Substance dualism is necessary for beings to have free will Essay

Substance dualism is necessary for beings to have free will - Essay Example Therefore, the mind can be distinctly perceived as a whole autonomous entity that does not pertain an extension, correspondingly, the body can also be though as an extension that pertains no element of thought meaning that God could enable the two to exist distinctly from each other, ergo the mind and body are actually distinct from each other. Concisely, Descartes is really trying to make the point that the mind and body are two entirely different entities each set for its own purpose; the mind is a thinking thing that exists in the abstract devoid of physical attributes such as size shape or color while the body is a non-thinking thing that is bound and limited by the laws of physics. Free will on the other hand can be defined as the inherent capacity to make autonomous choices without being constrained or manipulated by any external limitations, these factors range from physical constrains such as imprisonment to metaphysical and logical factors social psychological ones. The rela tionship between dualism and free will is mutually inclusive since without substance dualism, free will could not be logically expected to exist; this is because in the absence of dualism, it would mean that humans are entirely physical beings. Essentially, every action one takes in the physical realm is subject to the rules of physics which do not however apply to the mental faculties. The subordination of the physical bodies implies that while human beings may perceive themselves to be free, their freedom does not extend past the point at which they are bound by these laws. Take for example the modes of human movements, human being can walk and they one can even argue that they choose to walk, however the very action is subjected to the law of motion and gravity and should one be put in a situation where these laws do not function they would be forced to adjust their means of propulsion. Free will does not just imply that one is free to do what they do but also to do otherwise sho uld they so choose, however human beings cannot decide not to walk but instead to fly since even if they may will it, and their bodies are not free to carry it out. Under this premises, free will cannot exist unless the body was to somewhat be viewed as a separate construct from the mind which is essentially what the theory of substance dualism does. Unlike the body, the mind is not subject to the rules of nature and it can construe anything by gravity can simulate the feeling of flight and one may even argue that one can fly, in their imagination without a physical ceiling or limit, for example when one dreams of flight, they may even expense the exhilaration and fear of being airborne just the way they would have if they were actually flying. This is despite the fact that humans cannot actually fly, nevertheless the mind not being bound physical law do whatsoever it wishes, this is the very concept that philosophers and theologians employ to justify the notion of life after death or reincarnation. The assumption is that after the body has died the soul will live on since it is not an organic construct and therefore not subject to the degeneration which the body inevitable has to undergo after death. Several arguments have been

Environmental Hazards and Human Health Essay Example | Topics and Well Written Essays - 500 words

Environmental Hazards and Human Health - Essay Example The decomposition of garbage very much involves the work of bacteria. The rate of decomposition is enhanced by the presence of leachate. As the wastes are degraded by the bacteria, gases are emitted mainly methane. Methane is a greenhouse gas whose emissions pose a threat to the environment (WeGreen-USA, 2014) The liquid that percolates or filters through the dump is referred to as Leachate. The sources of leachate would be rainwater or the liquids in the waters. Rainwater normally hit collected trash; pooling occurs and run off may ensue. The lacerate would thus become toxic since it will mix ground water (WeGreen-USA, 2014). The landfills are the most commonly used method of waste disposal. The old landfills were mainly composed of a bottom liner and a cover. The old landfills failed to adequately prevent the contamination of the environment with wastes. The leachate was not collected hence it trickled down to the ground bringing about the contamination of ground water. In addition, the wastes were exposed to the environment hence attracting pests. The decomposition of older landfills took more time since cover of the landfills was not properly structured. The modern landfill contains a leachate collecting system, a bottom liner and a cover. This minimizes the possibility of wastes escaping into the ground. The modern landfills are constructed with safeguards. The water is normally covered to avoid attracting the pests. In addition, compaction of the waste is carried out order to increase the density and stability. This means that more waste can be disposed of using the landfill method. Modern landfills are designed in ways that protect the environment from contamination. Landfills prevent hydraulic connections between the waste and the environment mainly ground water (WeGreen-USA, 2014) The old landfills were not properly structured and allowed communication with the environment. This can be attributed to the poor ground layer, the

Computer Literacy Essay Example for Free

Computer Literacy Essay A computer is an electronic device, operating under the control of instructions stored in its own memory that can accept data, process that data, produce results, and store the results for future use. Computers come in many different shapes and sizes. They can be found almost any and everywhere in the world, in the workplace and personal life. Using computers is a primary means of local and global communication. There are different categories of computers: personal, mobile, game consoles, servers, mainframes, supercomputers, and embedded computers. Each type has their own nique qualities and does different things. Personal computers are computers that can perform all of its input, processing, output, and storage activities by itself. They contain a processor, memory, and one or more input, output, and storage devices. They also contain a communications device. Two different types of a personal computer are desktop and notebook computers. Desktop computers usually have a monitor, system unit, and keyboard which is designed to be placed under one desk. Notebook computers are personal computers that are portable and designed to fit on our lap. On a regular notebook computer, the keyboard is on top of the sytem unit, and the display is attached to the system unit with hinges. They have all the same qualities of a desktop computer Just compact into a thin lightweight size. Mobile devices are also a types of computers. Different types are smartphones, PDAs, E-book Readers, MP3 and digital cameras. They often use memory cards to store programs and data permanently. These mobile devices are Internet-enabled, connecting them to the world. Because of the size difference, mobile device screens are small. Smartphones hold different personal information management functions such as, address book, calculator, and notepad. These phones also allows you to send text, instant, picture, and video messages. All these types of computers are small sized and easy to carry around. Most are usually pocket sized and internet accessible. Servers, mainframes, super and embedded computers are not pocket sized and able to carry around. These types of computers are usually stationary and cannot be moved. Servers, control access to hardware and software. Personal are needed to access information off of a server. Unlike servers, mainframes do not need personal computers to access data. Mainframes has so much space that it stores huge amounts of data and information. Most big business and corporations use mainframes for many things. Mainframes carry out functions such as preparing payroll for employees and manage inventory. You can aslo access programs on a mainframe using a personal computer. Supercomputers are the fastest, most powerful and most expensive. These computers are needed for sophisticated athematical calculations. Calculations for things such as automotive design, weather forecasting, and aerospace use supercomputers. Embedded computers are used for functions in a larger product. They are located in things such as automobiles, consumer electronics and office machines. As we all know computers come in many shapes and sizes. They can be used for many different things and can be located anywhere. Technology has increased so much that the most unheard compact thing can be a computer.

