Design Symbolism in Museum Architecture

Design Symbolism in Museum Architecture Altes Museum in Berlin was designed by Karl Friedrich Schinkel in 1830s. They way is has been done inflected many architects work. From this building, we could feel Schinkel desires to provide the people who lived in or visited his buildings with subtle spatial experiences and consider the relationship of building with their landscape settings. He diverted the focus of architectural concern away from the design of facades as two-dimensional graphic compositions and towards ideas exploiting the three dimensions of space together with a fourth that of movement in time. This implied a richer and more complex conception of architecture, one that was not merely preoccupied with issues of style and proportion. When you walk into this museum, the first thing you will notice is broad stair upwards and 18 ionic columns in elevation. Columns are sandwiched between a podium and an entablature. As you climb the broad steps, you will go through these ionic columns which form an 87 meters long portico with statues along the side. This is the moment you feel you are not only the observer but a part of this architecture or a participant in this spatial experience. There are options for further movement. You could walk through the rotunda which is the heart of the building, and then go into the galleries. Or you could turn left or right then climb up the stairs to the upper level straightly; you could look back through the double layer of columns to the outside or into the rotunda. It is a great in-between space which connected outdoor landscape and inside world. You could literally see through the space, smell the fresh air, and feel the hierarchy and transparency of the layout Schinkel carefully ar ranged. Also, you could feel you are part of this experience by being in the spatial transition and connection. This building is not merely a matter of visual appearance and sculptural form but is also an instrument for orchestrating experience, it designed to take people move up and down, inside and outside by stairs, change their view by through columns and levels. POMPIDOU CENTRE The George Pompidou Centre in Paris built between 1970 and 1977 by the architect Renzo Piano Richard Rogers. The building housed arts, books and contemporary recreation. The site of this project was a massive car park. Rogers and Piano won the competition; theirs first plan is to use the half of the space available leaving the rest as a forecourt. The decision actually became the most successful one in the design. The structure of Pompidou Centre is simple and repetitive. The architects put the functional parts which would normally be inside on the outside of building. All the building faà §ade covered with glass, which both reflex and absolve the city. Six walkways have been installed on every floors facing to the forecourt and the city centre. Outside of the structure frame, the huge escalator was placed which transport visitors up to the fifth level. These two super layers on the frame of the building give the visitor a kind of industrial image. People moving through the transpierced tube to get the floor they want to go to. It is not only a building with skeletonal volume and providing sufficient wall structure but also the huge lattice truss provides the flexibility. The architects decide to build a flexible shelter and provide public space to wait and see, rather than make a monument or cultural space at the first place. The forecourt is as important as the building to people. It is a real livable urban space in the dense environment. It also makes the building more belong to the city. The forecourt has a gentle slope; force visitors pass the entrance area slowly. There is no significant separation between the forecourt and the lobby. The ground level is also a huge open space with no columns, where people could feel the continuity of space. The forecourt introduces the centre and the entrance is the continuity of the city. The forecourt also exhibits the life of the city, so too do the faà §ades. The walkways is not only free circulation space, they also reflex the meeting point between the building and the city. So the whole faà §ade is accentually a public space. Different movement is unrestricted and free in this space, from street to the forecourt, the tube to the walkway. Visitors do not need to pay for going into the escalator, for the full experience of the whole sequences. It is so livable. Although, it is a huge scale almost twice high as the surrounding building, but it is not separated from the city. It is the most popular building for visitors and locals, and also became a monument of the city. People not only come for the facility but the place and the views. TATE MODERN Tate Modern is one of the most famous national galleries of modern art in London. It seated at the bank side, linked to St Pauls Cathedral by the Millennium Footbridge. It was used to be a Power Station, designed by Sir Giles Gilbert Scott and has been regenerated by Herzog de Meuron from 1994-2000. The main entrance located at the west side of the building. When you walk close to the building from west, firstly, at your left hand side, you will see a green forecourt with black benches linear distributed. At right side, you would find a ramp downwards, about 18-20 meters wide. Walking down gently, you could see the glazed door and curtain wall and the sign on top, and people would finally realize it is the way in. The height of the door is really low with quite long extension on the top, so while you passing it you could not appreciate fully vision of the inside right away. The ramp doesnt stop here but extends down to the inside. The only different is two meters wide steps along the right hand side of the ramp after passing through the glazed door. While you carry on walking down for couple of steps, you will suddenly get full image of the inside the Turbine Hall, a huge scale space. The architects leave the whole space purely appear to the visitors. Five-storages tall, 3,400 square meters space which was housed all the electricity generators of old power station. It is a space for specially-commissioned works by contemporary artists. A liner roof light dropped from the top, continued down to the back wall. This hall has been compared with the Bibliothà ¨que royale de Paris by Étienne-Louis Boullà ©e, about the similar full-length skylight and enormous height above, also the opportunities for people to look the central area from the side. They want to make the space as breezy and easygoing, and display itself at the beginning rather than art. This is also a kind of celebration the architects intend to make before the exhibition. The ramp keeps taking you to the reception area and the front of central stair, a lifted black plate which looks like a bridge cross above. The first options for the visitor is that you could choose to go underneath the lifted area, forwards to the back part of the turbine hall, to the left where is the major transport area - the escalators, or to the upper level which connected directly to the north entrance and the river bank. However, the river side entrance seems to be more popular than the main one, mostly because it located right to one end of the Millennium Bridge which connected with St Pauls Cathedral. So people from north bank could actually walk cross the bridge and get into the museum. The other reason probably is because of various activates, there are many people moving along the river bank, also a nice green area with seats provide space to the street performers and vendors. The atmosphere here is much more livable compare to the forecourt of main entrance. Herzog de Meuron describe the transition of the entering as the moment of breathless wonder. The thought if they want to bring the observer the feeling of being overawed, of having to catch ones breath before real grandeur, they must led them through the eye of a needle a tunnel. The ramp is little more than a slightly tightened copy of the access ramp to the Pompidou Centre, but they extend the ramp to twice the length, for at an unexpected point they increase the already vast height of the hall by tearing out the old floor above the cellar, to make the over high hall even higher. JEWISH MUSEUM The Jewish Museum in Berlin was built between 1993 and 1998 by the architect Daniel Libeskind. He called his design for the Jewish Museum Berlin Between the Lines. The floor plan is shaped like a zigzag line and is intersected by a straight line. Empty spaces called voids extend the height of the building at the interfaces. The zinc-clad faà §ade is covered by diagonal slashes the window openings. Three paths cross on the lower level: the Axis of Exile, the Axis of the Holocaust, and the Axis of Continuity, Which leads to the museums upper stories. Daniel Libeskind said: What is important is the experience you get from it. The interpretation is open. As Libeskind said, the experience is the crucial. It is like a story he want to tell. The zinc-clad building attracted people from distance on the street, but there is no entrance. There is also no sign telling people where the way in is. The main entrance of the museum actually located at the old 18th century building. People have to walk into the existing building, pass the reception