  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employee 1  Ã‚  Ã‚  Ã‚  Ã‚  5  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Employee 2  Ã‚  Ã‚  Ã‚  Ã‚  8  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employee 2  Ã‚  Ã‚  Ã‚  Ã‚  9  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Employee 3  Ã‚  Ã‚  Ã‚  Ã‚  18  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employee 3  Ã‚  Ã‚  Ã‚  Ã‚  2  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Employee 4  Ã‚  Ã‚  Ã‚  Ã‚  8  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employee 4  Ã‚  Ã‚  Ã‚  Ã‚  10  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Employee 5  Ã‚  Ã‚  Ã‚  Ã‚  11  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employee 5  Ã‚  Ã‚  Ã‚  Ã‚  12  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Employee 6  Ã‚  Ã‚  Ã‚  Ã‚  17  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employee 6  Ã‚  Ã‚  Ã‚  Ã‚  11  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Employee 7  Ã‚  Ã‚  Ã‚  Ã‚  19  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employee 7  Ã‚  Ã‚  Ã‚  Ã‚  6  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Employee 8  Ã‚  Ã‚  Ã‚  Ã‚  21  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employee 8  Ã‚  Ã‚  Ã‚  Ã‚  9  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Employee 9  Ã‚  Ã‚  Ã‚  Ã‚  16  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employee 9  Ã‚  Ã‚  Ã‚  Ã‚  12  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Employee 10  Ã‚  Ã‚  Ã‚  Ã‚  2  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employee 10  Ã‚  Ã‚  Ã‚  Ã‚  8  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Employee 11  Ã‚  Ã‚  Ã‚  Ã‚  4  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employee 11  Ã‚  Ã‚  Ã‚  Ã‚  4  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Employee 12  Ã‚  Ã‚  Ã‚  Ã‚  12  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employee 12  Ã‚  Ã‚  Ã‚  Ã‚  7  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Employee 13  Ã‚  Ã‚  Ã‚  Ã‚  11  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employee 13  Ã‚  Ã‚  Ã‚  Ã‚  13  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Employee 14  Ã‚  Ã‚  Ã‚  Ã‚  6  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employee 14  Ã‚  Ã‚  Ã‚  Ã‚  6  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Employee 15  Ã‚  Ã‚  Ã‚  Ã‚  9  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employee 15  Ã‚  Ã‚  Ã‚  Ã‚  7  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Employee 16  Ã‚  Ã‚  Ã‚  Ã‚  13  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employee 16  Ã‚  Ã‚  Ã‚  Ã‚  11  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Employee 17  Ã‚  Ã‚  Ã‚  Ã‚  24  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employee 17  Ã‚  Ã‚  Ã‚  Ã‚  10  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Employee 18  Ã‚  Ã‚  Ã‚  Ã‚  15  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employee 18  Ã‚  Ã‚  Ã‚  Ã‚  18  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Employee 19  Ã‚  Ã‚  Ã‚  Ã‚  14  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employee 19  Ã‚  Ã‚  Ã‚  Ã‚  20  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Employee 20  Ã‚  Ã‚  Ã‚  Ã‚  3  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employee 20  Ã‚  Ã‚  Ã‚  Ã‚  4  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Employee 21  Ã‚  Ã‚  Ã‚  Ã‚  0  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employee 21  Ã‚  Ã‚  Ã‚  Ã‚  10  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Employee 22  Ã‚  Ã‚  Ã‚  Ã‚  9  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employee 22  Ã‚  Ã‚  Ã‚  Ã‚  2  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Employee 23  Ã‚  Ã‚  Ã‚  Ã‚  11  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employee 23  Ã‚  Ã‚  Ã‚  Ã‚  8  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Employee 24  Ã‚  Ã‚  Ã‚  Ã‚  19  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employee 24  Ã‚  Ã‚  Ã‚  Ã‚  5  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Employee 25  Ã‚  Ã‚  Ã‚  Ã‚  10  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employee 25  Ã‚  Ã‚  Ã‚  Ã‚  10  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Mean:  Ã‚  Ã‚  Ã‚  Ã‚  11.6  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Mean:  Ã‚  Ã‚  Ã‚  Ã‚  8.76  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Standard Deviation:  Ã‚  Ã‚  Ã‚  Ã‚  6.110100927  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Standard Deviation:  Ã‚  Ã‚  Ã‚  Ã‚  4.352011029  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Variances:  Ã‚  Ã‚  Ã‚  Ã‚  37.33333333  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Variances:  Ã‚  Ã‚  Ã‚  Ã‚  18.94  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   SOURCE: http://lad.org/issues/News/4/horizon.html; July 11, 2000 STATISTICAL ANALYSISOUTPUT F-Test Two-Sample for Variances  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Smokers   Ã‚  Ã‚  Ã‚  Ã‚  Non-Smokers Mean  Ã‚  Ã‚  Ã‚  Ã‚  11.6  Ã‚  Ã‚  Ã‚  Ã‚  8.76 Standard Deviation  Ã‚  Ã‚  Ã‚  Ã‚  6.110100927  Ã‚  Ã‚  Ã‚  Ã‚  4.352011029 Variance  Ã‚  Ã‚  Ã‚  Ã‚  37.33333333  Ã‚  Ã‚  Ã‚  Ã‚  18.94 Observations  Ã‚  Ã‚  Ã‚  Ã‚  25  Ã‚  Ã‚  Ã‚  Ã‚  25 df  Ã‚  Ã‚  Ã‚  Ã‚  24  Ã‚  Ã‚  Ã‚  Ã‚  24 F  Ã‚  Ã‚  Ã‚  Ã‚  1.971136924  Ã‚  Ã‚  Ã‚  Ã‚   P(F F Critical one-tail  Ã‚  Ã‚  Ã‚  Ã‚  1.983757159  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   t-Test: Two-Sample Assuming Equal Variances  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Smokers  Ã‚  Ã‚  Ã‚  Ã‚  Non-Smokers Mean  Ã‚  Ã‚  Ã‚  Ã‚  11.6  Ã‚  Ã‚  Ã‚  Ã‚  8.76 Variance  Ã‚  Ã‚  Ã‚  Ã‚  37.33333333  Ã‚  Ã‚  Ã‚  Ã‚  18.94 Observations  Ã‚  Ã‚  Ã‚  Ã‚  25  Ã‚  Ã‚  Ã‚  Ã‚  25 Pooled Variance  Ã‚  Ã‚  Ã‚  Ã‚  28.13666667  Ã‚  Ã‚  Ã‚  Ã‚   Hypothesized Mean Difference  Ã‚  Ã‚  Ã‚  Ã‚  0  Ã‚  Ã‚  Ã‚  Ã‚   df  Ã‚  Ã‚  Ã‚  Ã‚  48  Ã‚  Ã‚  Ã‚  Ã‚   t Stat  Ã‚  Ã‚  Ã‚  Ã‚  1.892940764  Ã‚  Ã‚  Ã‚  Ã‚   P(T t Critical one-tail  Ã‚  Ã‚  Ã‚  Ã‚  1.677224191  Ã‚  Ã‚  Ã‚  Ã‚   P(T t Critical two-tail  Ã‚  Ã‚  Ã‚  Ã‚  2.01063358  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   CAN WE ACCEPT THESTATISTICAL NULL HYPOTHESISANALYSIS   Ã‚  Ã‚  Ã‚  Ã‚  The data source used in this inference was found through a search engine, http://www.google.com. After hours of surfing the web and grueling through mounds of data I used two of the random samples found at http://lad.org/issues/News/horizon.html. For this statistical inference, the question was whether the means were truly different or could they have been samples from the same population. To do draw a conclusion, we must first assume normal distribution. We must also set the null hypothesis to m1 - m2 = 0. And per this assignment we must set the a-level at .05 and the hypothesis alternative to m1 - m2  ¹ 0; thus requiring a two-tailed test. The random samples have a mean of 11.6 days absent for the smoker and 8.76 days absent for the non-smoker. All of my calculations were done using the data analysis tool in Excel but can be done manually with given equations: Sample Mean ( ):   Ã‚  Ã‚  Ã‚  Ã‚  n = sample size The variances of each sample are 37.33333333 for the smoking population and 18.94 for the non-smoking population. Their standard deviations are 6.