Yeats’ poetry Essay Example for Free

Yeats’ poetry Essay Yeats’ poetry has survived over a century due to his depiction of various human states both in himself and those in the world around him. A personal and depressive depiction of humans is seen used in â€Å"The wild swans at Coole,† where Yeats reflects on the final rejection from Maud Gonne whom he was in love with. A juxtaposed human state is seen in â€Å"The Second Coming,† where Yeats depicts the chaotic and destructive nature of humans as a result of an external spiritual/religious force being removed. Both poems depict different representations of what is to be human, however both depictions are still very relevant in today’s society. In â€Å"The Wild Swans at Coole,† Yeats uses oxymoronic metaphors of the season â€Å"autumn beauty,† to represent the depressive state he was feeling. While â€Å"autumn,† has connotations of decay, Yeats views the season as â€Å"beautiful,† to emphasise the self-pity he is experiencing. Sexual tension and frustration is also conveyed through metaphors; â€Å"woodland paths are dry,† refers to the bleak and dry season of autumn but also to Yeats’ lack of sexual action as a result of chasing after Maud for such a long time. This sexual desire is emphasised through symbolism of the â€Å"swans,† as when these creatures’ wings open, they bare a remarkable resemblance to the male genitalia. Visual imagery of the â€Å"October twilight,† furthers the emphasis on Yeats’ depression and sadness as October in Ireland sees the arrival of grey skies which depicts Yeats’ conscience to his aging self. The grey skies that come in October metaphorically represent grey hair that Yeats’ is/will shortly grow as a result of his aging. As â€Å"twilight,† is the point between day and night, Yeats’ sees his youth disappearing with the day. Yeats is reminded later in the poem of his inevitable aging by the swan’s wings as they create a â€Å"bell-beat of their wings,† above his head. The use of alliteration with â€Å"bell beat,† places emphasis to the idea of a bell going off in his head and reminding him of his old age. Yeats uses â€Å"The Wild Swans at Coole,† to represent multiple phases in which every human will encounter. He makes it clear that rejection of love can cause a person to reflect on their depressive state as well as the sexual frustrations, which re a natural occurrence in human beings. By using metaphors Yeats is also able to convey the inevitable aging process that all humans take part in. In â€Å"The second Coming,† Yeats utilises striking metaphors to convey a different idea of what it is to be human. The word â€Å"turn,† is emphasised in the line â€Å"turning and turning the widening gyre,† due to the trochaic pentameter used. This beat is broke n however by the word â€Å"gyre,† which draws the readers attention to the chaos and lack of structure in the current gyre. This represents what Yeats believed about time being divided into two-thousand year periods (called gyres) in which the opposite of one gyre would occur in the other. The chaos and lack of structure in the line represents the violent and chaotic escapades that many people were a part of during that time. (The Nazi rule in Germany and violent struggle between England and Ireland. ) Personification of a falcon; â€Å"the falcon cannot hear the falconer,† depicts humans turning away from god or some external moral structure and this causing the violence and destruction that was occurring. Yeats depicts humans, as needing some form of spiritual structure in their lives or â€Å"mere anarchy,† will be loosed upon the world. Personification can be seen used on the word â€Å"anarchy,† to depict it as being some form of beast, which is released from its cage as people turn away from religion/spiritualism. Violent personification is used as the â€Å"ceremony of innocence is drowned. † This again furthers the idea that when religious/spiritual values are questioned, the good things that come from these values are lost. Through the use of the extended metaphor of â€Å"gyres,† Yeats is able to show that humans need an external moral guide (in religion or other spiritualistic ways) otherwise chaos and violence will occur as there is no moral structure to be followed. In â€Å"The Wild Swans at Coole,† Yeats portrays the natural human instinct to be with another human through the use of syntactical variation as seen in the line â€Å"nine-and-fifty swans. † By having the odd number â€Å"nine,† at the beginning of the sentence, the reader knows that one swan is without a partner. Yeats feels attached to this swan as he too is without a partner and this brings back his depressive and lonely state and how a person cannot feel completed unless they have someone to share their life with. Jealousy of the swans’ youthfulness and vitality becomes apparent through verbs â€Å"mount†¦wheeling†¦scatter,† which are juxtaposed when Yeats realises that â€Å"my heart is sore. † This juxtaposition shows Yeats wishing he too could wheel or mount or scatter, however his old age and anxiety makes it difficult for him to find the energy to do so. Yeats also makes it apparent that â€Å"all’s changed,† now that the â€Å"nineteenth autumn,† has come upon him since the first time he visited Coole park. Juxtaposed to Yeats’ changed state are the swans that are â€Å"unwearied still,† as the â€Å"paddle in the cold. † The swans appear unaffected by the cold water as they paddle side-by-side or â€Å"lover by lover. † This bring the idea that Yeats feels he would be able to conquer the hard times in his life better if he had a partner to help him along the way. This statement also brings back his idea that humans need a lifelong partner to live happily. In the second stanza of â€Å"The Second Coming,† Yeats proclaims, â€Å"surely some revelation is at hand. † Anaphora is used on the word â€Å"surely,† as it is repeated in the lone below and this combined with the rhetorical question Yeats poses, emphasises the idea that some god/divine spirit must/will reveal itself Yeats’ exasperation to the situation shows that he believes that the only way for the chaos to be over is if a spiritual guide reveals itself which Yeats believed was â€Å"somewhere in the sands of the desert. † The use of sibilance emphasises the greatness of the creature that has a â€Å"lion body and head of a man. The â€Å"sands of the desert,† is a metaphor for the sands in an hourglass, which shows the lack of time before the second coming takes place. Alliteration â€Å"darkness drops again,† stresses the metaphor of the gyre ending as the second gyre begins. The word â€Å"again,† suggests that this has happened before when the previous gyre ended and also proclaims that this pattern of chaos and destruction will occur in the future as the current gyre ends. In the chaos, Yeats makes it apparent that those who choose not to be a part of the violence will suffer as â€Å"the best lack al conviction. He makes it clear that in times of chaos you must either eat or be eaten. In Yeats’ poetry we can see different representations of what it is to be human. Although portraying very different phases of being human, â€Å"The Wild Swans at Coole,† and â€Å"The Second Coming,† both show representations of what being human entails. The stages of humanity that Yeats makes reference to in each poem are ones that are still relevant today (depression, loneliness, chaos, violence. ) It is because of these representations that Yeats’ poems are and will always be relevant to our lives.

To Text or Not to Text? Essay -- Legal Issues, Driving, Cell Phones

For 80 years now, people have been talking on the telephone. For over 100 years, we have been driving vehicles. However, it was not until recently individuals have tried to combine these two. While most people know the dangers this can cause and has caused, many people in today’s society still have not put the cell phone down before getting behind the wheel. Linda Doyle, a loving mother and an avid helper for the Central Oklahoma Humane Society, became a statistic in the year 2009. Her life abruptly ended in a car accident by a distracted driver. Linda Doyle’s life was cut short, simply because a driver could not put his cell phone down while driving (Hanes 1). Larry Copeland, a writer for USA Today, outlines the National Highway Traffic Safety Administration’s scary statistic that â€Å"6,000 highway deaths each year involve distracted drivers† (1). While this number tends to sound extreme, knowing 6,000 lives could have been saved if only drivers would have taken seriously the dangers of driving while distracted. While a person may believe they can multitask while driving and not be in any danger, they are clearly mistaken. Phil LeBeau, a CNBC auto and airline industry reporter based at the network's Chicago bureau, discusses the terrible habit American drivers have developed in his story â€Å"Texting and Driving Worse than Drinking and Driving.† With the help of Car and Driver Magazine, LeBeau was able to see firsthand at how dangerous driving while distracted is. LeBeau took a driving test created to see how emailing or texting slows down a person’s reaction time. LeBeau states, â€Å"On average, it took me four times longer to hit the brake [while being distracted and driving]† (1). Therefore, LeBeau’s results matched up w... ... slow or too fast, or weaving . . . They’re concentrating more on [the phone] than on driving’† (qtd. in Hanes 5). Making texting while driving illegal and enforcing this law, would make texting while driving difficult to attempt. Distractions will never go away while driving, but eliminating cell phone use while driving can be easily done. Many individuals know the dangers texting while driving has caused, yet still refuse to put the cell phone down. I personally am guilty of this, and I would tend to agree that once put in a terrifying situation, I would be able to finally break my habit. With law makers creating laws banning cell phone use while driving, I also believe this would help put a stop to people’s dangerous habits. Putting oneself and the other individuals’ safety at risk can be stopped if people would eliminate using cell phones while driving. To Text or Not to Text? Essay -- Legal Issues, Driving, Cell Phones For 80 years now, people have been talking on the telephone. For over 100 years, we have been driving vehicles. However, it was not until recently individuals have tried to combine these two. While most people know the dangers this can cause and has caused, many people in today’s society still have not put the cell phone down before getting behind the wheel. Linda Doyle, a loving mother and an avid helper for the Central Oklahoma Humane Society, became a statistic in the year 2009. Her life abruptly ended in a car accident by a distracted driver. Linda Doyle’s life was cut short, simply because a driver could not put his cell phone down while driving (Hanes 1). Larry Copeland, a writer for USA Today, outlines the National Highway Traffic Safety Administration’s scary statistic that â€Å"6,000 highway deaths each year involve distracted drivers† (1). While this number tends to sound extreme, knowing 6,000 lives could have been saved if only drivers would have taken seriously the dangers of driving while distracted. While a person may believe they can multitask while driving and not be in any danger, they are clearly mistaken. Phil LeBeau, a CNBC auto and airline industry reporter based at the network's Chicago bureau, discusses the terrible habit American drivers have developed in his story â€Å"Texting and Driving Worse than Drinking and Driving.† With the help of Car and Driver Magazine, LeBeau was able to see firsthand at how dangerous driving while distracted is. LeBeau took a driving test created to see how emailing or texting slows down a person’s reaction time. LeBeau states, â€Å"On average, it took me four times longer to hit the brake [while being distracted and driving]† (1). Therefore, LeBeau’s results matched up w... ... slow or too fast, or weaving . . . They’re concentrating more on [the phone] than on driving’† (qtd. in Hanes 5). Making texting while driving illegal and enforcing this law, would make texting while driving difficult to attempt. Distractions will never go away while driving, but eliminating cell phone use while driving can be easily done. Many individuals know the dangers texting while driving has caused, yet still refuse to put the cell phone down. I personally am guilty of this, and I would tend to agree that once put in a terrifying situation, I would be able to finally break my habit. With law makers creating laws banning cell phone use while driving, I also believe this would help put a stop to people’s dangerous habits. Putting oneself and the other individuals’ safety at risk can be stopped if people would eliminate using cell phones while driving.

Liverpool :: essays research papers

The imposing iron gates standing between the West Derby streets and the Melwood training complex might have shifted some 500 yards or so off Melwood Avenue and onto since the last time Liverpool contemplated a trip to a European Cup Final but outside the scenes are exactly the same. Five or six kids who don't look old enough to remember a time before foreign managers at Anfield stand on tiptoes on the wall of the house opposite the entrance to the most famous training ground in English football. They've been here all day claims the steward manning the gates. Never mind the fact that their parents probably think they're in school, they're here, mobile phones poised at the ready, to snap Djibril Cisse leaving in his Hummer. Twenty yards away, leaning against another wall, are two men hoping to collect autographs from players who, with the exception of possibly Maurico Pellegrino, are probably younger than their sons. Inside the foyer, Luis Garcia, decked out in long black shorts and a black Reebok sweatshirt, looks up from inspecting the contents of a large cardboard box sitting on the floor and smiles. He says hello, turns to the new receptionist, asks a question in perfect English and then scans the names in the signing-in book to see if he recognises any. It doesn't seem that long ago that Spaniard had to call in an interpreter to help him answer questions in an interview for this website. Elsewhere, coaching staff, players and members of the medical team go about their business. The Premiership season ended yesterday and while departure lounges all over the country are probably packed with footballers waiting to jet off to Dubai, Florida and anywhere in Europe with a lush green golf course and fully stocked 19th hole, the only flight the players here will be boarding in the immediate future is a non-stop chartered one to Istanbul. Liverpool might have finished one place and two points worse off than last season but you'd never guess it from the mood inside and outside of Melwood. The small matter of the club's first European Cup Final to contest in 20 years has probably got something to do with it but even before Bayer Leverkusen, Juventus and Chelsea were dispensed with en route to the Ataturk Stadium, the mood was bristling with positivity and a feeling that, in what could only be described as Liverpool most bizarre season ever, anything could happen. Liverpool :: essays research papers The imposing iron gates standing between the West Derby streets and the Melwood training complex might have shifted some 500 yards or so off Melwood Avenue and onto since the last time Liverpool contemplated a trip to a European Cup Final but outside the scenes are exactly the same. Five or six kids who don't look old enough to remember a time before foreign managers at Anfield stand on tiptoes on the wall of the house opposite the entrance to the most famous training ground in English football. They've been here all day claims the steward manning the gates. Never mind the fact that their parents probably think they're in school, they're here, mobile phones poised at the ready, to snap Djibril Cisse leaving in his Hummer. Twenty yards away, leaning against another wall, are two men hoping to collect autographs from players who, with the exception of possibly Maurico Pellegrino, are probably younger than their sons. Inside the foyer, Luis Garcia, decked out in long black shorts and a black Reebok sweatshirt, looks up from inspecting the contents of a large cardboard box sitting on the floor and smiles. He says hello, turns to the new receptionist, asks a question in perfect English and then scans the names in the signing-in book to see if he recognises any. It doesn't seem that long ago that Spaniard had to call in an interpreter to help him answer questions in an interview for this website. Elsewhere, coaching staff, players and members of the medical team go about their business. The Premiership season ended yesterday and while departure lounges all over the country are probably packed with footballers waiting to jet off to Dubai, Florida and anywhere in Europe with a lush green golf course and fully stocked 19th hole, the only flight the players here will be boarding in the immediate future is a non-stop chartered one to Istanbul. Liverpool might have finished one place and two points worse off than last season but you'd never guess it from the mood inside and outside of Melwood. The small matter of the club's first European Cup Final to contest in 20 years has probably got something to do with it but even before Bayer Leverkusen, Juventus and Chelsea were dispensed with en route to the Ataturk Stadium, the mood was bristling with positivity and a feeling that, in what could only be described as Liverpool most bizarre season ever, anything could happen.