and finally get to the way into the main part. It is a large entrance at right hand side in untreated concrete with sharp angles. It open onto a staircase that instead of steps to the upper floor as it is to be expected in museum, the staircase goes underground. So the visitor of the museum starts from the foundation of the old building. But architect reveals the suggestion immediately, if you look up, you see the staircase is actually at the very bottom of concrete well that without any functional justification pierced the old building in every level. So people could see the concrete well from all flo ors up to the eaves. The concrete tower guards the entrance to underground area that seems first sight to be much simpler then the broken-line surface building people seeing from the street. And Daniel thought this is the real heart of this project. They are three corridors. The central island means only two could be seen at a time. It is impossible to have overall vision. It is the axis. An axis is a straight line about which the part of the body or system axiomatically arranged. The three axes here represent the three major experiences the Jewish life in old days: continuity, exile and death. The lights on the ceiling also accent the idea of axis. Only the straight and longest path leads to the main part of the museum. It leads to a staircase seems to be quite modest, as walking up, suddenly spectacular perspective reveals. Straight-line staircase keeps going up to reach the top floor. Architect frees the space with only one direction- upwards. Great concrete beams stabilized the structure seems have difficulty to hold the building. There are also six different shape concrete avoids in the building, pierced the building in every floor. The only lighting comes from skylight. The threshold in Jewish Museum is not the space we usually could see. In this case, transition space (the axis, the stair, the avoid, the light) became the most important part to reveal the spirit of this building, a story which the architect wants to share with all the visitors. He also intend to make this building not obvious and leave all those meaning and hidden violence to be explored by the visitors, or more accurately, the participants. CAIXA FORUM Caixa Forum built between 2001 and 2007 in Madrid by the architect Herzog de Meuron. It is a post-modern art gallery located at the centre of city. It is housed in a converted 1899 power station. The architects decided to demolish the original roof and interiors. They cut away the granite base of the brick exterior walls, creating the illusion that the building floats in midair, hovering over a covered entry plaza. With the addition of two upper stories clad in rusted cast iron and two underground levels, they doubled the buildings height and increased its size five times to more than 100,000 square feet. In short, the architects have skinned and gutted the structure like an animal, transforming its tattered brick shell, four withes thick, into an exotic veneer. The basic strategy of the Caixa Forum design is similar to that to lift the building up and create a shaded public plaza underneath. It is because the condition of the site is quite compressive, with the narrow back streets sloping upward on one side. To cut off the bottom part makes the building more visible and accessible from different directions. When you walk from cross street, no matter from front or back, the first impression is a floating building with different colours and the green wall beside. Take some more steps; you will immediately feel the spectacular using of material. The incredible texture using for the facade and the paving, create a unique image. Several layers revealed on it, the covered plaza made by many triangular panels, the existing part, the top extension with perforated rusting iron and the vertical green standing by the side. Getting under the covered plaza, you will find the surrounding suddenly get dark, and see reflecting ceiling which made by triangu lar iron-cast panel, the dynamic space with three cores containing which supporting the building and also a fountain by the side. These irregular panels are hung from the upper floor slab, continuing to the central entrance a spectacular spiral entry with crisscrossing exposed fluorescent lamps on top. So people move from the dark and heavy entry plaza up to the entrance could suddenly feel the sharp contrast between the two spaces. Another key space is the main star a white curving balustrade of softly finished concrete. This spiral form will take visitors straight up to the top floor cafà © where could have a veiled view of the botanical garden and surrounding through the perforated cast iron. Herzog de Meuron developed the strategy on notions of character and collage. It gives each space its particular sensual and experiential personality. They explored it through different properties of materials and texture, transformation and decay. It created an instantly recognizable icon from distance that is also a space of intriguing complexity while walking into it. 21th CENTURY MUSEUM OF CONTEMPORARY ART The 21th Century Museum in Kanazawa, Japan built by the architect SANAA between 2000 and 2004. It is located in the center of city Kanazawa with complex contexts: town hall, public park, opera house, shopping mall, town hall, kindergarten and residential. People come from many directions for different purposes, for that reason, SANAA planned to give the building a circuital form right from the start. That makes it equally accessible from all directions, without any distinction between front and back. The building has two zones, the museum zone which required admission tickets, and the socializing zone which is free for public. But they are not completely separated. The architects want these two zones to be visually linked, divided only by transparent acrylic doors and courtyards. The first key element of this building is the outer walls. They are made of glass, reflecting the surrounding landscape. It was designed so that the inside and outside of the building overlap visually in the curved glass surface. Also it offers a 360-degree view of the surroundings. At the same time, SANAA decided to use path and courtyard to carve the transition space out, left only the solid exhibition area. Four major courtyards provide visitor several opportunities to be exposed fully to the natural light. Corridors are like streets, crossing from north to south and east to west, creating links with the landscapes outside and inside. These are also for the public to use for free, unlike the Pompidou Center which set back to create a square for public, this building intend to hollow itself from inside to invite public as participant. In this building, when the movements of the people inside the building are visible from without, the sequence of events becomes a part of its external appearance. The way they look at events reflects how the architects perceive contemporary situations. They interpret this space by creating elements of contrast and continuity between the architecture and its setting. They thought transparency has a special meaning in this museum. It is not just a way of achieving lightness, information, openness, and illumination, or including human movement as a part of the design. It is about the feel of life. PHILOSOPHY A museum is much more than the structure of exhibiting. It could be a physical system of heating and cooling, of lighting and darkening, of moving and staying, of preserving and decaying, of observing and learning. Also, it is a spiritual structure of recording and describing, of hiding and revealing, of bounding and merging. However, it is always a structure for public using; therefore, one of the most important systems would be entering and leaving. We cant only think about an exhibition room to understand the museum without considering the process of transition. This kind of transition space is made of lounge, passage, entry, and exiting etc. It could be describe as a system. We could look it individually, but actually they always bound up. We do not perceive sprit of a museum by exhibits. People coming from different directions gather in the same shelter, take some time, walking, looking, listening, seating, eating and leaving. The performance is consistently affected by the architecture, the system. The way of the system operate force us how to perform it in. While we follow the instruction to perform it, different human acts reveal. Ultimately, acts we made make us truly perceive and understand the space. Neil Leach described the idea of door, is that The door becomes the image of the boundary point at which human beings actually always stand or can stand. The finite unity, to which we have connected a part of infinite space designated for us, reconnects it to this latter; in the unity, the bound and the boundary less adjoint one another, not in the dead geometric form of a mere separating wall, but rather as the possibility of a permanent interchange. In museum, the rooms and art objects form only the container, but it is not all about that shell, the content is formed by the visitors. Without that, its like a painting only with dead surface. In this case, museum is not a private collection, an art review; it is always about the public. That is why we find museum admirable.