Monday, August 19, 2019

Othello And Desdemona :: Literary Analysis, Othello and Desdemona

Obsidian and Alabaster: Othello and Desdemona Othello and Desdemona’s marriage was doomed from the start. Even considering the racial nature of the marriage, his lack of a constant home, and the improper method of his courting, there is another reason why their marriage would never have worked. Othello’s label of Desdemona prevents him from considering her a person. He thinks of her instead as superior to himself in every way, to the point that she is a god. Her race, beauty, and status make her godly in his mind. Because Othello thinks of Desdemona as â€Å"Alabaster†(5.2.5) he will never consider her capable of responding to his love. Because Othello is at his wit’s end when he refers to her as â€Å"Alabaster†, he is speaking out of his heart. After Othello reads the letter from Venice, he begins to speak in less cohesive manner. For instance the line, â€Å"Pish! Noses, ears, and lips. Isn’t Possible? Confess! Handkerchief! O devil!†(4.1.42) contains none of Othello’s former eloquence. He begins to speak with word association, rather than in complete sentences. For instance, the word â€Å"confess!† brings up the word â€Å"Handkerchief!†, and â€Å"devil!†. Because Desdemona, the handkerchief, and the sense of maliciousness were on his mind so much, he begins to express with abstract words and ideas instead of sentences. Although this makes his lines harder to read, they show us what he is constantly thinking of. Instead of clear and concise lines, they are a torrent of his true feelings. Therefore when he describes Desdemona as â€Å"Alabaster†, we can be sure it is his inner picture of her. Alabaster’s beauty gives you an idea about his feelings of bodily inferiority to her. Alabaster is a naturally beautiful stone, used by ancient Egyptians and Chinese to make statues and vases. This word choice gives the reader a sense of his feelings of inadequacy to Desdemona. He is never said to be ugly, on the contrary, he is described as â€Å"far more fair than black†(1.3.291). He must have felt some sensitivity about his physical appearance. In contrast, he describes her face as â€Å"fair as Dian’s visage†(3.3.389), Dian most likely being the god of healing in Celtic mythology. This implies both beauty and health. He then goes on to say â€Å"begrimed and black as mine own face†(3.3.390). Othello superimposes her clean and young white face with his grimy old black face. The fact that he believed her to be unfaithful with Cassio further proves his insecurity.

Sunday, August 18, 2019

Hegel and the Relation of Master and Servant Essay -- essays research

Relation of Master and Servant According to Hegel, â€Å"the self conscious is itself and for itself† meaning that it has to come outside of itself, so that it can do two things. One is to cancel out the other otherness. The second is to try to become recognized. This recognition process is called Master and Servant self-conscious. The conflict between master and servant is one in which the historical themes such as dependence and independence are introduced. It sets up the realization of the self conscious through the recognition of and by another, through mutual recognition. The relation between the self and the otherness is necessary to define human awareness and more importantly desire. This desire is part of the primordial human experience. The problem is that, the consciousness respond...

Saturday, August 17, 2019

Alias Tutorial

Learning Autodesk AliasStudio 2008 Level 1 A hands-on introduction to the key tools & techniques of Autodesk AliasStudio 73415-050000-5001A Copyright and trademarks AliasStudio 2008 documentation by: Pat Anderson, Marie-France Roy, Kerry Kingston and Damien Fleury  © Copyright 2002-2007 Autodesk, Inc. All rights reserved. This publication, or parts thereof, may not be reproduced in any form, by any method, for any purpose. AUTODESK, INC. MAKES NO WARRANTY, EITHER EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE REGARDING THESE MATERIALS, AND MAKES SUCH MATERIALS AVAILABLE SOLELY ON AN â€Å"AS-IS† BASIS. IN NO EVENT SHALL AUTODESK, INC. , BE LIABLE TO ANYONE FOR SPECIAL, COLLATERAL, INCIDENTAL, OR CONSEQUENTIAL DAMAGES IN CONNECTION WITH OR ARISING OUT OF ACQUISITION OR USE OF THESE MATERIALS. THE SOLE AND EXCLUSIVE LIABILITY TO AUTODESK, INC. REGARDLESS OF THE FORM OF ACTION, SHALL NOT EXCEED THE PURCHASE PRICE, IF ANY, OF THE MATERIALS DESCRIBED HEREIN. Autodesk, Inc. , reserves the right to revise and improve its products as it sees fit. This publication describes the state of this product at the time of its publication, and may not reflect the product at all times in the future. Autodesk Trademarks The following are registered trademarks or trademarks of Autodesk, Inc. , in the USA and other countries: 3DEC (design/ logo), 3December, 3December. om, 3ds Max, ActiveShapes, Actrix, ADI, Alias, Alias (swirl design/logo), AliasStudio, Alias|Wavefront (design/logo), ATC, AUGI, AutoCAD, AutoCAD Learning Assistance, AutoCAD LT, AutoCAD Simulator, AutoCAD SQL Extension, AutoCAD SQL Interface, Autodesk, Autodesk Envision, Autodesk Insight, Autodesk Intent, Autodesk Inventor, Autodesk Map, Autodesk MapGuide, Autodesk Streamline, AutoLISP, AutoSnap, AutoSketch, AutoTrack, Backdraft, Built with ObjectARX (logo), Burn, Buzzsaw, CAiCE, Can You Imagine, Character Studio, Cinestream, Civi l 3D, Cleaner, Cleaner Central, ClearScale, Colour Warper, Combustion, Communication Specification, Constructware, Content Explorer, Create>what's;Next; (design/logo), Dancing Baby (image), DesignCenter, Design Doctor, Designer's Toolkit, DesignKids, DesignProf, DesignServer, DesignStudio, Design|Studio (design/logo), Design Your World, Design Your World (design/logo), DWF, DWG, DWG (logo), DWG TrueConvert, DWG TrueView, DXF, EditDV, Education by Design, Extending the Design Team, FBX, Filmbox, FMDesktop, GDX Driver, Gmax, Heads-up Design, Heidi, HOOPS, HumanIK, idrop, iMOUT, Incinerator, IntroDV, Kaydara, Kaydara (design/logo), LocationLogic, Lustre, Maya, Mechanical Desktop, MotionBuilder, ObjectARX, ObjectDBX, Open Reality, PolarSnap, PortfolioWall, Powered with Autodesk Technology, Productstream, ProjectPoint, Reactor, RealDWG, Real-time Roto, Render Queue, Revit, Showcase, SketchBook, StudioTools, Topobase, Toxik, Visual, Visual Bridge, Visual Construction, Visual Drainage, Visual Hydro, Visual Landscape, Visual Roads, Visual Survey, Visual Syllabus, Visual Toolbox, Visual Tugboat, Visual LISP, Voice Reality, Volo, and Wiretap. The following a re registered trademarks or trademarks of Autodesk Canada Co. n the USA and/or Canada and other countries: Backburner, Discreet, Fire, Flame, Flint, Frost, Inferno, Multi-Master Editing, River, Smoke, Sparks, Stone, Wire. All other brand names, product names or trademarks belong to their respective holders. Third-Party Copyright Notices This product includes software developed by the Apache Software Foundation. Macromedia Shockwaveâ„ ¢ Player and Macromedia Flashâ„ ¢ Player software by Macromedia, Inc. , Copyright  © 1995-2000 Adobe Systems Incorporated. All rights reserved. Portions relating to JPEG Copyright  © 1991-1998 Thomas G. Lane. All rights reserved. This software is based in part on the work of the Independent JPEG Group. Portions relating to TIFF Copyright  © 1997-1998 Sam Leffler. Copyright  © 1991-1997 Silicon Graphics, Inc. All rights reserved. GOVERNMENT USE Use, duplication, or disclosure by the U. S. Government is subject to restrictions as set forth in FAR 12. 212 (Commercial Computer Software-Restricted Rights) and DFAR 227. 7202 (Rights in Technical Data and Computer Software), as applicable. Published By: Autodesk, Inc. 111 Mclnnis Parkway San Rafael, CA 94903, USA Documentation build date: April 3, 2007 iii GETTING HELP ON ALIASSTUDIO Welcome Autodesk provides you with a number of resources to aid you in becoming a proficient AliasStudio user. Finding help on AliasStudio features If: Try this You want information about installing AliasStudio Follow the on-screen instructions on the installation CD. For more detailed instructions, see the install. pdf file on the top level of the CD. You are new to AliasStudio ? Read Getting Started, the booklet included in the kit. ? Browse through the information on the main documentation page (index. html) ? Read the About†¦ section of the online documentation. If you prefer, you can print off the book full of this information, which is called AliasStudio Fundamentals. ? Work through these tutorials in Learning AliasStudio. These are basic lessons that will teach you about working in 3D in AliasStudio. They are also the prerequisite for more advanced AliasStudio courses. Use the How To†¦ section of the online documentation to learn how to perform specific operations within AliasStudio, like drawing curves, making four-sided surfaces, and using masks while painting. ? Visit www. autodesk. com/estore to find out about learning tools such as Learning Alias AliasStudio | Beginner’s Guide aimed at the novice