Putting an End to School Violence †Is Zero Tolerance the Solution? :: Argumentative Persuasive Essays

Putting an End to School Violence – Is a Zero Tolerance Policy the Solution? There are very few people today who are unaware of the violence in schools. As college students we live in a world that is desperate to find prevention methods against violence. That makes this issue important to today's college students, considering the fact that we are the generation that could have been involved and directly effected by a school shooting like Columbine. Is this how we want our school systems to be when our children enroll? A school is defined as "an institution for teaching and learning". However, today's educational institutions include punishment, violence, and misbehavior. When we find ourselves glued to the television because of another school shooting, obviously something needs to be done about violence in schools. Unfortunately, the solution causes creates more problems. Schools around the world have recently adopted revolutionary solution and prevention methods. The controversy over school violence prevention is not "yes we should or, "no we shouldn't", because you will probably be hard pressed to find someone who thinks we shouldn't get involved. The debate lies in the method we use to prevent and solve school violence. The zero tolerance policy is one suggestion to implement punishment in schools. The zero tolerance policy is strict and devises rules for students and faculty alike. It is a policy that doesn't ask questions when a rule is broken which often results in suspension and expulsion. The policy also addresses the possession of weapons, drugs, and alcohol. Many schools have adopted this policy and have observed both positive and negative results. If the zero tolerance program is installed in the educational system, schools must decide when and how it should be enforced. This is a very complex issue and when open to debate you see three approaches to it. First, advocates of zero tolerance policies concentrate on positive changes in school security, ways of punishment, and change in student behavior. Those who oppose the policies argue that zero tolerance should be eliminated due to its lack of rationale and logic. Finally, the opposing viewpoint criticizes the zero tolerance policy for being too extreme and inappropriate for schools. The first group, those who favor the policy, dwell on school improvement due to zero tolerance. One positive change is reinstated safety in schools giving students, parents, teachers, and the community a breath of relief. Advocates of this positive change believe that schools should be a place of learning without safety concerns.