Forensic Science Work Placement Personal Development Essay

Forensic Science Work Placement Personal Development Essay The organisation I was introduced to for my work placement was the department of forensic science. Forensic science usually goes hand in hand with Law. It specialises in the application of a broad spectrum of sciences to answer questions of interest to legal systems. This may be in relation to crime, burglary or murder investigation. Simply put it usually involves the use of scientific techniques to retrieve crucial pieces of evidence which may be of utmost importance to an ongoing police investigation or court case. The Department of Forensic Science where I worked during my placement was situated in the green area of the Erasmus Darwin Building on the Clifton campus. Over the past few years the course itself has become quiet popular so much so that it now not only attracts students from across the United Kingdom but from all over the world too. The activities that are developed by the department are a combination of practical examples as well as theory in order for the students to understand some of the certain concepts that are involved in this particular field of science. On top of this the department works closely together with the Nottingham police. This is a huge advantage for the students as it enables them to get first hand information of how to go about certain methods when it comes to retrieving evidence. During my time in the forensic department I was working alongside senior technician Arthur Richards who was my supervisor and Paul Mason-Smith who was also part of the forensic technician team. The roles that we carried out ranged from setting up lab practicals to setting up different crime scenarios for the students to tackle in the crime scene house. Some of the things one needed in order to get the jobs done were a good sense of communication and the ability to work as part of a larger group. Some of the tasks that I carried out individually during my work placement were things such as collecting together the equipment that would be used in the lab practicals, charging the camera batteries as well as collecting new equipment from the downstairs store, organising them in order of their usefulness and storing them away in a suitable location. Other aspects of my tasks did not require setting up practicals or coming up with scenarios but rather to attend talks that were focusing on the health and safety viewpoints of the workplace. These talks placed a fundamental part of the placements as they showed the problems that could arise if one was not paying particular attention to the way they were carrying out their tasks. The information obtained from talks such as this one proved to be very useful during the placements. Not only did they enable my to mind my surroundings while executing my work but they also taught me how to optimise my working capacity by using a few simple examples that were provided during the talk. Skills and knowledge gained The tasks that I was undertaking over the 5 weeks of the work placement not only helped tremendously in further developing my practical skills, but they also help shape the key attributes that one needs in order to succeed in any workplace. In my particular workplace the skills that were required from me in order to work efficiently were a good sense of communication, teamwork and organisation skills. Fortunately for me, these were some of my better skills. During my time in the forensics department I also gained exceptional knowledge about some of the techniques that were involved in crime solving. During my placement I carried out two major practicals. One of the techniques that I remember carrying out was The Footwear and Tool mark Impression practical. This practical comprised of a sequence of 4 activities which together were intended to provide one with the opportunity to enhance their skills in examining tool mark evidence and collecting footwear evidence as well as identifying the characteristics of footwear sole patterns. Tool mark impressions are usually the marks that are left behind during a burglary. Lets take a house for example. If the point of entry is a locked door, the suspect would most definitely use some kind of tool to force entry to the premises. The imprint that is left behind in the door is the mark. The role of a forensic scientist is to find out what tool is compatible with the tool mark that was left on the do or. The same concept applies to the footwear impression which will be left behind in the house. Even if the footwear that is left behind is not visible to the naked eye there are certain techniques and equipment that are used in order to make these imprints visible. These however will be explained at a later stage. Upon successful completion of the practical one could: Demonstrate the competency in casting footprint impressions Show the ability to use of Electro-static lifting apparatus Correctly identify sole pattern characteristics Correctly eliminate sole print using inkless pad Safely prepare silicon cast of tool mark impression Apply theory of identification of impressions to practical scenario. Before the students could tackle the exercise I had to run through the practical in order to see whether everything the practical was going to work without any faults. Before the going through the practical however we had to create a suitable scenario that fitted with the practical. The scenario my supervisor and I came up with was as follows: Crime Number: NTU/221208 Location: 10 College Drive, Clifton Mr. Richard Sole Burglary at the above address overnight break entry gained via rear lounge window. Window forced using instruments. Climb in steal laptop and mobile phone. Exist as entry. There is footwear mark in flower bed below window and tool marks t scene. 2 suspects have been arrested and tools recovered from them. Their footwear has also been recovered for further examination. Once the scenario was in place my supervisor and I started the practical. The first activity was the casting of a footwear mark in damp sand. This activity was done as a team. It involved sketching the mark which was mentioned in the crime report with appropriate labelling. After this, the mark that was visible was coded using the letter coding system. This was necessary in order to identify the type of shoe that left behind the imprint. When the results of the mark came back from the letter coding system we prepared to cast the mark. For this we set casting frame around the mark and embedded it into the sand to prevent seepage of the plaster. This part had to be done as a team in order to ensure that the cast did not damage the mark and that the cast was evenly distributed. To cast the mark I had to: Take double bagged 2kg crownstone plaster and add 500mls of tap water to the bag, massage it well ensuring that the top of the bag remained closed. Add further water as necessary bearing in mind that the ideal consistency is runny (like pouring cream) without lumps. When the mixture is well mixed, snip off the corner at the bottom of the bad and using trawler pour plaster mix over the cast. During this step my supervisor pointed out that the mixture was not to be pour directly into the cast as this would destroy fine detail. Using the trowler gently tap the surface of mixture to ensure plaster settles into all of the impression and any air pockets are released. After 5 minutes using a craft knife inscribe suitable detail into the cast. This was not necessary in my case as I was just running the practical in order to see whether everything was going as intended however once the students started to do this activity they would have to inscribe their initials into the cast so they could distinguish between their casts. After the inscriptions the cast was left to take form for 45 minutes. Once the cast was dry I carefully tapped the edges of the casting frame to loosen and remove it. Then gently lifting the cast and keeping it over the tray brush off excess debris with brush so the details of the tread can be seen. At this point the cast was finished. I was told by a police officer how worked with us during the practical that in a real life crime scene the cast would not be cleaned. The cast plus soil would have been allowed to dry for at least 48 hours before they would be packaged and send intact to forensic scientist laboratory to be examined. The soil or debris attached to the cast may hold a small piece of evidence which could be crucial in solving a case or in the case of the above activity identifying the correct suspect which left the imprint behind during the burglary incident. The skills and knowledge that I took away from this activity was to pay attention to small details such as these which could really make a difference when it comes to solving a crime. The second activity was the Electro-Static Lifting Apparatus. This device is more commonly referred to as ESLA. ESLA consists of a high voltage power supply/control unit, a nickel-plated steel ground plane and a metalised lifting medium. It is used to lift impressions in dust from nearly any surface. It uses static electricity to attract the dust particles from the surface to a dark-colored lifting film, allowing for a clear and accurate photograph of the print. A grounding wire attaches to a grounded metal surface and a live wire attaches to a special metallic film. The unit is then activated. The film is statically attracted to the surface and dust particles are attracted to the black side of the film. A roller is provided to smooth the film over the surface. A