user. You are upgrading from a previous version of StudioTools ? See the What’s New in AliasStudio document, available by selecting Help > What’s New in AliasStudio, or on the documentation CD as a PDF file. ? Look at the What’s New tab in the default sh elf provided with the application. iv You are looking for detailed nformation about a tool or feature ? Look in the â€Å"Tools and Menus† section of the online help ? Choose Help > What’s this and then click on the tool or menu item ? Use the right mouse button on the background of any option window to see help for that tool or operation. You want to learn new techniques for using AliasStudio ? See Learning AliasStudio 2008 ? See Technical Surfacing ? Visit www. autodesk. com/estore to find learning tools aimed at intermediate and advanced users. You want a PDF version of one of the manuals ? All of the manuals are provided in PDF format in the PDF directory on the documentation CD. You want to know what the eyboard shortcuts are in AliasStudio ? Choose Help > Keyboard shortcuts from within AliasStudio, or click Keyboard Shortcuts on the main online help page. You want a Quick Reference card ? Print the Quick Reference card file provided in the PDF directory on the do cumentation CD. v Finding AliasStudio training resources If†¦ Try this†¦ You want to obtain in-depth training ? See the learning materials and training courses available from www. autodesk. com/training You want to get tips and techniques from the experts at AliasStudio MasterClasses ? For events near you, see www. autodesk. com/training You want to create plug-ins for AliasStudio Use the AliasStudio Application Programmers’ Interface Manual to learn the object-oriented programming required to build plug-ins. You want information about becoming an Alias-certified instructor ? See the information at www. autodesk. com/training or contact us at [email  protected] com. vi Finding support for AliasStudio If†¦ Try this You are a Platinum member and want to access the Knowledgebase or Ask Autodesk ? Go to the AliasStudio support site at www. autodesk. com/ support You want to interat with other AliasStudio users ? Go to the online User-to-User Discussion forum on t he AliasStudio support site at www. autodesk. com/support You want answers to common roubleshooting questions ? See the FAQs (frequently asked questions) in the technical support section of the AliasStudio support website at www. autodesk. com/support. You want to license your software ? If you are a Platinum member and need a license, check the executable license file on the top of your installation CD. If your license isn’t there, go to www. autodesk. com/ spar and follow the instructions in the install. pdf file at the top of the AliasStudio CD. ? If you are a new customer, go to www. autodesk. com/opa to obtain a new license. You want customer or technical support ? Go to the webpage www. autodesk. com/support vii Working with AliasStudio If you create concept designs ? Read about our new concept design workflow ? Work through the modeling and rendering tutorials in Learning Studio If you build 3D models based on sketches ? Work through the modeling tutorials in Learning AliasStudio If you build 3D models for manufacture ? Read About Curves and About Modeling ? Work through the modeling tutorials in Learning Studio ? Check the community site for tips and tricks If you modify 3D models for manufacture ? Read AliasStudio Fundamentals ? Work through the Technical Surfacing tutorials. If you create rendered images ? Read About Rendering ? Work through the rendering tutorials in Learning Studio Check the community site for tips and tricks and downloadable shaders and backgrounds If you create animations ? Do the work in the â€Å"If you create rendered images† section ? Read About Animating ? Work through the animation tutorials in Learning Studio ? Check the community site for tips and tricks. viii ix CONTENTS Lear ning AliasStudio provides you with tutorials to learn the basics of modeling, rendering, and animating. All features are not available in all products or on all platforms; you may find your software does not support some of the capabilities described in this book to sketch, render, or animate. Getting help on AliasStudio iii Finding help on AliasStudio features iii Finding AliasStudio training resources v Finding support for AliasStudio vi Working with AliasStudio vii Contents ix Learning AliasStudio Tutorials 1 How to use this book 1 Interface Basics 5 Using Tools 11 Changing Your View of the Model 25 Understanding the object lister 33 Introduction to 3D 37 Part 1: Beginning a Model 38 Part 1: Creating 3D objects 41 Saving your work 45 Part 2: Building the lampstand 47 Part 3: Organizing the model 54 Part 4: Building the lampshade 58 Part 5: Assembling the desk lamp 65 Part 6: Posing the Lamp Model 68 Conclusion 70 Quiz 71 On your own 72 x Contents Quiz Answers 74 Modeling a Joystick 75 Introduction 75 Part 1: Creating the Joystick Handle 77 Part 2: Creating the Joystick Base 84 Part3: Creating the Flexible Sleeve 94 Part 4: Creating the connecting cable 99 Part 5: Assigning objects to layers 104 Part 6: Directly modifying surfaces 108 Part 7: Creating the button 120 Part 8: Visualizing the Model 123 Conclusion 126 Quiz 127 On Your Own 128 Quiz Answers 129 Modeling a Vacuum Cleaner 131 Part 1: Creating Primary Surfaces 133 Part 2: Intersecting and Trimming 139 Part 3: Surface Fillet 145 Part 4: Creating the Handle 152 Part 5: Air Vents 157 Part 6: Power Button 163 Part 7: Dust Bag and Cable Connector 171 Part 8: Completing the Model 180 Conclusion 183 Quiz 184 On Your Own 185 Quiz Answers 187 Modeling an MP3 Player 189 Introduction 191 Part 1: Creating the Casing Curves 192 Part 2: Creating the Side Surfaces 197 Part 3: Completing the Casing 202 Part 4: Creating the Screen Recess 209 Part 5: Centre Navigation Key 217 Part 6: Control Button 221 Part 7: Completing the Model 231 Quiz 236 On Your Own 237 Quiz Answers 239 Modeling a Sports Shower Gel Bottle 241 New Concepts 242 Part 1: Creating Primary Surfaces 243 Part 2: Creating the Finger Grip Contents xi 251 Part 3: Label Surface 256 Part 4: Adding Blend Details 261 Part 5: Embossed Logo Details 267 Part 6: Completing the Model 275 Quiz 280 On Your Own 281 Quiz Answers 283 An introduction to Rendering 285 Visualizing a PDA 289 Conclusion 296 Quiz 297 On Your Own 298 Quiz Answers 299 Shaders and Lights 301 Part 1: Creating Shaders 302 Part 2: Adding a Label 309 Part 3: Lighting the Scene 313 Part 4: Creating an Image 319 Quiz 322 On Your Own 323 Quiz Answers 325 More rendering 327 Part 1: Editing the Render Globals parameters 329 Part 2: Creating a background environment 333 Part 3: Creating a 3D solid texture 338 Part 4: Creating a 2D bump texture 341 Part 5: Raytracing 345 Conclusion 349 Quiz 350 On your own 351 Quiz Answers 352 Introduction to animating 353 Part 1: keyframing animation 355 Part 2: animating along a motion path 364 Part 3: editing a motion path 367 Part 4: animating the camera 369 Conclusion 372 Quiz 373 On Your Own 374 Quiz Answers 375 More animation techniques 377 Part 1: Creating an exploded view animation 379 Part 2: animating shaders 386 Conclusion 395 Quiz 396 On your own 397 Quiz Answers 398 xii Contents Index 399 1 LEARNING ALIASSTUDIO TUTORIALS Learning objectives This chapter shows how to use the tutorials, and presents the graphic and text conventions used in this manual. HOW TO USE THIS BOOK Introduction A general introduction and welcome to the AliasStudio tutorials. Welcome to AliasStudio and the world of three dimensional modeling, rendering, and animating. AliasStudio offers a complete solution for the creation of digital content in fields such as industrial design, automotive design, and consumer product design. About the Learning AliasStudio Tutorials A general overview of the tutorials. The tutorials in this book present examples of typical concept design workflows. The tutorials introduce the powerful tools and interactive features of AliasStudio, and demonstrate how to use them to accomplish your concept design tasks. The first six tutorials introduce modeling tools to build your experience level. We recommend that you start with the first tutorial and proceed sequentially through the modeling tutorials, because they build on each other. The next two tutorials introduce rendering tools and skills. The last tutorial introduces animation tools and skills. These tutorials are densely packed with information and techniques that may be new to you. You may want to re-read the lessons after completion, or even repeat the more difficult lessons. You can view movies (in Flash format) demonstrating each tutorial in the online documentation. In order to view these movies, you may need to install a Flash player. You can download Flash plug-ins for your browser for free from www. macromedia. com. Disclaimer: There may be slight discrepancies in procedures between the movies and the written documentation. If you 2 How to use this book encounter a discrepancy, use the written ocumentation