North and Central Florida Springs Essay example -- Geology

Introduction Groundwater is the largest and most available usable source of drinking water in the state. There is a vast and mysterious system of caves and natural springs in North Central Florida. The cave system within the aquifer is one of the most amazing parts. The caves are remarkable in many ways. They are among the deepest and longest in the world, let alone the U.S. Another amazing aspect of the system is the purity of the water. The springs collectively produce billions of gallons of crystal clear water per day. The whole system stems from the Florida Aquifer that rests under the entire state. When most people think of Florida, they think of the weather and the beaches, but its the springs and the whole water system of the Florida Aquifer that makes the State so lush. The springs are an invaluable resource and natural wonder of the state. Combined, the system of 320 known springs produces nearly 8 billion gallons of water per day, more than the state currently uses (alt hough at present population growth, this remains to be seen). The springs of North Florida have always been a wonder. From the days of the Spanish Conquistadors searching for the "fountain of youth" to the millions of tourists that come to visit the springs today they have intrigued and amazed. With crystal clear waters feeding rivers that can disappear as quickly as they appeared the springs truly are an amazing sight. It was always thought that these springs were an unlimited resource, but scientists have discovered that man's influence can harm these spring. The Biscayne Aquifer in South Florida are already showing signs of a reduced flow due to the overpopulation of the area. The whole system is very fragile and we must all be ... ...d protect the water. There are grass roots organizations trying to help their areas and organizations like NSWA, but we need some cohesive concerted group effort if anything is going to get done. Individuals need to do their part to help preserve and protect the natural springs and the whole water system. The NSWA continues its lobbying of the FDA in its fight with the bottlers that use boreholes. Other groups are also helping and if they work together they may yet save one of our states most important resources. Although groups like the NSWA and Save Our Springs, Inc. have won small battles and stalled the advances of some companies, they are facing a booming 3 billion dollar industry with its own powerful lobbyists. The battle is far from over to protect our springs and everyone should be made aware of their obligation to help protect this invaluable resource. North and Central Florida Springs Essay example -- Geology Introduction Groundwater is the largest and most available usable source of drinking water in the state. There is a vast and mysterious system of caves and natural springs in North Central Florida. The cave system within the aquifer is one of the most amazing parts. The caves are remarkable in many ways. They are among the deepest and longest in the world, let alone the U.S. Another amazing aspect of the system is the purity of the water. The springs collectively produce billions of gallons of crystal clear water per day. The whole system stems from the Florida Aquifer that rests under the entire state. When most people think of Florida, they think of the weather and the beaches, but its the springs and the whole water system of the Florida Aquifer that makes the State so lush. The springs are an invaluable resource and natural wonder of the state. Combined, the system of 320 known springs produces nearly 8 billion gallons of water per day, more than the state currently uses (alt hough at present population growth, this remains to be seen). The springs of North Florida have always been a wonder. From the days of the Spanish Conquistadors searching for the "fountain of youth" to the millions of tourists that come to visit the springs today they have intrigued and amazed. With crystal clear waters feeding rivers that can disappear as quickly as they appeared the springs truly are an amazing sight. It was always thought that these springs were an unlimited resource, but scientists have discovered that man's influence can harm these spring. The Biscayne Aquifer in South Florida are already showing signs of a reduced flow due to the overpopulation of the area. The whole system is very fragile and we must all be ... ...d protect the water. There are grass roots organizations trying to help their areas and organizations like NSWA, but we need some cohesive concerted group effort if anything is going to get done. Individuals need to do their part to help preserve and protect the natural springs and the whole water system. The NSWA continues its lobbying of the FDA in its fight with the bottlers that use boreholes. Other groups are also helping and if they work together they may yet save one of our states most important resources. Although groups like the NSWA and Save Our Springs, Inc. have won small battles and stalled the advances of some companies, they are facing a booming 3 billion dollar industry with its own powerful lobbyists. The battle is far from over to protect our springs and everyone should be made aware of their obligation to help protect this invaluable resource.