flashlight is provided as an oblique light source to detect and photograph dust marks. This procedure ultimately produces the desired image which in my case was the footwear imprint. The activity was again carried out as a t eam however since this activity included the use of high voltage was done as a group of three to ensure that everything was cautiously done. The objective of this activity was to visualise a footwear print which was left behind on a clean surface using the dust particles that remained on the ground. The procedure went as followed: Using the crime light 80L ( a LED line light which is used for locating evidence such as fibers, hair or footwear prints in a crime scene) at a low angle we had to locate the area of shoe dust print to flooring sample. Using the Projectina Dustprint lifter my supervisor lifted the dustprint mark Following this I turned on ESLA and let the current run over the metal foil which was covering the of the shoe dustprint. After approximately 30 seconds ESLA was turned off to lift over the foil and using the crime light 80L I visualised the left to determine whether the electrostatic attraction drew the dust particle together to form the footwear mark. After confirming that it did I had the other colleague sketch the resultant lift on the crime report. This delicate procedure not only depended on precision but also accuracy. When the students carried out the activity, the sketch of the imprint was given a mark depending on the quality and accuracy of the sketch so one had to take extra care when placing the metallic foil on the dustprint not to destroy the arrangement of the particles and also while sketching the imprint. The third activity in the practical was the suspect shoe comparison. This activity differed from the other two I had done so far. Instead of retrieving footwear marks or dustprint marks my job was to examine 2 pairs of suspect shoes I received for comparison. After close examination I noted their code according to the FSS coding sheets. The FFS coding sheet holds the information of shoe types and patterns. Using the Bigfoot (a specialised set of equipment used to take footprints from shoes) I made a print of each shoe and labeled them appropriately then using a pen I had to highlight the areas of interest on the Bigfoot prints that were made. Finally I compared the Bigfoot prints against the Cast which we made during the first activity as well as the ESLA lift produced in the second activity to see whether any of the pairs were the ones which were found in the crime scene. I was told that in real life forensic scientists do this to point out the areas that overlapped with footwear evidence that was retrieved from the crime scene. Sometimes there are factors that help identify which shoe corresponded with the print that was left behind at the crime scene these include the size of the shoe. Some of the not so obvious features become more apparent following the completion of the Bigfoot analysis. The analysis tells you a lot about the sort of person which wore the shoes for example worn out soles indicate that the person wearing the shoes must have done a lot of walking. Distorted sole patterns arise due to the weight which is put on them. It is little clues such as these which narrow the number of suspects down. The final activity of this practical was the Tool Marks activity. What I had to do here was to examine the UPVC (a material used in manufacturing windows, gutters as well as doors) sections with the tool mark damage on them. Using silicon casting kit I made a cast of the marks and allowed them to dry for approximately 15 minutes before removing the from the wood. Once the silicon cast had dried I took it and compared it to the tools which were recovered from the suspects to see if any of the tools matched the cast. To identify the features and pattern of the tool mark and the cast I used a magnifier. This delicate procedure required a lot of patience and a steady hand as it took a while until align the tools with the cast however once this was done I was able to confirm which tool was used to make the tool mark. The final stage of this activity was to sketch and label the tool that made the tool mark. The information gathered from the practical was tabulated and filed away. The tabul ated results would then be used by the member of the teaching team to compare them against the results the students would gather. Following the completion of the practical I was asked by my supervisor to prepare a table of results using the computer. This table was to be used by the students to fill in their obtained results. The table also included a set of question which they had to answer. During my second week in the placement I was introduced to the crime scene house which was also situated on Clifton campus. The Crime scene house had been established very recently as It was formally an accommodation for postgraduate. It was now being used as a sort of training facility that simulated real life situation. The houses propose was for the students to hone their investigation and retrieval skills as well as get used to the idea of operating in a real life surrounding. The house itself was equipped with CCTV cameras in order to monitor the students while they were carrying out various scenarios. The forensic science department worked closely together with the Nottinghamshire police as stated earlier. The benefits of this was of course the fact that students would get advice from experienced officers on how to deal with murder investigation, burglary cases and drug searches. My role as an assistant technician was to prepare the house for the appropriate activity that was going to take place. The scenario that I was asked to set up was a Drug search activity which was scheduled to take place during the course of the week. I was working alongside my supervisor and a member of the Nottinghamshire police who told me that this activity was quiet complex in a real drug search. Sometimes the places the drugs were hidden were unimaginable thats why you had to think like a criminal in order to find them. For health and safety measures the items which were to be used for the exercise were not real drugs. Once the drugs were all placed away I went back to the offices and designed a table using Microsoft word which held the information of the different kinds of drugs and equipment that were used and the precise location they had been placed in the crime scene house. This was done in order to keep track of the items the students retrieved and to remember which items had been placed where in the house. On the following day while the students were undertaking the Drug search activity my supervisor and I went into the CCTV room in order to monitor the students progress. My supervisor familiarised me with the operating system and the different functions that were necessary in order to control each CCTV individually. After I was comfortable with operating the CCTVs I was left with the task of monitoring the actions of the students as they were doing the activity. During this I had to note down any action which went against the code of conduct they had been taught during their lectures. When entering a crime scene it is of utmost importance that one wears the appropriate equipment such as a protective suite which covers you from head to toe, gloves and a mask. This is to stop you from covering the scene with your fingerprints, hair strains or saliva traces. Some of the students made mistakes such as the ones mentioned and it was precisely these acts that I had to write done in the log b ook. While I was watching I noticed that some of the students were retrieving the items quicker but in turn they did not find all of them. The items they did not find or rather overlooked were the items which I placed in the more obvious locations such as under the carpet. The others were retrieving the items at a slower pace however they managed to find all of them. This highlighted the fact that patience really was a virtue. After they had retrieved everything the unknown samples of drugs were brought back to the lab for testing. The other activity which took place in the crime scene house towards the end of the week was the murder scene activity. The preparation of this activity involved using life size dummies which looked shockingly real. Depending on the scenario the dummy was either male or female. The dummy we used that week was the male dummy which had cut wrists as well as a slit throat. It was placed in the double bed room. During this activity the students had to examine the room the victim was found in for fibre traces, footwear and any DNA traces. Once the room was adequately searched the students would go back to the lab to observe one of the members of staff demonstrating how to properly transport a corpse. During the demonstration it became apparent to a lot of students including myself that the transport of a corpse from a crime scene was not as straight forward as it seemed. Before the corpse was put in a body bag the limbs had to be wrapped in forensic evidence bags as they may hold crucial pieces of evidence which could be uncovered during the autopsies which take place in the forensic labs. I mentioned earlier that as part of being an assistant technician I had to take place in a Health and safety talk in order to familiarise myself with the daily hazards which encompassed the workplaces. The talk raised some interesting points of about the dangers of carelessness during work or how the arrangements of items could cause serious problems during evacuation. The talks main focus