version because it will be the most current. For More Information Information on learning more about AliasStudio and training. These tutorials are an introduction to AliasStudio. They are not intended as an exhaustive guide to the capabilities and options of AliasStudio, and will not teach you everything th ere is to learn about the products and workflows. For additional information and more comprehensive explanations of tools and options, refer to the online documentation included with the product, and read Getting help on AliasStudio (page iii). Graphic Conventions Explains graphic conventions used in the tutorials. To call attention to part of a screen shot, we ighlight the important area and darken the rest of the image. For example, in the picture shown, we have marked the location of the close box on the Action Window. To indicate a click, we use this symbol. For example, in the picture shown, we have indicated that the Open command should be clicked. In the text of the instruction, we will refer to this as File > Open. The first word or term is the name of the menu or palette; it is followed by an arrow and the name of the menu item or tool. In the case of a submenu, two arrows are used: Layouts > All Windows > All Studio refers to the All Studio menu item available from the All Windows submenu, which is found on the Layouts menu. To indicate that an option box for a tool or menu item should be opened, a box appears after the tool name, like Surfaces > Skin ?. When we ask you to choose a tool, we show the tool’s icon next to the instruction. Terms Explains terms used in the tutorials. Click: Move the mouse pointer over an object and press and release a mouse button once. Double-click: Move the mouse pointer over an object and press and release a mouse button twice fast. Drag: Move the mouse pointer over an object and hold down a mouse button, then move the mouse with the button held down. Then release the mouse button. Click-Drag: Move the mouse pointer over an object, ress the mouse button, and move the mouse pointer to a final position before releasing the mouse button. The Scene: The 3D â€Å"world† inside the view windows. 3 How to use this book The Model: The curves, surfaces, and points that make up the object you are creating. Note about Window Names AliasStudio 2008 brings a change in Stu dio and DesignStudio to the names of the Front and Side orthographic windows. Some of the tutorials in this book (Modeling a Shower Gel Bottle, Modeling an MP3 Player, and Rendering Basics) use the new naming convention; the rest of the tutorials still use the older DesignStudio window names. At the start of each tutorial, a section describes which window ames are used in that tutorial, and how to set the window names. 4 How to use this book 5 INTERFACE BASICS Learning objectives You will learn how to: ? Log into the system and start AliasStudio. ? Arrange windows. ? Use tools and tool options. ? Customize shelves and marking menus. ? Tumble, track, and dolly the view. ? Use the Object Lister window to understand the model Introduction Before you begin working in AliasStudio, you should spend some time learning how AliasStudio represents the scene and the model (both externally and internally), and how you use menus and tools to create and edit model data. Installing the tutorial co urseware files Each tutorial in this book is based on an Alias wire file which contains the material you need to learn the tools, skills and concepts in the tutorial. When you install AliasStudio, the courseware files are not automatically installed. These files are required to complete the Learning AliasStudio and Technical Surfacing tutorials. If you have installed the online documentation, your courseware may already be installed. If not, follow the following procedure to install the courseware. To install the courseware for use with AliasStudio: The courseware files (Alias wire files and other support files) are automatically installed when you install the documentation from the AliasStudio Documentation CD. If you have not yet installed the documentation, place the AliasStudio Documentation CD in your CD-ROM drive and proceed with the installation. You will require write permissions to the directory in which you plan to install the online help and courseware files. If you want to install only the courseware files, go directly to your disk drive and find the CourseWare folder on the disk. 2 Copy the CourseWare folder from its location on your hard drive or CD-ROM drive into your user_data folder. On Windows systems this is typically: C:Documents and Settings[userid]My DocumentsAliasStudiouser_dataCourseWare 6 Interface Basics To install the courseware for use with AliasStudio Personal Learning Edition 1 The AliasStudio documentation should have lready been installed on your system. The courseware files you’ll require to perform the tutorials can be found in the CourseWare directory, located under the Help directory. If you have installed the application in the default directory, you should find the CourseWare directory at C:Program FilesAutodeskAliasStudioPLE2008Help. 2 Copy the CourseWare directory from the Help directory to your account’s user data directory. On Windows systems this is typically: C:Documents and Settings[userid]My DocumentsAliasStudiouser_ dataCourseW are Starting AliasStudio Logging In If you have not logged in to your account on your workstation, do so now. To log in to your account ? Type your user name and password at the prompts. If you have an account on this workstation, the operating system user environment will appear. Depending on which product you are using, the AliasStudio icon may have a different name, such as DesignStudio or AutoStudio. To start AliasStudio on Windows 1 Double-click the Studio shortcut icon on the desktop, or choose Studio from the Start menu. When you start AliasStudio for the first time the Application Launcher appears on your desktop. 2 Choose a product to launch and options where applicable. If you want AliasStudio to launch the selected product and options automatically every ime you start AliasStudio, click Set Default. When you start AliasStudio again, the default product starts and the Application Launcher does not appear. You can change the default settings anytime by choosing Application Launcher from the Start menu. 3 Click Launch. The chosen product should start. 4 If the main AliasStudio window appears, AliasStudio is installed. The Start-up Process The first time you run AliasStudio, you may be presented with a choice of product to launch, if you work in an environment where there are several AliasStudio products installed. The product choice will depend on the licenses owned by your organization. 1 Choose the product you want to run, and click Go. Next, you’ll be presented with a workflow selection. 2 For the purpose of these tutorials, choose the Default workflow, which gives you access to all 3D curve and surface creation tools. The Paint workflow is for working solely within a 2D environment. You can click the Do not show again check box so this window won’t appear every time you launch AliasStudio. If you have chosen a workflow setting and checked Do not show again, you can change the default workflow by choosing the workflow you want from Preferences > Workflows. AliasStudio will launch the application in the same workflow that was active when you last exited the application. AliasStudio shows a splash window as it loads. During start-up, AliasStudio may warn you about unusual conditions on your system: ? If you are already running AliasStudio (or if AliasStudio exited abnormally the last time you ran it), the application will ask you if you really want to start another copy. 3 If you are sure AliasStudio is not running, click Yes to continue loading. After AliasStudio has finished loading its resources and plug-ins, the workspace window opens. 7 Interface Basics Overview of the AliasStudio Interface The main parts of the AliasStudio interface are: ? the Palette, located on the left ? the Menu Bar, located at the top the Window Area, taking up most of the interface and located in the middle (this area may or may not contain view windows when you first start AliasStudio). ? Shelves, located at the bottom (the Shelves may or may not be visible) ? the Control Panel, located on the right As you continue through this tutorial you will become more and more fami liar with the AliasStudio interface. Using Help One of the most important menus is the Help menu. The Help menu is organized so that you can get quick and specific information on just about any tool in AliasStudio. To get help on a tool or menu item It’s easy to get help on any tool or menu item in the interface. Just follow the steps below. 1 Click the Help menu, located at the right end of the menu bar. 2 In the Help menu, click What’s This? You are prompted to select the tool for which you want help. (This prompt appears in the prompt line, located just below the menu bar. ) 3 Click a menu item or a tool icon in the Palette. A browser window is launched and the on-line documentation about that tool icon or menu item is displayed. 