Visual Perception – Painting

Name: N. Mithun Kumar Vasu Deva Sarma Roll No: 201001072 Course: Space Time in Arts and Humanities Date: 17-11-2012 Topic: Perception of Visual Arts (Painting) ABSTRACT The task essentially is to consider what the art of painting essentially is and how it is perceived. One of the most curious questions which first arises is ? What is an Art Art: Art is a diverse range of human activities and the products of those activities. The word art can refer to several things: a study of creative skill, a process of using the creative skill, a product of the creative skill, or the audience's experience with the creative skill.Art is something that stimulates an individual's thoughts, emotions, beliefs, or ideas through the senses. Many definitions of art have been proposed by philosophers and others who have characterized art in terms of mimesis, expression, communication of emotion, or other values. Though art's definition is disputed and has changed over time, general descriptions mention an idea of human agency and creation through imaginative or technical skill. In medieval philosophy, John Chrysostom held that â€Å"the name of art should be applied to those only which contribute towards and produce necessaries and mainstays of life.The nature of art has been described by philosopher Richard Wollheim as â€Å"one of the most elusive of the traditional problems of human culture†. Art as mimesis has deep roots in the philosophy of Aristotle. The nature of art, and related concepts such as creativity and interpretation, are explored in a branch of philosophy known as aesthetics. Art, at its simplest, is a form of communication. As most forms of communication have an intent or goal directed toward another individual, this is a motivated purpose. Illustrative arts, such as scientific illustration, are a form of art as communication.Emotions, moods and feelings are also communicated through art. Here, we consider painting, a visual art and explain its perception. H ere arises the question, what are ? Visual arts Visual Arts: ?Visual Arts? is a term used for a broad category of different types of art. Visual arts include all forms of arts creative and haves expressive production in material. In simple words, ? Visual arts? are art forms that create works that are primarily visual in nature, such as Ceramics, Drawing, Painting, Sculpture, Printmaking, Design, Crafts, Photography, Video, Filmmaking and Architecture.These definitions should not be taken too strictly as many artistic disciplines (performing arts, conceptual art, textile arts) involve aspects of the visual arts as well as arts of other types. The current usage of the term â€Å"visual arts† includes fine art as well as the applied, decorative arts and crafts. Visual arts also include applied arts. The perception of these visual arts is a lot different from Visual Perception. So, we need to know the difference between the perception of visual art and visual perception of art. For this purpose, we explain what visual perception is and then show the differences between the two of them.VISUAL PERCEPTION: Visual perception is a function of our eyes and brain. We see images as a whole rather than in parts. However, images can be broken down into their visual elements: line, shape, texture, and color. Visual perception is the ability to interpret the surrounding environment by processing information that is contained in visible light. These elements are to images as grammar is to language. Together they allow our eyes to see images and our brain to recognize them. For most of the people, vision appears simple and effortless as it seems like a trivial operation.Our brain, however, has to process, combine and separate shapes, colors, shadows, object relations, and much more within fractions of a second in order to build a representation from its sensory input. Vision perception is ambiguous. For example, to see a painting, a piece of sculpture or a building take s a few moments. Other art objects may take a little more time. Most of the people appreciate (comment on) the object within moments of seeing them. But it is the product of an extraordinarily developed and complicated visual system. Visual perception helps a lot in the aesthetic experience of art.Visual perception of art vs Perception of Visual Art: The main difference between the visual perception of art and perception of visual arts is that in the visual perception of an art we explain how our vision sees an art and sends it whereas in the perception of visual arts we explain how our vision sees the art and the reason why our vision sees the art in such a manner. One important difference between the perception of visual arts and visual perception is the task of the observer. In everyday perception, the task of the observer is well defined, often by the action that the perception supports.As we watch the incoming traffic before crossing the road, our perception of the traffic is o riented to the extraction of useful information such as the recognition of a car and the estimation of its speed, while at the same time disregarding irrelevant information such as the make or color of the car. Once the task is established, one can define the decisions necessary to perform it, and if one so wishes, the efficiency of the observer in this task can be computed by normalizing the performance to that of the ideal observer for this task.It is more difficult to identify an appropriate task in the perception of visual arts. Without specifying a task, the question of how good one is at looking at a painting becomes irrelevant, and the notion of risk associated to an alleged wrong perception becomes meaningless. One way to identify a plausible task in visual arts perception is to return to the challenges of everyday perception. PAINTING Painting taken literally is the practice of applying pigment suspended in a carrier (or medium) and a binding agent (a glue) to a surface (su pport) such as paper, canvas or a wall.However, when used in an artistic sense it means the use of this activity in combination with drawing, composition and, or, other aesthetic considerations in order to manifest the expressive and conceptual intention of the practitioner. Painting is also used to express spiritual motifs and ideas; sites of this kind of painting range from artwork depicting mythological figures on pottery to The Sistine Chapel to the human body itself. Painting is the practice of applying paint, pigment, color or other medium to a surface (support base).The medium is commonly applied to the base with a brush but other implements, such as knives, sponges, and airbrushes, can be used. In art, the term painting describes both the act and the result of the action. However, painting is also used outside of art as a common trade among craftsmen and builders. Paintings may have for their support such surfaces as walls, paper, canvas, wood, glass, lacquer, clay, leaf, co pper or concrete, and may incorporate multiple other materials including sand, clay, paper, gold leaf as well as objects.Painting is a mode of creative expression, and the forms are numerous. Drawing, composition or abstraction and other aesthetics may serve to manifest the expressive and conceptual intention of the practitioner. Paintings can be naturalistic and representational (as in a still life or landscape painting), photographic, abstract, be loaded with narrative content, symbolism, emotion or be political in nature. Painting only can â€Å"describe† everything which can be seen and suggest every emotion which can be felt.Painting is not just mere impression of our thoughts but is composed of a number of elements like intensity, form, figure, filial, color and tone, texture, garnet, line, conduit, deformation, organix, rhythm and non-traditional elements. Some of the important elements are discussed below. ELEMENTS AND MEDIA Modern artists have extended the practice o f painting considerably to include, for example, collage, which began with Cubism and is not painting in the strict sense. Some modern painters incorporate different materials such as sand, cement, straw or wood for their texture.Examples of this are the works of Jean Dubuffet and Anselm Kiefer. There is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required. ELEMENTS INTENSITY: What enables painting is the perception and representation of intensity. Every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, ainters can articulate shapes by juxtaposing surfaces of different intensity; by using just color (of the same intensity) one can only represent symbolic shapes. Thus, the basic means of painting are distinct from ideological m eans, such as geometrical figures, various points of view and organization (perspective), and symbols. For example, a painter perceives that a particular white wall has different intensity at each point, due to shades and reflections from nearby objects, but ideally, a white wall is still a white wall in pitch darkness.In technical drawing, thickness of line is also ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone: Color and tone are the essence of painting as pitch and rhythm are of music. Color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, white is. Some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory.Moreover the use of language is only a generalization for a color equivalent. The word â⠂¬Å"red†, for example, can cover a wide range of variations on the pure red of the visible spectrum of light. There is not a formalized register of different colors in the way that there is agreement on different notes in music, such as C or C? in music. For a painter, color is not simply divided into basic and derived (complementary or mixed) colors (like red, blue, green, brown, etc. ). Painters deal practically with pigments, so â€Å"blue† for a painter can be any of the blues: phtalocyan, Paris blue, indigo, cobalt, ultramarine, and so on.Psychological, symbolical meanings of color are not strictly speaking means of painting. Colors only add to the potential, derived context of meanings, and because of this the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music (like â€Å"C†) is analogous to light in painting, â€Å"shades† to dynamics, and coloration is to painting as specific timbre of musical instruments to music—though these do not necessarily form a melody, but can add different contexts to it. Tone describes how light or dark a color is. If the painting is going to be successful, you must get the tones right.In describing any form in particular light conditions tone is critical. You‘ll be amazed how dark those darks can be. Get the tone of a color right and it will make the form you want to depict. It will stay where you put it and add to the solidity and realism of the picture. Get the tone wrong, and it will jar the eye. A blazing highlight in a shadowy eye will jump out of its socket. Remember that all colors in your subject are affected by the same light. For example, if one side of a blonde head is in deep shadow, like the subjects suit, the hair is going to be very dark blonde.If you paint those bright tones from the lit side of the head in the shadows it will be just plain wrong. This may sound obvious, but people do it all the time. Your brain ? knows‘ that a dark blue suit is very dark in the shadow areas, but it also might tell you it ? knows‘ that skin is still the same value in the darks. But, it is not and your eye sees the difference. Colors have tones (how light and dark) and temperature (how intense). Warm colors tend to advance. Cool colors tend to recede. The interplay between warm nd cool not only creates believable form and space but is a pleasure to look at – a painting that is all cold or all blazingly hot tends not to work so well. EDGES: Generally our eye will go straight to the crispest edge in a painting creating a focal point. This is most often a point of high contrast where a light and dark meet. Make sure that edge is where you want it, up around the head. For example, in a human face, the dark of hair against the edge of a lit cheek creates a focal point. The artist can lead a viewer around a picture by the use of different types of edge.If it‘s all soft or all crisp there is no focal point and no one knows what they are supposed to be looking at! BACKGROUNDS: The question that arises is how much detail should be in a background? Too much in the background can be overwhelming. Remember, the background should stay back. The subject is primary; the other stuff while it may have emotional or historic significance is secondary. Control of edges here really helps. Simple color and shadow shapes can work well. This makes the subject the sole rendered object and focal point in the painting. Rhythm: Rhythm is important in painting as well as in music.If one defines rhythm as â€Å"a pause incorporated into a sequence†, then there can be rhythm in paintings. These pauses allow creative force to intervene and add new creations—form, melody, coloration. The distribution of form, or any kind of information is of crucial importance in the given work of art and it directly affects the esthetical value of that work. This is because the esthetical value is functionality dependent, i. e. the freedom (of movement) of perception is perceived as beauty. Free flow of energy, in art as well as in other forms of â€Å"techne†, directly contributes to the esthetical value.LINE: Line is a continuous marking made by a moving point on the surface. A line is the path made by a pointed instrument, such as a pen, a crayon, or a stick. A line implies action because work needs to be done to make it. Moreover, the impression of movement suggests sequence, direction, or force. In other words, a line can be seen as a distinct series of points. Line is believed to be the most expressive of the visual elements because of several reasons. First, it outlines things and the outlines are the key to their identity.Most of the time, we recognize objects or images only from their outlines. Second, line is important because it is a primary element in writing and drawing, and because writing as well drawing is universal. Third, unlike texture, shape and fo rm, line is unambiguous. We know exactly when it starts and ends. Finally, line leads our