was about maintaining a good workplace at all times. It showed how one could increase their work efficiency by rearranging their desk, prioritising the items they need in order of their usefulness at the time. The talk went on to explain the necessity of taking short breaks when working on the computer. The breaks would allow you to take your gaze away from the monitor thus easing the strain on your eyes. A general rule of thumb is to look into the distance as this relaxes your ciliary muscles. Moving about during these small breaks is also very useful as it gives you the chance to get up from your chair and stretch your muscles. These few simple roles proved to be a very useful set of skills even now as Im writing this report. Throughout the practicals and scenarios that my supervisor, colleague and I did, I felt that our teamwork and communication kept improving to the point were it was almost flawless. This in turn greatly enhanced the rate of completing various tasks and practicals as there was less mistakes. After a while I was even able to help the students with minor technical difficulties of the camera equipment. The other major practical that I prepared and tested was the Inked Fingerprint practical. Fingerprints are taken for several reasons some of them are: To establish an individuals identity. To find out whether someone has a criminal record. In the case of migration the home office takes fingerprints to identify whether a person is illegal in the country. To clear a suspect of committing a crime. Using fingerprints as evidence in a court case. The Police use them to find out whether an individual has had any previous convictions. This practical also involved several different stages which when tied together provided me with the chance to develop an understanding of the range of fingerprint pattern types. Also while doing this practical my supervisor introduced me to the procedure that is involved in taking fingerprints from actual crime suspects. Once I had completed this exercise I understood the nature of fingerprint characteristics and I was able to handle fingerprint equipment as well as taking fingerprints from individuals. Before starting the procedure however I was made aware of the health and safety aspects of this practical. Even though the risks that encompassed were minimal I had to wear a lab coat to ensure that no ink came in contact with my clothing. The first part of the practical required teamwork as such I worked with my supervisor. This part of the practical divided the groups into two roles. One person had to supervise and take the prints whereas the other had to assume the role of the susp ect who was having their fingerprints taken. For the sake of understanding the practical I assumed the role of supervision. The materials that were used included: National arrest form Fingerprint ink Copper plate Ink roller Card form holder Palm roller Wipes A4 paper Magnifying glass ID sheet Linen tester Russell Comparator In order for obtaining the best possible prints I had to ensure that my hands were thoroughly washed, dried and free from perspiration, the ink plate was clean and inked appropriately and my wrists and fingers were relaxed making sure not to assists the prints by adding pressure to the plate as this only leads to inaccuracy. Once the precautions were set we went into the preparation procedure which was as followed: Complete the details on the form Fold the paper along the lines indicated Place the form under the fingerprint card in such a way that it leaves the right hand impression visible. Dot 8 to 12 equally spaced out dots of ink on the plate. Once this has been done roll the ink out evenly until it has a semi mat finish. Take a test impression on the plain A4 paper. If too much ink is used on the paper clogging will form between the ridges if however too little is used the ridges will appear grey. The aim in each case was to produce a fingerprint which had sharp black ridges and white interspaces. The trick of removing excess ink from the plate was to lay a blank piece of paper over it and pass the roller over it until the plate had an even layer of ink. As part of the health and safety precautions I had to bear in mind to check for cuts, skin disease and the quality of the ridges. This was to make sure that the ink would go into the cuts and cause an infection or agitate the skin. Once the practical had been set up we went through the practical as followed: The rolled impressions were obtained by rolling the digit through 180 degrees from nail edge to nail edge in order for the complete area of rigid detail on the inner surface of the finger to be recorded. My supervisor indicated that it is recommended to do this slowly as it produces a better quality of fingerprint. Take the fingerprints starting with the right thumb and working your way across the form, taking each finger in turn to the right little finger making sure that the right digit appears in the suitable space. After completing the right hand adjust the fingerprint form in the holder in such a manner as to allow the left hand prints to be taken. Once it has been repositioned repeat the same steps with the left hand taking care to position the digits. The reason the plain impressions are taken before the rolled impressions is to certify that the rolled impressions have been taken in the correct manner on the fingerprint form. I was told that they may prove very useful to a fingerprint office therefore it is very important that they are recorded within the area chosen for them and do not overlap onto other lines or printing. When these were taken I had to move the form down in the holder to expose the plain expression section. As soon as this is done I took each of the suspects hands and pressed all four fingers together onto the ink plate, lifted them off and onto the appropriate space and pressed all four fingers down together. After this I took them of and used the same procedure to get the thumb prints. The final part of the practical was to take the palm prints. Using the ink roller I covered the whole palm and finger surface of my supervisor with a coating of ink. Finally I had done this I placed the heel of the palm onto the paper and drew the hand back over the over the roller to the fingertips, exerting a little pressure. Once the practical was complete I put away the equipment and prepared the lab for research students that were working on a project that involved the use of cameras and 80L crime lights. I realised that throughout the placement my organisation and communication skills kept improving. Thanks to this it made me a more reliable person. The various tasks that were allocated to me by my supervisor reflected this. Being responsible for setting up practicals, backing up CCTV footage for later use and preparing equipment for research students has also increased my confidence of managing tasks by my self. The health and safety speech has also helped as it made me aware of the hazards that I used to ignore before. Personal development Having completed my placement at the forensic department I must say that this has been a priceless experience for me. The placement has not only given me an insight in the day to day activities that encompass a forensic scientist but it has also helped in further developing the key attributes and understandings that one needs in order to excel in any given workplace. I believe that the way I carried out the tasks that were assigned to me had a direct influence on my personal development and of course vice versa. Judging by this I would like to think that I carried out my daily tasks and completed them to the best of my ability. My attitude also contributed to my development. Generally I was quiet content with my workplace. At the beginning it took a while to adjust to certain aspects of the placement such as timekeeping, sticking to the deadlines and schedules and bearing the responsibility of setting up practicals. These demands and responsibilities required that I had to learn quic kly and adapt in order to prevail in this workplace. I realised during the placement that one of my weaknesses was the accuracy and reliability of the practicals I had prepared. This is only natural as forensic science was not my area of expertise however since I applied for this placement it meant that I had to follow the same conduct and set up the practicals in the exact same manner as a forensic technician would do. My supervisor also gave me the advice of taking my time while setting up the practicals. In order to resolve this issue I paid particular attention to the other technicians while they were setting up practicals. As a result of this the reliability of my practicals improved immensely over the course of the placement. One of my stronger assets that my supervisor commended on was my organising ability and initiative. I was able to resolve an issue that occurred with the backing up of the CCTV recordings. The recordings were usually burnt on a CD however for some reason when they were empty even though the burning of the CC TV recordings was successful. I suggested the idea of uploading the recordings on an external hard drive. This had a number of benefits as it was capable of storing many more Giga bytes of CCTV recordings and in the long run would work out cheaper than to keep purchasing CD ROMs. Overall I would say that this placement has transformed me into a more responsible, reliable and punctual individual who is able to work as part of a team, as well as work individually in order to accomplish the task that is set out to the best of his ability.