4 When you are finished reading the information, minimize or close the browser window. Menu Bar Shelves Control Panel Window Area Palette 8 Interface Basics Arranging Windows Performing Menu Commands To use the menus to choose a window layout Click the title of the Layouts menu to open the menu. Notice the arrow next to the All windows item. This means there are more sub-options for this category: 2 Click the All windows item to open the submenu, then click the All windows item. The All windows command arranges view windows in the â€Å"Studio† layou t: Top, Front, Right, and Perspective. These tutorials will sometimes refer to menu items by the path through the menus to the item. So All windows will be: Layouts > All windows > All windows. As an alternative to the single-click method, you can use the pull-down menus by dragging the mouse down the menu and releasing on the item you want. Window Controls Use these controls on the borders of view windows to move, close, and resize the window: The view windows have more controls across the top, but for now you will concentrate on the close box, title bar, maximize, and resize corners. You will discover the functions of the other icons later in the tutorials. Close box Title bar Maximize box resize corners (4) 9 Interface Basics Closing Windows To close the Top view using the close box ? Find the close box in the upper left corner of the Top view window. ? Click the Top view window’s close box. The Top view window disappears. Resizing Windows You can change the size of windows using the resize arrows at each corner. To change the size of a view window using the resize arrows and maximize box 1 Find the resize arrows in the corners of a view window. 2 Drag a resize arrow to change the size of the window. An outline of the view window follows the mouse. 3 Release the mouse button. The corner of the window snaps to the new size. 4 Try dragging the resize corners in the other corners to see how they resize the window. ? Often you will want to work in one large window to see more detail. Use the maximize box to temporarily make the view window fill the entire screen. 5 Find the maximize box in the upper right corner of a view window. 6 Click the maximize box of the view window . The view expands to fill the entire screen. Notice that the maximize box changes to black to show the window is maximized. 7 Click the maximize box again to return the view window to normal size. Moving Windows To move and arrange the remaining windows 1 Find a view window’s title bar. The title bar is the area at the top of the window, between the close box and the other icons on the right. 10 Interface Basics 2 Drag the title bar. An outline of the view window follows the mouse. 3 Release the mouse button. The window snaps to the new location. ? By now you probably have some view windows overlapping other windows, similar to this: The windows are like a stack of papers on a desk. As you shuffle them, they can overlap. When windows overlap like this, you can click in a window to move that window to the front of the stack. 4 Click the title bar of the Perspective view window to move it in front of the other windows. The windows are probably a little disorganized at this point. You can quickly reset them to a default layout using the commands in the Layout menu again. 5 Choose Layouts > All windows > All windows. The Active Window Notice one of the view windows has a white border. This is how AliasStudio indicates the active view window (sometimes also called the current view window). The active view window is always the last view indow you clicked in. Some tools change behavior based on which view is active, but for now you can disregard which view window is active. Saving an arrangement of windows If you have a particular choice of windows that you plan to use repeatedly, you can save the set by choosing Layouts > User windows > Save Current Layout. Youâ€℠¢ll be prompted for a file name. To use this layout in the future, choose Layouts > User windows > Retrieve Layout. 3 1 2 1 2 3 1 2 3 11 Interface Basics Using Tools Using Tools Describes how to use the AliasStudio interface, such as selecting tools and creating shortcuts. Tool Basics To orient yourself in the Palette window Find the Palette window on the left side of the screen. If the palette is not visible, go to the Windows menu and choose Palette. The Palette window is divided into separate palettes of tools, each labeled with a tab at the top. For example, the Curves palette contains tools for creating new curves. The Curve Edit palette contains tools for editing and reshaping existing curves. 2 Find the Surfaces palette. It’s the seventh palette from the top of the window. If you can’t see the Surfaces palette, use the scroll bar on the left side of the palette window to scroll up or down until it’s visible in the window. 3 Hold the cursor over a tool. Th e name of the tool appears in a small box just elow the icon. This small text window is called a tooltip. This feature can help you to identify tools until you become familiar with the icons in the palette. Once you are familiar with the icons in the palette, you may want to disable tooltips. To do this, choose the ToolTips option in the Interface section of the General Preferences window (Preferences > General Preferences – ? ). Now you will use the geometric primitive tools to add some geometry to the scene. The primitive tools create simple 3D geometric shapes such as cubes, spheres, and cones. As a technical surfacer, you may not regularly need to add these simple shapes to a model. However, hey will allow us to practice several AliasStudio interface concepts, including choosing tools, using manipulators, sub-palettes, tool option windows, and snapping. 12 Interface Basics Using Tools To create a primitive sphere in the scene 1 Click the Surfaces > Primitives > Sphere too l. A red outline appears around the icon to show it is the current tool. 2 Click in the Top view window to place the new sphere. A new sphere, one grid unit wide, appears where you release the mouse button. Using a Snap Mode To use grid snapping to place a primitive cube You may have noticed that some tools have a small yellow arrow in the top right corner. These arrows indicate that more, similar tools re available in a hidden sub-palette. To access the extra tools, you must click and hold the mouse to open the sub-palette. 1 In the Surfaces palette, click and hold the Sphere tool icon. The Surfaces > Primitives sub-palette pops out. 2 Hold the middle mouse button on the different tools in the sub-palette to see their names. 3 Click the Cube tool. The sub-palette disappears. The Cube tool is selected and now occupies the space in the main palette where the Sphere tool was. This time you will place the new primitive using grid snapping. 4 Find the snap buttons, to the right of the p romptline. 5 Click the Grid button to turn on grid snapping. Click and drag in the Top view window. 13 Interface Basics Using Tools The cube snaps to the grid intersections as you drag. 7 Place the cube at a grid point by releasing the mouse button. 8 Click the Grid snap button again to turn grid snapping off. In addition to using the Grid button, you can grid snap by pressing and holding the Alt button while you place a primitive. To use the palette menu to choose the Cone tool This time we will show you an alternative method for choosing tools from palettes. 1 Click the tab at the top of the Surfaces palette. The palette collapses down to just the tab, and the other palettes move up to fill the space. This feature is very useful for saving space in the palette window and in shelves. You can still choose tools from the palette using the palette’s menu. 2 Click the right mouse button on the Surfaces palette’s title tab to open the palette’s menu. 3 Click the Primitives item to open the sub-menu. Just like the menus at the top of the screen, arrows indicate that an item in the palette menu has sub-items. 4 Click the Cone tool item. You have now seen two different ways to choose a tool from a palette. From now on, we will ask you to choose tools by name, such as: â€Å"In the Surfaces palette, choose Primitives > Cone. † Whenever you are asked to choose a tool, you an either click the tool icon, or choose the tool from the palette menu. 5 Click in the Top view to place a cone in the scene. 6 Click the Surfaces palette’s tab again to expand the Surfaces palette back to normal. To use tool options to add a half-cylinder 1 With the right mouse button, c lick the title tab of the Surfaces palette to open the palette menu, then open the Primitives sub-menu. Notice that some items have shadowed boxes next to the name of the item. 14 Interface Basics Using Tools 2 Click the shadowed box next to the Cylinder item. 3 The Cylinder options window appears. 4 Double click in the text box labeled Sweep, then type 180 and press Enter to set the sweep to 180 degrees. Use the slider next to the Sections text box to set the sections to 4. 