eyes by suggesting direction and movement. Line outlines shapes and can contour areas within those lines. Even though most of the art we see uses line only to form shapes, some artists allow line to call attention for itself in the art piece.TEXTURE is the surface ? feel? of something. When the brush strokes have been smoothened, a surface is seen as smooth, when left rough, its texture is seen as rough. COMPOSTION refers to the ordering of relationship. Artists utilize organizing principles to create forms that inform. Techniques are ways artists go about applying the principles of composition. BALANCE refers to the equilibrium of opposing visual forces. GRADATION refers to a continuum of changes in the details and regions such as gradual variations in shape, color value and shadowing.PROPORTION refers to the emphasis achieved by the scaling of sizes of shapes. VARIETY refers to the contrasts of details and regions. UNITY refers to the togetherness, despite contrasts, of details and regions to the whole. MEDIA OIL: Oil painting is the process of painting with pigments that are bound with a medium of drying oil—especially in early modern Europe, linseed oil. Often an oil such as linseed was boiled with a resin such as pine resin or even frankincense; these were called ‘varnishes' and were prized for their body and gloss.Oil paint eventually became the principal medium used for creating artworks as its advantages became widely known. The transition began with Early Netherlandish painting in northern Europe, and by the height of the Renaissance oil painting techniques had almost completely replaced tempera paints in the majority of Europe. PASTEL: Pastel is a painting medium in the form of a stick, consisting of pure powdered pigment and a binder. The pigments used in pastels are the same as those used to produce all colored art media, including oil paints; the binder is of a neutral hue and low saturation.The color effect of pastels is closer to the natural dry pigments than that of any other process. Because the surface of a pastel painting is fragile and easily smudged, its preservation requires protective measures such as framing under glass; it may also be sprayed with a fixative. Nonetheless, when made with permanent pigments and properly cared for, a pastel painting may endure unchanged for centuries. Pastels are not susceptible, as are paintings made with a fluid medium, to the cracking and discoloration that result from changes in the color, opacity, or dimensions of the medium as it dries. ACRYLIC:Acrylic paint is fast drying paint containing pigment suspension in acrylic polymer emulsion. Acrylic paints can be diluted with water, but become water- resistant when dry. Depending on how much the paint is diluted (with water) or modified with acrylic gels, media, or pastes, the finished acrylic painting can resemble a watercolor or an oil painting, or have its own unique characteristics not attainable with other media. The main practical difference between most acrylics and oil paints is the inherent drying time. Oils allow for more time to blend colors and apply even glazes over under-paintings.This slow drying aspect of oil can be seen as an advantage for certain techniques, but in other regards it impedes the artist trying to work quickly. WATER COLOR: Watercolor is a painting method in which the paints are made of pigments suspended in a water soluble vehicle. The traditional and most common support for watercolor paintings is paper; other supports include papyrus, bark papers, plastics, vellum or leather, fabric, wood and canvas. In East Asia, watercolor painting with inks is referred to as brush painting or scroll painting.In Chinese, Korean, and Japanese painting it has been the dominant medium, often in monochrome black or browns. India, Ethiopia and other countries also have long traditions. Fingerpa inting with watercolor paints originated in China. INK: Ink paintings are done with a liquid that contains pigments and/or dyes and is used to color a surface to produce an image, text, or design. Ink is used for drawing with a pen, brush, or quill. Ink can be a complex medium, composed of solvents, pigments, dyes, resins, lubricants, solubilizers, surfactants, particulate matter, fluorescers, and other materials.The components of inks serve many purposes; the ink‘s carrier, colorants, and other additives control flow and thickness of the ink and its appearance when dry. HOT WAX: Encaustic painting, also known as hot wax painting, involves using heated beeswax to which colored pigments are added. The liquid/paste is then applied to a surface—usually prepared wood, though canvas and other materials are often used. The simplest encaustic mixture can be made from adding pigments to beeswax, but there are several other recipes that can be used—some containing other t ypes of waxes, damar resin, linseed oil, or other ingredients.Pure, powdered pigments can be purchased and used, though some mixtures use oil paints or other forms of pigment. Metal tools and special brushes can be used to shape the paint before it cools, or heated metal tools can be used to manipulate the wax once it has cooled onto the surface. Other materials can be encased or collaged into the surface, or layered, using the encaustic medium to adhere it to the surface. FRESCO: Fresco is any of several related mural painting types, done on plaster on walls or ceilings. The word fresco comes from the Italian word affresco [af? fres? ko] which derives from the Latin word for â€Å"fresh†.Frescoes were often made during the Renaissance and other early time periods. Buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster, for which the Italian word for plaster, intonaco, is used. A secco painting, in contrast , is done on dry plaster (secco is â€Å"dry† in Italian). The pigments require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall. GOUACHE: Gouache is a water based paint consisting of pigment and other materials designed to be used in an opaque painting method.Gouache differs from watercolor in that the particles are larger, the ratio of pigment to water is much higher, and an additional, inert, white pigment such as chalk is also present. This makes gouache heavier and more opaque, with greater reflective qualities. Like all water-media, it is diluted with water. ENAMEL: Enamels are made by painting a substrate, typically metal, with frit, a type of powdered glass. Minerals called color oxides provide coloration. After firing at a temperature of 750–850 degrees Celsius (1380–1560 degrees Fahrenheit), the result is a fused lamination of glass and metal.Enamels have traditionally been used for decoration of precious objects, but have also been used for other purposes. In the 18th century, enamel painting enjoyed a vogue in Europe, especially as a medium for portrait miniatures. In the late 20th century, the technique of porcelain enamel on metal has been used as a durable medium for outdoor mural SPRAY PAINT: Aerosol paint (also called spray paint) is a type of paint that comes in a sealed pressurized container and is released in a fine spray mist when depressing a valve button. A form of spray painting, aerosol paint leaves a smooth, evenly coated surface.Standard sized cans are portable, inexpensive and easy to store. Aerosol primer can be applied directly to bare metal and many plastics. Speed, portability and permanence also make aerosol paint a common graffiti medium. In the late 1970s, street graffiti writers' signatures and murals became more elaborate and a unique style developed as a factor of the aerosol medium and the speed required for illicit work. Many now recognize graffiti and street art as a unique art form and specifically manufactured aerosol paints are made for the graffiti artist. A stencil can be used to protect a surface except the specific shape that is to be ainted. Stencils can be purchased as movable letters, ordered as professionally cut logos or hand-cut by artists. TEMPERA: Tempera, also known as egg tempera, is a permanent, fast-drying painting medium consisting of colored pigment mixed with a water-soluble binder medium (usually a glutinous material such as egg yolk or some other size). Tempera also refers to the paintings done in this medium. Tempera paintings are very long lasting, and examples from the first centuries AD still exist. Egg tempera was a primary method of painting until after 1500 when it was superseded by the invention of oil painting.A paint which is commonly called tempera (although it is not) consisting of pigment and glue size is commonly used and referred to by some manufacturers in America as poster paint. WATER MISCIBLE OIL PAINT: Water miscible oil paints (also called â€Å"water soluble† or â€Å"water-mixable†) is a modern variety of oil paint which is engineered to be thinned and cleaned up with water, rather than having to use chemicals such as turpentine. It can be mixed and applied using the same techniques as traditional oil-based paint, but while still wet it can be effectively removed from brushes, palettes, and rags with ordinary soap and water.Its water solubility comes from the use of an oil medium in which one end of the molecule has been altered to bind loosely to water molecules, as in a solution. PAINTING †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Painting is an art. There are different kinds of painting and you might have seen the canvas in many places. This is used in many homes and in buildings to decorate the walls. It is not possible for each and every individual to paint a picture and convert in to a beautiful art work. You might be confused by seeing many art works and you may n ot be able to differentiate the one which is more beautiful than the other.What does painting do? ? Painting makes things and their qualities much clearer than they are in nature. ? Painting, with its ? All-at-Onceness? more than any other art, gives us the time to allow our vision to focus and participate. ? We can hold any detail or region or the totality as long as we like and follow any order of details or regions at our own pace ***************—————-*************** More than any other art, painting is the art that has most to do with revealing the visual appearance of objects and events. The eye is the chief sense organ involved in our participation with the painting.Painting has existed as an artistic tradition for thousands of years. From the cave painting of Lascaux to the great, masterpieces of Da Vinci it has played a historical and aesthetic role in the different ages of existence. Let‘s see the history of painting. ORIGIN AND EARL Y HISTORY Painting has its documented origins in caves and on rock faces. The finest examples, believed by some to be 32,000 years old, are in the Chauvet and Lascaux caves in southern France. In shades of red, brown, yellow and black, the paintings on the walls and ceilings are of bison, cattle, horses and deer.Paintings of human figures can be found in the tombs of ancient Egypt. In the great temple of Ramses II, Nefertari, his queen, is depicted being led by Isis. [7] The Greeks contributed to painting but much of their work has been lost. One of the best remaining representations is the mosaic of the Battle of Issus at Pompeii, which was probably based on a Greek painting. Greek and Roman art contributed to Byzantine art in the 4th century BC, which initiated a tradition in icon painting. The history of painting reaches back in time to artifacts from pre-historic humans, and spans all cultures.It represents a continuous, though periodically disrupted tradition from Antiquity. Ac ross cultures, and spanning continents and millennia, the history of painting is an ongoing river of creativity, which continues into the 21st century. Until the early 20th century it relied primarily on representational, religious and classical motifs, after which time more purely abstract and conceptual approaches gained favor. Developments in Eastern painting historically parallel those in Western painting, in general, a few centuries earlier. African art, Islamic art, Indian art, Chinese art, and Japanese art each had ignificant influence on Western art, and, eventually, vice-versa. Painting was initially serving utilitarian purpose, followed by imperial, private, civic, and religious patronage, Eastern and Western painting later found audiences in the aristocracy and the middle class. TYPES OF PAINTINGS ABSTRACT PAINTING: It is also called as non-representational painting. It might be difficult to appreciate it if we are confused about subject matter. In these paintings, no obj ects or events are depicted. So, it seems that these painting do not have subject matter. But it is not so.The subject matter is relating to or affecting the senses rather than the intellect. It is composed of visual qualities – line, color, texture, space, shape, light, shadow, volume, and mass. These are constructed by eliminating reference to everything but color, lines, shapes, and light from their work. Abstract painters liberate us from the habit of always referring these elements to specific objects and events. REPRESENTATIONAL PAINTING: It furnishes the world of abstractions / sensuous with definite objects and events. The subject matter are the same, the interpretation (content) of every painting is always different.Representational artwork aims to represent actual objects or subjects from reality. Subcategories under representational art include Realism, Impressionism, Idealism, and Stylization. All of these forms of representationalism represent actual subjects fro m reality. Although some of these forms are taking steps toward abstraction, they still fall under the category of representation. PORTRAIT PAINTING: A portrait painting is one that embodies the image of a particular person. Over the years, these paintings started to include images of various other animals and lifeless matter.This particular type of painting is created only when a person orders for it to be created. Sometimes, portrayers create these paintings for their own fun or interest. The importance of these paintings can be felt only by those people who strive to preserve their memories. Most people think that digital photographs and images are the best way to capture a moment. But these people