Stages of Human Development

Stages of Human Development 5 Stages of Human Development Social, physical, emotional, cognitive and cultural changes take place throughout the lifespan of an individual. There is a general sequence of development which is fixed, however the rate of development can sometimes differ depending on many factors. There are key needs which must be met and consequences if they are not. Stage of Life Cycle: Infancy 0-5 Years Attachment Theory-Bowlby At this stage the infant is highly dependant. From the moment a child is born they begin to develop physically. The babys senses begin to develop; he is able to focus on objects, learns to hold the weight of his head up and attempts to pull himself up holding onto the edge of a chair or table. He then learns to crawl and with lots of encouragement finally learns to walk. Through interaction with parents, family, friends and other children they learn to socialise, play and communicate. With much needed stimulation and play, babies and young children learn. They begin to recognise and memorise faces, characters, objects and songs. With communication, consistency and encouragement they learn speech and are taught routines and behaviour, such as bed-time and toilet training. To develop emotionally, a baby needs love, affection and consistent care. Bowlbys attachment theory, as later complimented by Rutter, suggests that from birth a child requires a consistent attachment and bonding with at least one main caregiver. With a sense of safety, belonging and being cared for unconditionally the child learns trust and views the world as a safe place to be. For this reason it is important to avoid broken attachments. If the childs parents are uncaring, unreliable, are inconsistent with their care or if circumstances cause the attachment to be broken completely, the child may be unable to develop to their full potential. Without an adequate, loving attachment the infant may not be able to develop a loving relationship in future and without a trusting relationship with the main caregiver, they will develop mistrust. They may become apprehensive, withdrawn and suspicious around people. Stage of Life Cycle: Childhood 5-12 years 8 stages of Identity; Initiative v Guilt-Erikson As the child reaches school age they have increasing physical independence. They now begin to learn new skills such as running, skipping, ball games and cycling. They have progressed socially and have the ability to choose their own friends, find their own interests and make their own decisions about which activities they take part in. They begin to develop an understanding of others needs and wants and learn to share and take turns. They can begin to develop emotional attachments to individuals other than family members which can develop if stimulated. Cognitively the child begins school education and begins to develop an understanding of authority and following rules. At this stage of a childs development they should be able to learn initiative without taking on too much guilt. Initiative means they should be allowed a certain amount of responsibility and the freedom to learn new skills; they can only achieve this by the parents allowing and encouraging their child to try out ideas and to allow them to use their imagination. The child must not be treated to feel too much guilt over their behaviour or feel ridiculed; this can lead them to become over sensitive and they can feel guilty about their feelings. On the other hand too much initiative and too little guilt can create a ruthless individual; they may not contemplate or care about the consequences of their actions. Erikson also states a child must develop a capacity for industry without excessive inferiority. The child must learn to understand the difference between imagination and reality with the guidance of parents and teachers. The child should learn the feeling of success and be praised and encouraged, without this they may develop an inferiority complex; they may become scared of failure and not able to attempt and learn new skills. Stage of Life Cycle: Adolescence 13-20 years 8 Stages of Identity; Identity v Role Confusion/Self Concept-Carl Rogers During adolescence the individual goes through a rapid growth spurt. Puberty begins and many developmental changes take place; boys begin to develop more defined muscle tone, start to grow hair over their body and their voice breaks and becomes deeper; girls become more curvaceous and they begin their menstrual period-both sexes become extremely hormonal which can lead to mood swings affecting their social and emotional life. They may be concerned that they are not developing as quickly as their peers causing emotional stress. Teens begin to develop and explore their personality and self image. Dependant on their culture they may develop physical relationships and experiment with drugs and alcohol. They experience and develop new social skills as they attend higher education and may leave the family home to attend college or university. The brain continues to develop until late adolescence. Cognitively this can be a very turbulent time with the pressure of exams and choosing their ca reer. As adolescents go through new life experiences and learn to deal with their emotions, they begin to take responsibility for themselves, reflect on their experience of life so far and create their own identity. Teens often rebel against the authority which has governed them up until this point; they break the rules and resist against their parents wishes. Their behaviour and attitudes change, they experiment with style and clothing and even begin to speak differently as they struggle to find their true self. They have a need to discover their own identity and to been seen in a positive way by others. Eriksons theory states that the individual must discover his own identity and without the freedom to do so may struggle to fit in and socialise. If this development is not made, for example if adults in the adolescents life do not allow them the freedom to express themselves, they may find it difficult to take on responsibilities and develop a sense of right from wrong. Should the parents push them to conform to their views; the individual will experience role confusion. Stage of Life Cycle: Adulthood 21-65 years Hierarchy of needs-Maslow As the individual reaches young adulthood, they reach their peak physical fitness, have an increase in stamina and should have developed a balance of good health and lifestyle. They may have their own children and have begun to settle down. They have generally decided and have settled down into their chosen field of profession and work to develop and improve their education and skills. They now take on many more responsibilities such as a mortgage, providing a stable and secure base for their family or they may experience stress within the workplace. Emotionally they may have experience of death and bereavement. They have more intimate relationships and may decide to marry; their role within the family changes and they begin to build social networks. According to Maslow, to achieve fulfilment an individual has key needs which must be met in order to reach their full potential, this is know as a hierarchy of needs. The bottom of the pyramid shows physiological needs such as shelter, food, warmth, stimulation and rest. The next level states safety needs which are required; protection