6 Click the Go button at the bottom of the window. This button applies the settings in the window and activates the tool. 7 Click in the Top view window to place the new half-cylinder in the scene. As you specified in the option window, the cylinder has a 180-degree perimeter and is created from four sections (spans). 8 Look at the Cylinder tool icon. It has a small option box symbol in the top left corner. Like the symbol in the menu, this indicates the tool has options. 9 Double-click the Cylinder tool icon. T he Cylinder Options window appears. 10 Click Exit to close the options window. Picking and Unpicking Objects Picking refers to selecting objects in the scene for use with other tools. For example, to move a CV, you must pick the CV, then use the Move tool on the picked CV. Picking objects in the scene is a fundamental part of modeling with AliasStudio. Because it is so important, AliasStudio provides several different tools for picking. To pick all and pick nothing 1 In the Pick palette, choose Object Types > All obj/lights. All the objects in the scene highlight to show they are picked. 15 Interface Basics Using Tools Unlike most selection tools, Pick > Object Types > All obj/lights does not stay selected, since you never need to use it twice in a row. When these momentary types of tools finish, the current tool reverts to the last continuous tool you selected. 2 In the Pick palette, choose the Nothing tool. The Pick > Nothing tool unpicks every object, leaving nothing picked. Like the Pick > Object Types > All obj/lights tool, the Pick > Nothing tool does not stay selected. The current tool reverts to the last tool you used. To pick and unpick individual objects 1 Choose the Pick > Object tool. 2 Click the cone primitive in the view windows with the left mouse button. The cone highlights to show it is picked. 3 Click the other objects with the left mouse button. They also become picked. With all the objects picked, click one of the picked objects with the left mouse button. The object you clicked becomes unpicked. The left mouse button toggles objects between picked and unpicked. 5 Now click one of the primitives with the middle mouse button. The object you clicked is picked and the other objects are unpicked. 16 Interface Basics Using Tools The middle mouse button picks only the object you click. 6 Click the picked primitive with the right mouse button. The object is unpicked. The right mouse button unpicks objects. This is most useful with pick boxes, as you will see in the next procedure. To use pick boxes to pick and unpick several objects at once With the Pick > Object tool still selected, click one of the primitive objects with the left mouse button. 2 Press the left mouse button and drag a box around all the primitive objects. All the objects inside the pick box toggle between picked and unpicked. 3 Now drag a pick box with the middle mouse button around some objects. Now only the objects inside the box are picked. 4 Now drag a pick box with the right mouse button around some of the picked objects. 17 Interface Basics Using Tools Any objects inside the pick box are unpicked. To pick by name 1 Use the middle mouse button to pick only the sphere. 2 From the Windows menu, choose Information > Information window. The Information window appears. The information window allows you to adjust parameters for objects in the scene. 3 Find the Name field. The name of the object should be sphere or something similar. 4 Close the Information window. 5 Click in empty space with the middle mouse button. All objects in the scene are unpicked. ? Remember, the middle mouse button picks only what you click. If you pick â€Å"nothing† (empty space), then the tool acts just like if you had chosen Pick > Nothing. 6 Type sphere, then press Enter. The text appears as you type in the promptline at the top of the workspace window. When you press Enter, the sphere is picked. Shortcuts to Tools The variety of tools available is the source of AliasStudio’s power, but finding tools in the palette can potentially become time consuming. You can make commonly used tools available more quickly, and hide rarely used tools until you need them. AliasStudio provides three solutions: shelves, marking menus, and hot keys. Shelves are like the palettes, except you control the tools’ options and their position on the shelves. You will use shelves to organize all your commonly used tools. Marking menus pop-up at the current mouse location. They provide a very fast method to choose the tools you use most often (such as Pick > Object). Hot keys are special key combinations that perform ommon menu or tool commands. Creating Custom Shelves To show and hide the shelf window 1 In the Windows menu, choose Shelves. The Shelves window appears. ? The Shelves window provides a floating window in which to keep commonly used tools. 18 Interface Basics Using Tools AliasStudio, however, pr ovides another, even more convenient location for shelves. In these tutorials, you will use the shelf area in the control panel. ? Since you will not be using the Shelves window, you can close it. 2 Choose Windows > Shelves again to hide the Shelves window, or click the Shelves window’s close button. To help demonstrate how to make new shelves, you ill clear the default shelves and make new shelves specific to these tutorials. Before you clear the default shelves, you will save them so you can retrieve them later. To save the initial shelf set 1 Choose Windows > Control Panel. The control panel will appear. 2 Hold the left mouse button on the Shelf Options menu button at the top of the control panel’s shelf area to open the pop-up menu. 3 Drag down to the Save item and release the mouse button. A file requester appears. 4 Click in the File text field and type Default, then click Save. In the next procedure, you will start a new shelf of tools commonly used in curve fit ting in preparation or the lesson on fitting curves to scan data. To clear the existing shelf set and create a new one 1 Hold the left mouse button on the menu button at the top of the shelf area to open the pop-up menu. Notice how the menu button is now called Default, after the name of the current shelf. 2 Choose New from the pop-up menu. A requester appears asking for the name of the new shelf. 3 Click in the text box, hit the Esc key to clear the text, and type CurveFit. Click OK to name the new shelf. The old Shelf set is deleted and a new, empty shelf appears in the shelf area. Now you can begin adding tools to the new shelf. 4 In the Palette window, find the Curves palette. With the middle mouse button, drag the Fit Curve tool onto the Curves shelf in the control panel. 19 Interface Basics Using Tools The tool appears in the shelf. You could move the entire Curves palette onto the shelf by dragging its title tab, but you only want a selection of tools from the full palette. N ext, you will add curve drawing tools to the palette. Since you will often need to create curves of different degree in technical surfacing, it would be useful to have customized versions of tools with different settings. The shelf allows you to do this. When you drag a tool onto a shelf, the new copy of the tool keeps the settings it had when it was dropped on the shelf, ndependent of the original tool in the palette. Using this technique, you will create several versions of the two original curve creation tools, New curve (edit pts) and New curve (cvs). Each version will have different settings for the Degree option. To add versions of the New Curve tools to the shelf with different options 1 In the Curves palette, double-click New Curves > New Curve by Edit Points to open the tool’s option window. (Remember that you can also choose New Curve by Edit Points from the palette menu). The New Curve by Edit Points option window appears. The options let you set the knot spacing ( parameterization) and degree of the new curve. Make sure Knot Spacing is set to Uniform and Create Guidelines is off. 3 Set the Degree option to 2. 4 Find the tool icon at the top of the option window. This icon represents the tool as configured with these settings. 5 Press the middle mouse button on the tool icon at the top of the option box and drag it to the CurveFit shelf. Now when you choose this icon in the shelf, the New Curve (edit pts) tool will create degree 2 curves. 6 Back in the option window, set the Degree to 3. 20 Interface Basics Using Tools 7 Use the middle mouse button to drag the tool icon at the top of the option window to the shelf. Another copy of the tool is added to the shelf. When you choose this copy of the tool, the New Curve (edit pts) tool will create degree 3 curves. 8 Click Exit at the bottom of the option window to close the window. To rename the tools 1 Move the mouse over the CurveFit shelf’s title tab and press the right mouse button to show the shelf’s menu. Note that the two versions of the tool have the exact same name and icon. To be able to distinguish between the tools, you will rename them. 2 Find the first version of New Curve by Edit Points you dragged to the shelf. If you can’t remember which is which, doubleclick the two icons to see their option windows. You want the version with the Degree option set to 2. Hold down the Ctrl key and double-click the tool icon. A name requester appears. 