fail to realize an important fact about these photographs. While the initial quality seems to be much better in terms of clarity, these digital photographs seem to fade away with the course of time.This is not true in case of portrait paintings as these are known to last for a long per iod of time. This is evident from the fact that lot of these paintings have been found inside Egyptian pyramids. These paintings are mostly used as decorative items. Due to their long life, portrait paintings are used as wall hangings in many houses. In addition to its decorative uses, these paintings can also be used as gifts to complement your friends and relatives on their special occasions. Believe it or not, these paintings can remind your close ones about your existence whenever they look at it.Sometimes, people collect art works done by famous portrayers as part of their activities. The fun that you can have when collecting these historical artifacts is comparable to an endless sea. To learn how a painting is perceived, one has to know the effect of different situations on the eye. Some of them are explained here. BRIGHTNESS: The physical context of visual objects has a substantial impact on basic perception. Things may appear bigger, smaller, brighter, darker and so on, than they actually are, depending on the nature of the object and the context in which it is placed.Consider the importance of physical context on perceived brightness as shown in the figure below. In the set of two concentric squares at the left, the two small grey squares are of identical intensity. Yet the one at the top appears much darker than the one at the bottom. The effect is due to the context of the surrounding squares. Consider the image on the right. It comprises of a ring on uniform greyness. It appears lighter on the left-hand part of the display than on the right. The influence of context on the perceived intensity of an bject is called brightness contrast, a condition in which a viewer tends to bias the light intensity of an object in an opposite direction from the background intensity. The Importance of Value & Tone in Painting For example: If you took a black and white photograph of your painting, the shades of grey would be the different values or tones within the pa inting. Value is used to create a focal point within a painting or drawing. The human eye is immediately drawn to a light element against a dark element. This creates the focal point of interest. To create the illusion of depth, gradations of value are also used.Areas of light and dark give a three-dimensional illusion of form to subject matter. Value is independent of its hue. This is a fundamental element in the impact of visual art whether abstract or representational. The above example is a painting ? en grisaille? – a painting done entirely in values of grey or another neutral greyish color. Grisaille was sometimes used for under paintings or for oil sketches. Rubens was noted for this. Today, many successful artists believe in keeping a narrow value scale – limiting their composition to approximately 4 values. In this case it seems, less is more and helps create a cohesive and harmonious work.Below is a contrasting example of the use of values. Whistler used ? lo w-key‘ values and Monet used ? high-key‘ values and achieved dramitically different results. The Hidden Meaning of Color in Your Art RED: It is the color of assertion, strength, romance, excitement, vitality, physical power, outgoing, ambitious and impulsive. It is a color that flatters the skin and can make an excellent background. Pale pink are warm and peaceful and combine well with greens. The deeper reds create an atmosphere of retrained opulence and power. Red elicits an uncomplicated nature with a zest for life. But, red can also connote danger or threats.Fire engines, stop signs and traffic lights are a perfect example. ORANGE: It is the Midway between red and orange. It is a cheerful color. It is a flamboyant and lively color. Orange can be assertive, dynamic, and spontaneous and signifies youth and fearlessness. Orange stimulates the brain and produces oxygen and mental activity. Dark-orange signifies deceit or distrust, whereas redorange can correspond to aggr ession, domination and thirst for action. YELLOW: We associate yellow with sunshine and it represents light. It creates a feeling of hope, happiness and wisdom. The color evokes an optimistic sense of wellbeing and natural light.It is airy, radiant and atmospheric. Yellow gives the feeling that all is okay with the world. An example of this is Luminism, an early generation of landscape painters who explored ways to depict light realistically on canvas by using color to depict a melodramatic or romantic mood. But, yellow is a complicated color. On one hand, it is considered ? light-hearted‘ and childlike, but actually it is known to make babies cry. Although, light-yellow represents intellect, freshness and joy, dull-yellow is associated with caution, decay, sickness and jealousy. Yellow at times is cowardice. The phrase, ? yellow-bellied-coward? ame into use around 1910 which probably derives from yellow‘s association with both treason and weakness. More than a millenniu m ago, Judas Iscariot was often portrayed in yellow garb symbolizing his betrayal of Jesus Christ – a cowardly act. In America‘s pioneer days, yellow dogs were considered worthless and the term ? yellow dog? came to be used to describe anything worthless. Our observation of the yellow of tree leaves as they age and die, as well as the yellowing of old books and papers, led to the association of yellow with old age and illness. But, yellow is very effective at attracting attention – think of a taxi cab.Yellow is also used as a warning symbol. In football, a ? yellow flag‘ issues a warning. When place alongside black, yellow issues a warning. Yellow is also used in traffic lights and signs to advise us of danger. GREEN: It is the color of harmony, balance and security. Green also has a calming effect and symbolizes hope, peace, gentleness and modesty. It is soothing, refined and civilized with great healing power. Green suggests stability and endurance, hope and growth. It sometimes denotes lack of experience, for example a ? greenhorn‘ is a novice. Pale greens are particularly restful.Dark greens remind us of money, banking and Wall Street. However, at times yellow-green is used to portray sickness, discord and jealousy. Remember the phrase, ? green with envy BLUE: It is the color of the sea and sky, having a quality of cool expansiveness and openness. Soft, soothing, compassionate and caring, blue is an introspective color. Blue is often a formal color which represents wisdom and steady character. Many superheroes wear blue! It is considered a masculine color and the choice of corporate America. But, the quiet character and poetic subtlety of blue can also be associated with melancholy and resignation.Remember Pablo Picasso‘s infamous ? Blue Period? of art? Picasso‘s personal trauma found expression in a series of deeply sentimental paintings which comprise his ? Blue Period?. I even dedicated a helpful post to artis ts who find themselves Feeling Blue†¦ PURPLE: A combination of red and blue, purples are regal and dignified to be used with discretion. Pale shades are restful and serene, but the darker shades make it difficult to focus. Lavenders signify refined things of life, creative, witty and civilized. Purples can be tiring on the eyes and cause a sense of frustration, but it can make an excellent foil for works of art.Gloom and sad feelings can be portrayed by using purples. BROWN: It is the color of living wood and the earth. Rich, subtle and extraordinarily restful to look upon, brown creates a feeling of coolness and warmth at the same time. It combines well with rich colors such as purple and gold (popular in the Victorian era). It is a steady, dependable, conservative, conscientious and reliable color. Brown evokes a sense of nostalgia and reminds us of the great works of Rembrandt, Titian and Rubens. Tonalism used rich earth tones and muted colors to create moody landscapes.Van Gogh‘s used lots of brown to set a somber and depressed mood in the famous painting The Potato Eaters. Think back on Soviet Russia and you might remember the common people usually wore shades of brown. GRAY: This color represents caution and compromise. Many beautiful grays can be made by mixing complimentary colors together. Grays give a sense of peace to the viewer. WHITE: It is a Symbolic of safety, cleanliness and purity. White emanates youth, perfection and innocence. Angels are usually thought of as white. White is simplicity and freshness, but too much can give a clinical feeling.Doctors, hospitals and sterility are associated the white. Low fat foods and dairy products use white in their packaging. But, in many Eastern cultures, white signifies death, mourning, funerals and unhappiness. Ghosts are white and giving white flowers to the sick is bad luck in many cultures. In painting, use white sparingly. It can make colors chalky and lifeless. BLACK: It is Mysterious and hidden, black can have a morbid feeling. It gives us a feeling of the unknown and negative connotations like, black-hole, blacklist, blackhumor or black-death. In most Western cultures, black is the symbol of grief.However, black can be dignified and showy with sophistication. Black will also punctuate color schemes that rely on strong contrasting colors. Try mixing your own blacks, rather than using it straight from the tube. CASE STUDY: One of the aspects that make the Mona Lisa such a masterpiece is da Vinci‘s use of oil as a medium. As the movie The Mystery of Jon van Eyck explains, the use of oil as a medium was not widely used for painting until van Eyck refined it ? by adding transparent colors in several thin glazes upon a white ground, creating a wholly new translucence as if lit from within.?Da Vinci used van Eyck‘s oil painting technique to bring lifelike qualities to their works. On the first sight of the portrait of Mona Lisa, you will see the physical feat ures of that painting essentially identically to how all other humans see them because the light reflected from the painting and the initial processing by one‘s neurophysiology are fixed by physical laws. For example, generally shadows tend to form large dark areas in a painting and as such contribute to the low spatial frequency information of the image. If hese shadows are placed in specific areas (near the mouth in Mona Lisa and under the brow ridge in the disappearing bust of Voltaire), they can lose their role as shadows and offer an ambiguity to the interpretation and the perception of the painting. The message, meaning and interpretation of art depend on your pervious specialized knowledge of painting and related phenomena. That knowledge along with your knowledge of the world, contribute to the context in which the painting is viewed. Choice of lighting: Faint illumination. Near twilight depicted in the Mona Lisa.Leonardo favored this type of lighting for portraiture. The responsiveness of the Mona Lisa to changes of lighting is unusual, perhaps unique. The Mona Lisa suffers little under light-adapted vision and gain little under dark adaptation. By contrast, the degree of change in the tonal range resembles that which occurs with a natural object. Painting style and other formal elements Leonardo explains color perspective this way, â€Å". . . through variations in the air we are made aware of the different distances of various buildings. . . therefore make the first building. . . its own color; the next most distant make more blue. . at another distance bluer yet and that which is five time more distant make five times more blue. † This principle is demonstrated in the background of Mona Lisa: the ground and hills directly behind the subject are painted in warm tones of reddish browns and tans. As the landscape recedes the mountains and water become progressively bluer. Leonardo also noted that air is denser closest to the earth, theref ore the bases of hills will always appear lighter than the summit; he applies this theory to the hills behind the sitter's shoulders which start out a tan color and become dark brown.His study of shadow can be related to his works in both compositional arrangement and in sfumato (Sfumato is the famous invention of Da Vinci – light and shade that allow one form to blend in with another leaving something to the imagination. He did this to the corners of Mona Lisa‘s mouth and eyes which explains why she may look different and different times. ) techniques, which are both demonstrated in the Mona Lisa. One method of composition employed by Leonardo involved focus and blur.In the Mona Lisa Leonardo uses shadow in the lowest areas of the picture plane, at the edges, and background of the landscape to blur detail and draw attention to the detailed focus area of the face. Leonardo also uses shadow as a primary element in creating sfumato or soft focus, which creates the illusio n of volume by allowing light to emerge from the darkness of shadow. The sitter's body in Mona Lisa emerges from the shadows surrounding her from the mid arm area down. Her hands are areas of light that emerge from the blurred shadows of her body and her face emerges from darkly shadowed areas of hair and eiling. Leonardo's study of the shape of shadow contributed to the blurred shadow edges that are a hallmark of the sfumato style. The Mona Lisa's body and face are enclosed within shadow, but no shadow edges ever become evident. In the Mona Lisa the subject comes closer to the front edge of the picture than had been customary hitherto: this smaller distance between sitter and viewer heightens the intensity of the visual impression while the landscape suggests greater spatial depths and atmospheric intensity.Craggy mountains disappear into the distance against a greenish-blue sky. On the left we can make out a stream and on the right we can see what looks like a dry river-bed, altho ugh it is not possible to tell quite how this connects, if at all, with a reservoir higher up. Individual outcrops in the landscape, bereft of vegetation, are reminiscent of similar rock formations in religious pictures that Leonardo had begun not long before.