from disease and illness. Maslow states that in order to move up the pyramid, each stage of requirements must be met. For example, without food and shelter an individual cannot be safe against disease and in turn cannot move up to the next step of the pyramid which is love and belongingness, followed by self-esteem. In adult life in our culture it is expected that an individual will be provided with their physiological needs and can live in safety. If they do not receive the love and affection they need; trust and acceptance and a feeling of belongingness they may not have self-esteem. Without respect and love from others they cannot respect and love t hemselves. Stage of Life Cycle: Older Adulthood 65+ years Hierarchy of needs-Maslow As the adult enters into the last stage of their life, they may begin to physically grow frail and can often suffer with mental illness. Older adults eyesight and hearing often begins to fail as they age. Socially the older generation tend to follow other interests and after retirement have time to lead a full social life. However, the older generation can become more isolated due to family issues or health reasons such as hearing or sight difficulties. Emotionally they can become withdrawn feeling themselves as a burden to their society, family and friends. They may begin to contemplate their lives and have negative feelings such as regret or guilt; however they may feel fulfilled, proud of their accomplishments and their family. An older adult has wisdom and experience although they may find it difficult to grasp and understand new technology and develop new skills. These disabilities are often due to ill health or memory loss. According to Maslows Hierarchy of Needs, at that top of the pyramid the individual has a need for esteem; self-esteem and the esteem they receive from others. They require a level of respect for themselves and from others; with the needs met they feel self confident and valuable. Without esteem they can feel inferior and worthless. If all the needs of the pyramid have been met, the older adult reaches self-actualisation; a feeling that they have lived a life of purpose. Without the other needs of the pyramid being met they may struggle to reach this level. References Miller. J (2000) Care in Practice for Higher Still, Hodder Stoughton Erikson. E.H. (1965) Childhood and Society, Hogarth Press, London, pp.222-43 http://webspace.ship.edu/cgboer/erikson.html http://www.learning-theories.com/eriksons-stages-of-development.html

Reforming the Nineteenth Century Police System :: Law Enforcement

Reforming the Nineteenth Century Police System American cities of the eighteenth and early nineteenth centuries had problems with crime, vice, and disorder. Some urbanites complained about the extent of prostitution, brawling and robbery. Yet few cities felt cities felt impelled to make subsequent changes in the traditional pattern of night watch and unsalaried police officers before the 1830s. There are many reasons for problems getting worse in American cities. One reason for this is that serious crimes, by the standard of subsequent decades at any rate, were infrequent. Another reason was because there was a good deal of corruption in the old system of policing. The geographical growth of the cities and its population was increased. The crime was happening more frequently. There were a lot of problems in the old system of policing. As a result, in major cities like New York, there was a demand for reforming the police system. By the 1830s, larger northern cities found their problems of crime and disorder overpowering the traditional instruments for dealing with them. The old system was not able to maintain order or prevent crimes. This coincided with a tremendous growth of urban population. America was shifting from a farming civilization to a big business society. Also there was mass immigration into the United States and many men and women settled in cities. For example, cities such as New York, Boston, and Philadelphia underwent rapid social and economic change in this time period. Because of the pace of this change, the policing system could not keep maintain order. Maintaining order seemed imperative and the demands for reform increased as well. Immigration jumped substantially after 1830. The total number of arrivals at the port of New York was more than three times greater in the 1830s than it had been the previous decade and there was a great movement on Manhattan Island as well as many other major cities. From time to time New York State officials extended the city’s lamp and watch district, the area in which the municipal corporation was to provided street lighting and watch protection and to collect taxes to pay for these services.[1] Boston had twice as many people in 1840 as twenty years before. This caused problems in the urban cities.

The Software Piracy Problem in China :: Technology

The Software Piracy Problem in China 1. The truth: Software piracy at issue in China. Surprisingly, software counterfeiting has such a profitable global market that â€Å"organized criminal groups using the proceeds from software counterfeiting to pay for terrorist operations overseas†, according to Brad Smith, Microsoft general counsel international. [1] Even though most people nowadays are aware of pirated software either from various news medium, or by seeing illegal software copies distributed among friends or students in their personal PCs, it would still be a shocking fact that, in the year 2000, software companies estimated that they lost $12 billion in revenue because of counterfeiting. That's 15% of the industry's $80 billion in worldwide sales.[2] Although software piracy is undoubtedly a global issue, people have been paying special attention to this issue in China. The truth is that, even though the piracy rate is increasing worldwide and the rate rose in 2000 to 37% from 36% in 1999, which means 37% of the software sold is estimated to be fake, the software piracy rates in China are up to 92% in 2002 according to Business Software Alliance (BSA). [3] Compare to China, in U.S. the average piracy rate by states is only 25.1%. Software piracy has different types. BSA identifies five common types as follows.[4] First, end user piracy. It occurs when a company employee reproduces copies of software without authorization, including using one licensed copy to install a program on multiple computers, or copying disks for installation and distribution, etc. Second, client-server overuse. It occurs when too many employees on a network are using a central copy of a program at the same time. Third, Internet piracy. This occurs when software is downloaded from the Internet where the same purchasing rules should apply to online software purchase as for those bought in traditional ways. Fourth, Hard Disk loading. It occurs when a business that sells new computers loads illegal copies of software onto the hard disks to make the purchase of the machines more attractive. Finally, Software Counterfeiting. This type of piracy is the illegal duplication and sale of copyrighted material with the intent of directly imitating the copyrighted product. In China, most of the software piracy is conducted as the type of Software Counterfeiting. Street gangs selling pirated software can be easily seen in grey market anywhere in China. 2. Who is able to protect your software right? The government?