4 Double-click in the text box and type Edit_pt_Deg_2, then click OK to rename the tool. 5 Hold down the Ctrl key and double-click the second copy of the New Curve by Edit Points tool. 6 Double-click in the text box and type Edit_ pt_Deg_3, then click OK to rename the tool. 7 Hold down the right mouse button on the title tab of the shelf to open the shelf menu. The two copies of the tool are now distinguishable in the menu, but still have identical icons. We recommend you keep the shelves collapsed and use the shelf menus to choose tools. This saves space in the shelf. To remove a tool from the shelf 1 Add another tool to the CurveFit shelf. Let’s now assume that this was a mistake and you wish to remove the tool. 2 Hold the middle mouse button over the tool’s icon in the shelf. The name of the tool appears. 3 With the middle mouse button held down, drag the label to the upper-right corner of the window and position the cursor over the trash can icon. 21 Interface Basics Using Tools 4 Release the mouse button. The tool disappears from the shelf. You can also delete groups of tools by dragging a tab with the middle mouse button to the trash can. You may have noticed that icons are a bit crowded on the shelf. The large icons are good when you are learning which icon is which, but now you will switch to the small icon size to save space in the shelf. To change to the small icon size 1 In the Preferences menu, choose General Preferences – ?. The Interface options appear. 2 Set the Icon Mode to Small. If you wish, you can also turn the icon labels option on to display name labels on all the icons. 3 Click the Go button at the bottom of the window to apply the changes. AliasStudio loads smaller versions of all the tool icons. You have seen how to create shelves with customized tools. In later lessons you will load premade shelves containing all the tools you need to omplete the tutorials. Using and Customizing Marking Menus An even faster method for selecting tools are the marking menus. Marking menus generally hold fewer tools than a shelf, but are much faster since you can use quick gestures to choose tools. With practice, selecting tools with marking menus becomes almost instantaneo us. To choose common tools with marking menus 1 Hold down the Shift and Ctrl keys. 2 With the keys held down, hold the left mouse button. 22 Interface Basics Using Tools The left mouse button marking menu appears at the location of the mouse pointer. 3 Keep the left mouse button held down and drag down until the Pick > Object box is ighlighted. A thick black line shows the direction of the mouse pointer. 4 Release the mouse button to choose the highlighted tool. The Pick > Object tool is now the current tool. 5 Hold Shift and Ctrl with the middle and then with the right mouse buttons to see the other marking menus. Each mouse button has a separate marking menu. Once you have learned which direction corresponds to which tool in a marking menu, you can use a quick gesture to choose the tool. 6 Hold the Shift and Ctrl keys, then drag up and release the mouse button quickly. The black line shows the direction but the menu is not drawn. When you release the mouse button, the arking menu flashes the name of the selected tool on the screen. You have just selected Pick > Nothing. Use this method to choose tools even faster once you have mastered the positions of the tools on the menu. Learn which tools are on the marking menus, and use the marking menus whenever you need to choose one of those tools. The more you use them, the faster you will become, until you can choose tools with quick gestures. To customize a marking menu with common tools 1 In the Preferences menu, open the Marking Menus sub-menu and choose Modeling Marking Menu – ?. The Modeling Marking Menu shelf window appears. This is a special shelf window. The tools and enu items on the different tabs appear in corresponding marking menus. The procedure to modify the content of marking menus is similar to the one for modifying shelves that we learned earlier. Here you will make a small modification to the Pick marking menu shelf. 2 Double click the Pick > Pick locator point tool in the Palette or Cont rol Panel to open the Pick Locator Options box. Right mouse button Middle mouse button Middle Right 23 Interface Basics Using Tools 3 Hold down the middle mouse button and drag the tool icon from the top of the option box and drop it between the third and fourth last icons on the shelf. You now have a tool on the marking menu to ick locators. 4 Hold down Shift and Alt keys and press the left mouse button to show the marking menu again. The tool you just added is called Pick > Pick_locator in the marking menu. You will change the name to something more concise. 5 In the MarkingMenu shelf window, hold down the Ctrl key and double-click the Pick locator tool in the shelf (second from the right). A dialog box appears. 6 Type Pick_Locator in the text field and click OK to rename the tool in the marking menu. 7 Show the left mouse button marking menu again. You now know how to customize the marking menus. In later lessons, you will load pre-made marking menus with common urfacing tools. U sing hot keys Hot keys are special key combinations that choose tools or perform menu commands. You can get a complete listing of all the hot keys in the hot key editor. To use hot keys 1 In the Preferences menu, open the Interface sub-menu and choose Hot keys / Menus. The hot key editor appears. 24 Interface Basics Using Tools ? AliasStudio’s option windows use a hierarchy similar to that of the file lister: options are organized into hierarchical sections that can be collapsed and expanded. 2 In the menu section, click the Layouts subsection title to expand it. Click to open a Section Heading You can see the hot key for the User windows tem, as well as text fields for defining other hot keys. You can define your own hot keys if you wish. For the most part we will not use hot keys in these lessons. If you are new to Autodesk AliasStudio products, we recommend that you spend some time working with the product before you define hot keys, so you can learn which commands you use frequently enough to need a hot key. 3 Click the close box to close the hot key editor. 25 Interface Basics Changing Your View of the Model Changing Your View of the Model Learn how AliasStudio represents the 3D model on your 2D monitor, and how to use the view controls to get the best possible angle on the model for the ask at hand. Tracking, Dollying, and Tumbling the Camera’s View There are many different ways to change the camera’s view in AliasStudio. In general, you will only need to learn three camera moves to model effectively: tumble, dolly, and track. Because these camera movements are so common, AliasStudio uses special hot key/mouse combinations to let you access these movements quickly. To use the camera move mode to move the camera in a perspective window 1 Hold down the Shift and Alt keys. Keep the keys held down during the following steps. 2 Make sure the mouse pointer is over the perspective view window. 3 Drag the left mouse button to tumble the came ra: Drag left and right to rotate the camera. ? Drag up and down to tilt the camera. Tumbling the camera changes the azimuth and elevation angles of the camera. 4 Release the left mouse button, but keep the Shift and Alt keys held down. 5 Drag the right mouse button to dolly the camera in and out. Dolly in out Track Tumble rotate tilt up down left right 26 Interface Basics Changing Your View of the Model Dollying moves the camera forward and backward. 6 Again, release the right mouse button, but keep the Shift and Alt keys held down. 7 Drag the middle mouse button to track the camera. Tracking moves the camera, but does not change the direction in which the camera is pointing. When you are done moving the camera, release the mouse button and the Shift and Alt keys to exit camera move mode. Now, try moving the camera in the orthographic windows. To use the camera move keys to move the camera in an orthographic window 1 Hold Shift and Alt to enter camera move mode. 2 Make sure the poi nter is over an orthographic window such as Top, Side, or Back 3 Drag the right mouse button to dolly in and out. 4 Drag the middle mouse button to track up, down, left and right. 