Education Review

Liting Wang Professor Feindert ENGWR 48007 April 2018 Critique of â€Å"There is Need to Review Our Education System† The article â€Å"There is Need to Review Our Education System† by Rhoda Kalema, a well-known author and title holder of ‘Uganda's Forum for Women in Democracy as a transformative leader 1996†², looks at some pressing issues that the education system of Uganda currently faces. There have been no proper mechanisms to foresee high-quality education offered in the country. She explains that the experience of educated people shows their fear towards the future to come of the present day education around the world. If people do not have good education, they will not have a bright future. As a result, a country like Uganda might fall backwards and will be left very weak. It will affect the country's improvement in many ways. She suggests that, the education administration should start focusing on this situation. In addition, both learners and teachers face challenges that make it impossible for the education system to be ranked anywhere in the world. The government is aware of these challenges but offers no solution. Through critique, the key issues facing the primary, secondary, and vocational education in Uganda are examined. The opinion that is currently viable to revive this whole situation is an overall reviewing of the education system from the tradition one to a modern one that will suit the needs of the students and benefit them to fight in equal terms with the rest of the students, if not in the world but Africa. One of the most interesting factors with the education system is one that dates back more than four decades ago when fresh graduate teachers had the aim of literally igniting the classrooms. Shortly when they dive into the adventure towards greatness, these graduates understand that the procedure has been pre-decided and what is required of them is to stick within classroom limits of the syllabus. The objective here is to cover the syllabus, and any idea of presenting new substance is disapproved. There is no space for learning the information's purpose, an instructor in class is to educate and how well one educates is obvious through students' execution in exams. Those who have different thoughts of possibly to energize the students, and familiarize them with new ideas and thoughts, influence them to think, and long to know more, are left to swallow their skills and watch as the students follow the old road of the low-quality education. Guardians and parents expect more from schools. They have high expectations that school will change their kids. Occasionally, they even observe the instructor as a wonderful professional of sorts, after all an educator could influence a child to learn. A typical presumption is that tutoring will shape the children and the instructor will be the one individual to guarantee this happens. In any case, things are not as basic and practical as they appear, and teachers face challenges explaining to parents that with this old education system, they should not expect much from their children. What the government has failed to understand is that Education is a public entity, which has a good aim of providing quality training with a specific end goal to reduce variations (instruction as an equalizer). Framework change should address parts of value and correspondence and additionally the more extensive quality objective. The change procedure must be incorporated, problematic, and transformative for there to be substantial outcomes for all students. An intricate procedure must be acknowledged through community-oriented associations amongst government and other key players like guardians, current society, and the private area. Sometimes individuals expect too much from old system framework models to deliver present day 21st-century skilled students. Uganda, like the rest of Africa, has a considerably young populace that forms an important part of the human resource. The youth forms the vital group that is thought to take Africa to the next African Rebellion urged by education and training. Based on the problems that the Ugandan education system is facing, the following are some of the ways that can help redeem the learners from surging into the problematic conditions just like their predecessors. The author's argument is presented in an organized and visually cluttered manner. The author presents his points with illustrations cited well from the article. The author points out the most exciting factors with the education system. â€Å"Everyone in the country and even those outside who have ever experienced a balanced education about 25-30 years ago are in pain over what is happening in the education sphere†. As evident from the article, shortly when they dive into the adventure towards greatness, these graduates understand that the procedure has been pre-decided and what is required of them is to stick within classroom limits of the syllabus. The objective here is to cover the syllabus, and any idea of presenting new substance is disapproved. Another factor that makes the article organised is the avoidance of placing unnecessary quote in the article. Instead the author options to explain to bring out the main points. For instance, in order to better understand the problems that face the education system because of government failure†¦ â€Å"I would like to reflect on several aspects that I have observed, which will bring doom to our education sector, unless a review is done immediately and aggressively†, the author puts the points down as illustrated below without filling the essay with unnecessary quotes. The author has concrete evidence that he uses to make logical appeals and the strength of this posting is rooted in the author's ability to bring out points to illustrate the failures that are evident to every reader of the article. Anything that contributes to meeting the huge needs of the education systems in Africa is a positive thing, such programs or projects are driven by people who want to serve the general good of the country in the area that, as a reminder, is the top priority of all priorities. The impression that one's gets is that there is a desire to be involved in proposing the beginnings of a solution, a standard foundation for teaching that will integrate specific local features and at the same time train future citizens of an interconnected and culturally very mixed world. A change of school learning system will reflect this concept, and it is an interesting one. In conclusion, the author has managed to create a list of reasons that would help the government and relevant stakeholders argue their case mostly for naught. The important thing is that there are on-going discussion and dialogue, and adjustments constantly being made to ensure the consistency at country level and then ideally, at the level of each regional African community, of an educational offering that necessarily has to be diversified. This is also one of the recommendations from the summary of the debate that we must have high-level, national education authorities, which must be separate and independent from the governments. They should also be tasked with the responsibility of managing the fundamental choices affecting education systems in the long term, to set a course that is not changed every time there is a change in government. Work CitedKalema, Rhoda. â€Å"There is Need to Review Our Education System.† Africa News Service, 1 Apr. 2009. Opposing Viewpoints In Context, http://link.galegroup.com/apps/doc/A196876335/OVIC?u=sacr73031;sid=OVIC;xid=d 3a28488. Accessed 3 Apr. 2018.