Designer Babies Essays -- essays research papers

Designer Babies I’ve been poked and prodded at ever since I can remember, but what I didn’t know was that I was actually a poked and prodded at individual even before my existence. Transplanted DNA is what they should have named me instead of Wang. I find my existence to be not as real or as wanted as others who were conceived naturally with both loving parents and even the idea of other loving parents adopting their children. It just seems unfair that my parents would make decisions for me before I was even born. The idea of someone wanting to create their child is absurd. Our bodies own process of getting rid of the bad genes is something we can not control. We can not begin to have the same instinct as our bodies. Allowing this to go on could jeopardize an individual’s identity and its remarkableness and how far is too far in parents decision making. This process will also affect the â€Å"designed baby† emotionally for the child may think they are not real in the sens e that they were created for selfish purposes. Altering an embryo's genetics affects the child physically and emotionally. As well as affecting the society as a whole in the long run. Designer babies, a term used by journalists, are described as â€Å"advanced reproductive technologies allowing parents and doctors to screen embryos for genetic disorders and for selecting healthy embryos† (Bionet). There are three ways that can be used to create this â€Å"designer baby†. â€Å"The simplest way to a designer child is human cloning: taking a cell from an adult and combining it with a human egg to make an identikit clone of the adult. This is the ultimate pedigree child with guaranteed genes [†¦] Another more difficult way to make designer people, or a super race, is to take sperm or eggs, or cells in a developing embryo, and add new genes to them. This is called germ cell alteration [†¦] A third way is to alter cells after birth. This is called somatic cell alteration. Here the effects will die out when the person dies, and will not be passed onto a second generation of designer babies† (Dixon). Parents make decisions for their children before they are even born. The unborn fetus is robbed of molding their own identity because their physical traits have been chosen for them indirectly. The child is artificial and unnatural. A science experiment preformed wrongfully, in hopes to create one’s self conscious idea of... ...hat fate can only be made possible by altering the traits that nature intended us to inherit. Thus putting wrongful thoughts of people’s views of what’s acceptable. When in reality everybody is different and that’s what gives a person an identity and if we all look the same then that would be a world of chaos and if you're not rich enough then you’re put to the side as â€Å"the ugly duckling†. Once we are capable of changing our child genetically the imperfect will not be accepted in a society of a â€Å"super human race† of intelligent, flawless, disease free people. websites where i got the quotes 1http://www.bionetonline.org/English/Content/db_cont1.htm â€Å"Advanced reproductive technologies allow parents and doctors to screen embryos for genetic disorders and select healthy embryos.† -definition 2http://www.spiked-online.com/Articles/00000006DD57.htm Debating 'designer babies' Personal reproductive choices should not be a matter for legal regulation. by Ellie Lee 3http://www.reason.com/rb/rb030602.shtml helpful info for debate pro 4http://www.globalchange.com/designer.htm sex selection should not be allowed because one should love their child no matter what sex or appearance it may have.

The Yellow Wall-Paper -- Literary Analysis, Gilman

In the â€Å"The Yellow Wall-paper,† the author, Charlotte Perkins Gilman, writes about a struggling mentally ill woman, named Jane, trying to work through her individuality and her own depression. This story is centered around her bedroom, her mental state, and the yellow wall-paper on the walls in her room. The reader can easily feel the pain, anguish, despair, and struggles of a woman going through a depressive state. Gilman writes about the individual succession of the woman’s mental state through the disarray of the patterned yellow wall-paper. The theme of feminism is exposed by the main characters use of language, her feelings of inferiority, mental struggles, and anger. The language of the narrator in this story is repressive to women, from the beginning and all the way to the end of the story. In the beginning of the story, the language of the narrator appears in a few ways. The ill woman is forbidden by her husband to write in her journal until she is well, to compensate for the loss of work. She feels constricted by her husband to speak freely and writes in a hidden journal. Gilman writes â€Å"I would not say it to a living soul, of course, but this is dead paper and a great relief to my mind† (808). Sad and true, but she doesn’t feel that she can tell her husband how she really feels and â€Å"the only safe language is dead language† (Theichler 61). The language of male judgment and control is predominant in the beginning of the story too. Her husband and brother both are physicians, diagnose her with a nervous condition, and both believe she will be fine with medicine and rest. The men in her life believe she should no t work, and they emphasize that she â€Å"take phosphates or phosphites--whichever it is--and tonics, and journeys,... ...the wall-paper torn from the wall, and he finds the woman creeping about the room, and faints. The narrator declares, â€Å"I’ve got out at last,† said I, â€Å"in spite of you and Jane! And I’ve pulled off most of the paper, so you can’t put me back† (Gilman 819). The narrator finally wins the battle of escaping her imprisonment of John the controlling husband. Jane is finally free of her depression and of her husband’s dominance. It temporarily cost her, her sanity to the point where images were being projected from the yellow wall-paper. The paper was a part of Jane’s neurosis, but also crept into the entire household. In order to cope with the madness Jane found her inner self is an image of a creeping woman trying to escape the patterned wall-paper. In order to escape her suppression, Jane immersed herself further into her insanity to become sane once again. The Yellow Wall-Paper -- Literary Analysis, Gilman In the â€Å"The Yellow Wall-paper,† the author, Charlotte Perkins Gilman, writes about a struggling mentally ill woman, named Jane, trying to work through her individuality and her own depression. This story is centered around her bedroom, her mental state, and the yellow wall-paper on the walls in her room. The reader can easily feel the pain, anguish, despair, and struggles of a woman going through a depressive state. Gilman writes about the individual succession of the woman’s mental state through the disarray of the patterned yellow wall-paper. The theme of feminism is exposed by the main characters use of language, her feelings of inferiority, mental struggles, and anger. The language of the narrator in this story is repressive to women, from the beginning and all the way to the end of the story. In the beginning of the story, the language of the narrator appears in a few ways. The ill woman is forbidden by her husband to write in her journal until she is well, to compensate for the loss of work. She feels constricted by her husband to speak freely and writes in a hidden journal. Gilman writes â€Å"I would not say it to a living soul, of course, but this is dead paper and a great relief to my mind† (808). Sad and true, but she doesn’t feel that she can tell her husband how she really feels and â€Å"the only safe language is dead language† (Theichler 61). The language of male judgment and control is predominant in the beginning of the story too. Her husband and brother both are physicians, diagnose her with a nervous condition, and both believe she will be fine with medicine and rest. The men in her life believe she should no t work, and they emphasize that she â€Å"take phosphates or phosphites--whichever it is--and tonics, and journeys,... ...the wall-paper torn from the wall, and he finds the woman creeping about the room, and faints. The narrator declares, â€Å"I’ve got out at last,† said I, â€Å"in spite of you and Jane! And I’ve pulled off most of the paper, so you can’t put me back† (Gilman 819). The narrator finally wins the battle of escaping her imprisonment of John the controlling husband. Jane is finally free of her depression and of her husband’s dominance. It temporarily cost her, her sanity to the point where images were being projected from the yellow wall-paper. The paper was a part of Jane’s neurosis, but also crept into the entire household. In order to cope with the madness Jane found her inner self is an image of a creeping woman trying to escape the patterned wall-paper. In order to escape her suppression, Jane immersed herself further into her insanity to become sane once again.