5 Now try dragging the left mouse button to tumble the orthographic view. Nothing happens. You cannot change the view direction of orthographic windows. They always ook in the same direction. Moving the camera is a very important skill in AliasStudio. Throughout this book you will need to move the camera to work with geometry. Using the camera move mode soon becomes second nature. With practice, you will be able to 27 Interface Basics Changing Your View of the Model move the camera where you need it without thinking about the keys or the mouse. Practice tumbling, tracking, and dollying the camera around the model some more before you move on. To use Look At to center on an object 1 Use the marking menus to choose the Pick > Nothing tool. Remember that the left mouse button marking menu has the pick tools. Now use the marking menus to choose the Pick > Object tool. 3 Pick one of the geometric objects you created earlier. 4 Find the View palette. It’s near the bottom of the Palette window. 5 Choose the Look at tool. The active view window (the window with the white outline) changes to center on the picked object. 6 Pick nothing. 7 Use the Look at tool again. The active view changes to center on all the existing geometry. When you use Look at with nothing or everything picked, the view will center on all the geometry in the scene. Look at is most useful to quickly find geometry that is outside the view of a window or too far to be seen clearly. AliasStudio provides two additional tools to make it easier to move the camera around a model quickly: the â€Å"point of interest†, and the viewing panel. Changing the Point of Interest Normally, camera move mode (Shift+Alt) is calibrated to best view objects at the origin (the center of world space, coordinate 0,0,0). This can become awkward when you want to move the camera around objects away from the origin. The point of interest manipulator lets you center the camera movements on a point on the model. To use the point of interest manipulator First, make sure the point of interest manipulator is turned on. 1 Choose Preferences > General Preferences ?. The General Preferences window appears. 28 Interface Basics Changing Your View of the Model T 2 Click Input on the left hand side to open the Input section. 3 Turn on the Use point of interest option. 4 Click Go to close the window and use the new settings. 5 Move the mouse pointer over the Perspective view and hold down the Shift and Alt keys to open the Viewing Panel. Keep the keys held down for the rest of this procedure. 6 In the Viewing Panel, open the Pnt of Interest section and turn on Visible. 7 Position the mouse pointer on the wireframe of one of the primitive objects and click with the left mouse button. When you release the mouse button, the point f interest manipulator appears on the model where you clicked. Drag with the left mouse button to tumble. The view tumbles around the point of interest. 8 Click and release on another point on one of the primitive objects. The point of interest manipulator jumps to the new point. 9 Drag the circle at the center of the point of i nterest manipulator. The manipulator moves across the surface of the object. 10 Notice the light blue or yellow arrow extending from the center of the manipulator. This arrow indicates the normal at this point on the surface. The arrow is light blue when it is pointing toward you and yellow when it is pointing away. 11 Click the light blue or yellow arrow. The view changes to look at the point down the normal. 12 Now look for the red and green arrows extending from the center of the manipulator (tumble the view to show the arrows more clearly if necessary). These arrows represent the tangents along the U and V directions for the object. 13 Click the red arrow. The view changes to look down the tangent in the U direction. 29 Interface Basics Changing Your View of the Model Use the following overview illustration as a reminder of the different controls on the point of interest manipulator. Using the Viewing Panel You have probably already seen the viewing panel appear when you enter camera move mode in the Perspective window. This window lets you quickly switch the Perspective window to a default or userdefined view of the model. As you work on the model, you will probably find yourself changing the camera view back and forth between two or more areas of interest. The viewing panel lets you â€Å"bookmark† views of the model and return to those views by clicking the name of the bookmark. To use the viewing panel to move between different views 1 Click the maximize box in the upper right corner of the Perspective view window. The Perspective view window enlarges to full screen. 2 Hold down the Shift and Alt keys to enter camera move mode. Keep the keys held down for the rest of this procedure. The viewing panel appears in the upper left corner of the Perspective window. The images at the center of the panel (small icons of the top and bottom of a car) represent the model. 3 Click an arrow to view the model from one of eight different directions. The horizontal and vertical arrows represent front, side, and back views. The diagonal arrows represent three-quarter views. Click the red or green arrow to look at the tangent along the U or V direction Click the light blue/yellow arrow to look down the norma Drag the circle to move at this point the point of interest along or across the object 30 Interface Basics Changing Your View of the Model Click the left car icon to see a top view, or the right car icon to see a bottom view. 5 Click the white arrow near the bottom of the viewing panel to return to the view previous to your last camera move. 6 Click the Viewing Panel section heading at the top of the panel to collapse the entire panel into a small heading. Use this technique to get the viewing panel out of the way when you want as much viewing area as possible. 7 Click the Viewing Panel heading again to expand the panel. 8 Click the Point of Interest section heading to open it. Options related to the point of interest manipulator appear. 9 Turn off the Visible check box to hide the point of interest manipulator. Turn the Visible check box on to show the manipulator again. 10 Turn on the Locked check box to keep the point of interest manipulator locked at its current position. The manipulator will not move when you click at another point or drag its center handle. Use this option if you find that you are moving the manipulator unintentionally. Turn the Locked check box off to free the manipulator. 11 Turn off the Perspective check box. The perspective view changes to an isographic projection. 31 Interface Basics Changing Your View of the Model Many people find an isographic view easier for technical modeling, since parallel lines in the model remain parallel in the view window. For the remainder of the tutorials, the screen shots will show isographic views. However, feel free to turn the Perspective checkbox back on if you prefer a perspective view. To set and show bookmarks 1 Move the mouse pointer over the Perspective view and hold down the Shift and Alt keys to enter camera move mode. Keep the Shift and Alt keys held down. 2 Find the Bookmarks section at the bottom of the Viewing Panel If it is not visible, click on the tag in the bottom right corner of the viewing panel. It will turn white and the bookmarks section will appear. 3 Click the new button in the bookmarks section. A new bookmark appears at the bottom of the section. Move the camera to a new view on the model. 5 Click the new button again. A second bookmark appears in the bookmark list. 6 Click the label for the first bookmark, then the second. The view switches back and forth between the two bookmarked views. To be able to distinguish between bookmarks later, you should rename them now. 7 Cl ick the edit button in the Bookmarks section. The Bookmark Lister window appears. 8 Release the Shift and Alt keys. 9 Hold down the Ctrl key and double-click the first bookmark icon in the Bookmark Lister. A dialog box appears. 10 Type a new name for the bookmark, then click OK. For production work you should use meaningful ames such as â€Å"back panel† or â€Å"door handle†. By default, bookmarks are named BM, BM#2, BM#3, etc. Move the cursor over a bookmark icon to see its current name. 11 Ctrl double-click and rename the other bookmark. 12 Note the buttons in the Bookmark Lister window: ? The Delete button removes the current bookmark (green outline) from the list. ? The New button adds a bookmark of the current view. This is the same as clicking new in the viewing panel. ? The Prev and Next buttons change the view to the bookmark that precedes or follows the highlighted bookmark (green outline). Delete New Prev Next Bookmark icons Cycle Publish 32 Interface Basics Changing Your View of the Model The Cycle button displays the bookmarked views in a slideshow fashion. ? The Publish button saves the current or all bookmark(s) as image files on your disk. ? Clicking on a bookmark icon changes the view to that bookmark. This is the same as clicking a bookmark in the viewing panel. 13 Close the Bookmark Lister. 14 Hold the Shift and Alt keys in the Perspective window to show the viewing panel. Notice your new names in the Bookmarks section. Use the following overview illustration as a reminder of the different controls on the viewing panel. The Twist and Azimuth/Elevation tools rotate the view around the point of interest. Open/Close Panel Open/Close