Health and Socail P1 Essay

P1 – Explain potential hazards and the harm that may arise from each in a health or social care setting Relating to the physical environment The physical environment is everything that is around you, this includes; 1. The building 2. The air 3. The temperature 4. Objects 5. People 6. Pets The physical environment has a huge impact on the staffs and individuals well-being. The spread of Airborne infections are increased when the ventilation is poor, airborne infections such as colds and influenza, so it is important to have fresh air circulating at all times in a health and social care setting, especially in elderly homes as older people tend to catch things more easily as do younger children. Individuals should never be in a draught and should always be warm enough. Older people, babies and people with disabilities find it harder to keep their body at an adequate temperature; you should always cater to their needs. Fumes and smoke shouldn’t contaminate the air that should be clean. The ventilation should remove stale air and provide air movement. All the rooms in the environment should have central heating; each should be able to be controlled to the specific temperature the individual wants. The lighting in each room should be bright enough and in a position for the individuals in the environment to read and participate in other activities. Emergency lighting should also be in place in case a light breaks or electrical problems occur; it should come on if there is a power failure. When the lighting is poor is can cause numerous problems and is hazardous to those who are in that setting, it will affect those with a vision impairment, with people that have limited vision you should make sure that they are in a well-lit area. Equipment Hazards from equipment could include * Untidiness e.g. toys, equipment left in corridors on stairs or blocking fire exits. * Poor maintenance, e.g. frayed wiring or broken equipment * Unsafe practice, e.g. overload sockets or trailing flexes * Lack of awareness of hazards, e.g. hot surfaces or moving parts All equipment must work and function correctly; it must be full maintained at all times. This could include fire fighting equipment, hoists and medical diagnostic equipment such as ECG or x-ray machines, it is very important that these are checked on a regular basis for any faults because the individual could be wrongly diagnosed. Computers and laptops now play as an important role in the care industry as they do in any other aspect of work. If they are positioned in an awkward place the individual can suffer from strain injuries, they can strain their vision if they have too much exposure to the screen, and incorrect sitting can lead to neck strain and back pains. Anything they need should be in reach or this can cau se them to overstretch and this could cause a fall. Infections You should always follow policies and procedures that are put in place; they are they to keep you and others around you safe. If you do not follow them you could cause unnecessary harm to you, your colleagues or individuals in your work place. Babies and older people are at a much greater risk of complications if they catch food borne infections, the incidence of MRSA in hospitals has highlighted the potentially devastating outcomes and effects of poor personal hygiene practices and over-prescription of antibiotics. On the national statistics website it shows that the number of deaths linked to MRSA in the UK from 1993 to 2006 rose to 1,625. But on the death certificates that mentioned it declined, and then in 2008 there was a fall of 23%. If the bacteria are on the skin then they can spread by touch, if it is in the nose or lungs then it can be passed on by droplet spread, by breathing or coughing over someone. But if the person is healthy then when they leave hospital it can just d isappear, this applies for people living with them; if they are healthy special precautions don’t need to be out in place. If it gets into the bloodstream through a wound then it can cause serious illness such as 1. Bone marrow infection 2. Blood poisoning 3. Septic shock 4. Septic arthritis 5. Meningitis 6. Abscesses anywhere within the body 7. Infection of the heart lining 8. Pneumonia Substances The hazardous waste does not stop after disposing of it as if his disposal of hazardous waste is not correct it could damage the health of all in the environment if not disposed of at all it can lead to infection and a spread of infection also. So when dealing with waste especially hazardous you has to make sure you depose of it correctly. Type of waste | Risk| How to dispose of the waste | Sharps (needles or syringes) | Risk of getting an infection off a dirty needle | All dirty needles must be out in a yellow box it can be small or large, it must be shut once it’s at its limit and it will not open once it has been closed. | Clinical dressings | Infection can occur | Must be placed in a yellow box which must be sealed with arrangements of the collection.| Body fluid (blood, urine, faeces, vomit. | A risk of infection | When cleaning up any of the waste you have to ensure gloves are worn it must be flushed down the toilet and then the toilet must be disinfected and if it was on the floor, disinfect where the waste was.| Soiled linen| Another risk of infection | They must be out in the special laundry bags which disintegrate when being washed.| There are a number of substances used in health and social care settings that are hazardous if misused. Cleaning fluids, medications and x-rays are all examples of substances found in health and social care settings. Chemicals can cause burns to the throat and oesophagus if swallowed by accident. Care should be taken at all times when administrating medication as it could be given to the wrong person which could lead to them suffering, or something as simple as the wrong dose. This type of mistake can have a devastating result for example in 2005 2 nurses miscalculated the dose of a drug needed to slow down a baby boys heart rate. He was given 10x the dose and he died. Hazardous working conditions Working conditions are aspects of your job, the hours that you work, the staffing levels and the staff relations. Even though we have tried to improve in the quality of health and social care as a result of regular inspections there are still with staff turnover and staff shortages this can lead to the staff rushing what they are doing with results in them ignoring the policies and procedures, this can lead to a risk of injury or accidents. Pay rates are low for early years workers and health and social care assistants, they are often only paid the minimum wage this can make people feel undervalued and make them less likely to follow policies and procedures. When there are staff shortages it can cause staff to be expected to do overtime, being a care worker or being in care work is physically and mentally demanding and too much of it is likely to cause staff to not perform to the best of their abilities, the more tired the staff are the more likely they are to make mistakes like miscalculating medication does, they will be less alert which could lead to them missing a sign that someone is ill. Stress is another reason of staff shortages, stress can be shown in many different ways people suffer from anxiety, sleep problems, digestive disorders, high blood pressure, and mood swings. None of these are good for a member of staff to be suffering with, it can lead to all sorts of problems in the health and social care setting. The vacancy rates for health and social care are higher than any other employment sectors in England, many care homes cannot recruit sufficient staff, and the shortages of staff have an impact of the quality of care given to those in the environment. Hazardous working practices The jobs you do when caring for people are called working practices. They include: 1. Moving and handling 2. Preparing food 3. Changing nappies 4. Giving injections/supervising 5. Giving injections 6. Supervising individuals with challenging behaviour You should always follow the procedures correctly because if you do not you can out yourself and others at harm. Care workers still suffer injuries related to moving people they care for even despite the manual handling regulations 1992. It was reported in 2003 that 80,000 nurses sustain back injuries at work each year, one third of all reported accidents involve moving and handling. The main hazards with moving and handling are that the handler may slip or trip over, stand in an awkward position, twist and overstretch, this can cause the handler to have neck or back pain, it can cause strain, and sprain or they could fracture a bone this could happen to either the handler or individual. They could end up with a permanent disability. Hazardous security systems Security systems are to keep staff and individuals safe from intruders, security systems are fitted in most health and social care settings. Residential homes normally keep the main door locked and only the people there have special keys and there family, or you have to buzz to get in. although this is a good thing, it could also be a bad thing as in fires it could waste time that could possibly save lives. All confidential information about the residents is withheld on the computer system and should be password protected all the filing cabinets should also be kept locked at all times. Section 2. Residential care There are different types of residential care homes, those for the older generation, people with disabilities and children who are looked after. In each of these settings health and safety has to taken extremely seriously, the carers have to make sure that the residents can escape in a fire, they have to make sure they are not putting one another in danger and that infections do not spread. It is important that the residents are informed about keeping themselves and others safe. In some of the residential homes the residents can come and go as they please but in a place where there may be little children or people that are confused that would not be allowed. They could put themselves in danger of getting ran over or hurt themselves. In winter time or in the colder weather, if they cannot find their way back or they don’t want to go back they could develop hypothermia. Child minder Settings where there are children should be very safe. Little children are curious and want to see and touch everything, they put things into their mouths lie toys or objects, this can cause them to choke or if they swallow a liquid such as a cleaning detergent they could be poisoned. They could open a gate and go wandering, cupboards, drawers could be opened which have poisonous substances in them, and they could climb and get stuck or distressed. When working in a preschool setting you have to be constantly vigilant and always alert and on the lookout for anything dangerous. Staffs is responsible for all activities the children take part in and therefore have to ensure that they are safe and not hazardous. Public environment Most parks are away from busy roads but there are a few which aren’t, in his case there is a danger of the child opening the gate and running out into the road, you have to watch your child at all times to ensure the safety of him/her. You also have to be vigilant of those in the park also, as there could be bigger children which could run into the child. Also if there is a skate park where the older children and teenagers chill you have to be careful for any empty glass bottles, also if older people are unsteady on their feet this can create a hazard for them. Sometimes people like to vandalize the park equipment and leave it in a dangerous state if you are looking after a child you should always check the park equipment before allowing your child on, this can easily stop an accident which may have happened. You may also have to asses if the child is age appropriate, if not you shouldn’t let the child on it in case of an injury, parks do have an impact absorbing floor normally which cushions the child’s fall, but accidents can still happen and you should always keep a close eye on your child. Some parks are frequente d by drug abusers; they may leave needles on the ground which would be extremely harmful to young children, so it would be a good idea to scan the ground. Dog owners tend to walk their dogs in the parks, dog faeces is a threat to children. There is such thing as toxicara which is a roundworm that can be present in dog faeces; this can potentially result in total blindness in one or both eyes. Parks are an idea place to take children to allow them to get some exercise and socialise with other children. Section 3 * Those receiving care, link to an older person and a young child: Young children are unable to recognize hazards themselves, their coordination is still developing. If substances are left lying around the child could get hold of them, this could lead to devastating consequences or even fatal, the child could be poisoned. You should always put locks on drawers and cupboards to ensure the children cannot get hold of hazardous substances. If things are left lying around such as toys a child could get hold of it and put it into their mouths if it too small or a toy is broken the child could choke. An older person could walk into things if they have limited vision or the lights are not bright enough. You should always make sure that the care setting is suitable and fits the residents needs. The main doors should always be locked in case there are residents who are confused, they may try to leave. An older person can be harmed if they need to be lifted into a bath or onto a bed, care should be taken when handling individuals and procedures should always be followed correctly. Workers in a setting: Workers sometimes come across Violent service users, this can put them at harm and they can be hurt. They could potentially fracture a bone. There may be faulty equipment which could be hazardous to the service provider as if they are lifting a service user and the equipment is broken the whole weight could be out on them and themselves and the individual could hurt themselves. If there is a shortage of staff and it is very busy the workers could feel stressed, stress can cause them to have anxiety and lack of sleep. If a member staff has had lack of sleep this will cause them to feel tired and they may not be als alert as they should be which can cause harm to themselves and the individual. If there are staff shortages tsome members of staff will be asked to work overtime, this can cause them to feel tired which again means that are not as vigilant as they would be. Support staff (eg caterers, cleaners, administrative), Cleaners are at a risk of being harmed by hazardous waste, if someone has soiled there bed sheets the cleaners have to take the sheets off the bed and put it into the wash, they come into contact with it which means germs can be passed. They also have to clean after someone has been sick again they can catch a bug or become unwell. Cleaners have to dispose of used dressing and needles they could catch an infection if they come into with them. * Visitors (eg relatives, friends, volunteers) Visitors need to be signed in and out in case of fires, if there was a fire and they are not signed in no one would know that they are there and they could at risk of being trapped in the building. Visitors are also at risk of catching infections or any bugs that are going around within the care setting. They should be informed of any infections before they visit. *

The 7 Types of Possessive Case

The 7 Types of Possessive Case The 7 Types of Possessive Case The 7 Types of Possessive Case By Mark Nichol The possessive case is used to indicate relationships between one person, place, or thing and another. However, it’s more accurate to call it by its alternate name, the genitive case (genitive means, essentially, â€Å"generation†), because in many uses, one person, place, or thing doesn’t actually belong to the other. The genitive is indicated one of two ways: A singular noun is followed by an apostrophe and the letter s (as with book’s), and an apostrophe alone follows a plural noun that ends in s or es (as with teams’ or arches’). The genitive form of an irregular plural noun, one in which a change in spelling, rather than s or es, marks the word as having a plural form (such as men), is treated as if the word were a singular noun (men’s). Here are examples of the seven categories of genitive use. 1. One type of genitive case is that denoting occupation, or ownership or possession, as in â€Å"She walked into Jane’s office† or â€Å"John’s car is being repaired.† (In all genitive forms, the noun to which the apostrophe or the apostrophe and the s are attached is called the dependent, or modifier, noun; the word with which it is associated is the head, or modified, noun.) 2. Another is relationship, as in â€Å"The school’s principal is retiring this year.† (This idea can also be represented by omitting the apostrophe and the s â€Å"The school principal is retiring this year† but the meaning is slightly different; in the latter sentence, the reference is to a person identified as the school principal, whereas the genitive form treats the school and the principal as separate entities.) In this category, the idea can be expressed in a phrase beginning with the head noun: â€Å"The principal of the school is retiring this year.† The previous type is not so flexible; â€Å"She walked into the office of Jane† is awkward, and constructions such as â€Å"She walked into the office belonging to [or occupied by] Jane† are usually unnecessarily verbose. 3. The genitive can also be used to express agency, or representation, as in â€Å"The board’s secretary consulted the minutes from the last meeting.† (The secretary is a member of the board but technically doesn’t belong to it.) â€Å"The secretary of the board consulted the minutes from the last meeting† is also correct, but as in the previous example, the emphasis is slightly different, and the first version is more concise. 4. Description is another function of the genitive, as in â€Å"She admired the fabric’s glossy sheen.† (Loosely speaking, the glossy sheen â€Å"belongs† to the fabric, but the phrase is, strictly, speaking, a description.) 5. Another category is that relating to the role of the person, place, or thing that serves as the subject of a sentence, as in â€Å"The officer’s report was conclusive.† (â€Å"The report of the officer was conclusive† has the same slight distinction of meaning as similar constructions in previous examples.) 6. Then there is the role of the person, place, or thing identified as the object of a sentence, as in â€Å"The baby’s delivery was uneventful† (which can be rendered â€Å"The delivery of the baby was uneventful† with a slight difference in the meaning). 7. The most troublesome genitive form is that in which a phrase including of is truncated, as in â€Å"He gave two weeks’ notice† in place of â€Å"He gave notice of two weeks†: Many writers mistakenly treat â€Å"two weeks† as simply a modifier of notice (â€Å"He gave two weeks notice†) rather than correctly including the apostrophe to indicate the genitive case. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Grammar category, check our popular posts, or choose a related post below:20 Great Similes from Literature to Inspire YouTaser or Tazer? Tazing or Tasering?The 7 Types of Possessive Case