Charles Dickens engender sympathy Essay

How does Charles Dickens engender sympathy for his protagonist Pip in this extract from ‘Great Expectations’? In this essay on ‘Great Expectations’, I am going to explore how the experiences of the main character Pip, create sympathy from the reader for him and how Dickens has put this across. Charles Dickens has written a gripping novel, set in his time and he has created sympathy for Pip in many different ways throughout the text. A first example of this is when Pip visits Miss Havisham’s house and meets Estella. ‘She called me â€Å"boy† so often and with a carelessness that was far from complimentary7, this shows that the way Estella spoke to Pip and that, instead of addressing him by his name, she just called him boy as if he was not worthy of his name, and he could sense that she did not really like him because of the way she said this, as indicated in the quote. This makes the reader feel sorry for Pip as Estella was very rude to him and unwelcoming, and nobody would really like to be in his position. So as well as being uncomfortable at the way Estella treats him, Pip also feels uncomfortable with his new surroundings as he has grown up with Joe and his Sister in poor, working class conditions at a Blacksmith’s forge, whereas Satis House is very different. It is rich and grand but also scary for Pip. ‘The first thing I noticed was that the passages were all dark’, this shows that Pip must have been quite frightened because of the darkness, and he was in a strange place but it is even worse that it is the first thing he noticed about the house. Pip was frightened of his surroundings as they were gothic and dark and very different, but the fact that he did know anyone at all must have also been a challenging experience. ‘At last we came to the door of a room and she said, â€Å"Go in/’ I answered more in shyness than politeness, â€Å"After you miss. † To this she returned: â€Å"Don’t be ridiculous boy; I am not going in. † And scornfully walked away, and what was worse took the candle with her. ‘ This was very uncomfortable and I was half afraid/ This long quote, from the extract shows a lot, first of all that he was very shy and uncomfortable in everyway at where he was and that he didn’t know anyone and he was also afraid. When he entered Miss Havisham’s room he was afraid again because of the very strange surroundings he entered into. ‘No glimpse of daylight was to be seen in it! ‘ this shows that it was very unusual and he was quite frightened and also when he saw Miss Havisham, ‘the strangest lady I have ever seen or shall ever see/ As well as being very strange, Pip also noticed that she was extremely rich, ‘some bright jewels sparkled on her neck and her hands, and some other jewels lay sparkling on the table/ Pip was not used to seeing such finery or such unusual surroundings so all of this makes the reader feel very sympathetic towards him. Miss Havisham’s mental state could also be a coarse for concern as, since her fianci left her on their wedding day and broke her heart she went a bit mad and stopped all of the clocks in the house and, by never touching anything in her room she tried literally to stop time at the prosiest second her heart was broken. ‘Her watch had stopped at twenty minutes to nine’ and she says to Pip ‘†What do I touch? † â€Å"Your heart. † â€Å"Broken! â€Å"‘ This experience must have been very frightening and unsettling for a young naive boy who was not used to being in the presence of such an eccentric and slightly mad old lady. Not just the fact that Miss Havisham was strange and so were her surroundings she also spoke to Pip and ordered him in a very strange and suspicious/manner. ‘†I sometimes have sick fancies† â€Å"and I have a sick fancy that I want to see some play. There, there! † â€Å"Play, play, play! â€Å"‘ This order seems rather strange for an old woman to have a fancy to see a young boy play but also the repetitive way in which she commands him to ‘†Play, play, play! â€Å"‘ She says this three times and Pip does not really know what to do so he therefore feels very awkward. After the harsh words from Estella and meeting Miss Havisham, Pip starts to feel the realisation of his low social status. ‘ This boy, why he is a common labouring boy, these words from Estella hurt Pip deeply but he did not show his true emotions until he was alone. ‘As I cried, I kicked the wall and took a hard twist at my hair; so bitter where my feelings! ‘ Dickens has displayed this very well as you can also feel a connection with him, because it is written in first person narration I, so you feel like Pip is actually talking to you, and you could imagine if you were in Pip’s position you, yourself would feel very frightened and uncomfortable so you end up feeling sorry and sympathetic for him.

The Bluest Eye-Theme of Vision

Toni Morrison’s highly acclaimed debut work, The Bluest Eye, is one of unquestionable beauty and intricately woven prose. As a fictional writer, Morrison avails herself of her literary faculties, using her mastery of description in order to convey an unusually lucid picture to the reader. The five senses seem to envelop a great deal of description in the novel, most notably that of sight. As has been discovered by virtue of studying the brain’s neural and cognitive machinery, vision occupies large regions of the brain.Although in a more abstract sense, vision’s disproportionate influence on the narrative and the story’s characters is greatly manifested in The Bluest Eye. One powerful way in which vision dictates many aspects of the novel is through the concept of aesthetic beauty. Throughout the novel, Morrison paints a detailed depiction of how African-Americans, especially young, amenable girls, are subject to the conventional indoctrination of beauty.So ciety has taught them to equate white with beautiful, and to go to considerable lengths to â€Å"whiten† themselves, such as in the case of women like Geraldine, who is described as sugar-brown in skin tone: â€Å"†¦they never cover the entire mouth for fear of lips too thick, and they worry, worry, worry about the edges of their hair† (83). Geraldine even goes as far as to inculcate this physical selfloathing in her own son, Junior: â€Å"†¦his hair was cut as close to his scalp as possible to avoid any suggestion of wool, the part was etched into his hair by the barber† (87).Any manifestations of stereotypical racial features, such as full lips and â€Å"wool-textured† hair are carefully concealed in an effort to adhere to the white ideal of what is beautiful. In the town of Lorain, Ohio, subliminal and implicit messages emphasizing whiteness as superior are found everywhere, and seemingly impossible to ignore. The quintessential white baby do ll given to Claudia as a present, romanticism of Shirley Temple, the exaltation of the light-skinned Maureen, idealization of white female actresses in movies, and Pauline’s nurturing of the little white girl are a few examples of the ways in which hese hypnotic images invade the vulnerable consciousness’ of the African-American women and young girls in the story. Adult women, having matured into consummate self-loathers, detesting the bodies in which they were born, express their hatred by taking it out on their own children: Mrs. Breedlove adopts the conviction that her daughter is ugly, and Geraldine curses Pecola’s blackness. The idea that ugliness is in fact a state of mind is presented early on in the book when illustrating the Breedlove family: â€Å"Mrs. Breedlove, Sammy Breedlove, and Pecola Breedlove—wore their ugliness† (38).This sentence provides an implication that the Breedlove’s ugliness was a result of deliberate choice. The narrator then continues on, observing, â€Å"You looked at them and wondered why they were so ugly; you looked closely and could not find the source† (39). In saying this, one can elicit that the members of the Breedlove family are not inherently ugly, rather they are driven to believe that they are and that they deserve to be, convincing those that look upon them that they are ugly. The Breedlove’s sense of physical insecurity emanates outwardly, and causes others to see them in the way they want to be seen.For one reason or another, being viewed with contempt for their appearance benefits them in some way. For Mrs. Breedlove, her ugliness is used for purposes of â€Å"martyrdom,† for Sammy, it is used to inflict â€Å"pain,† and for Pecola, it is used as a â€Å"mask† to hide behind. In the vein of vision, a recurring motif that is discernable in The Bluest Eye is seeing versus being seen. Many characters in the novel, most frequently, Pecola, ex press feelings of being disregarded and invisible when interacting or in the vicinity of white people.In the passage about the Breedlove’s living situation, they are described as living in â€Å"anonymous† misery. The fact that they paradoxically live in anonymity despite being exposed to passersby on the street, introduces this prevailing theme. Conceivably one of the most memorable scenes that addresses this subject is when Mrs. Breedlove recounts giving birth. In referring to the doctors, she says, â€Å"They never said nothing to me. Only one looked at me. Looked at my face, I mean. I looked right back at him. He dropped his eyes and turned red. He knowed, I reckon, that maybe I weren’t no horse foaling† (125).By refusing to make eye contact with her and acknowledge her, the doctors, in a way, dehumanize her. She sees them, but they do not see her. They treat her as though she is an animal, rather than a sentient human being, and although uneducated, Mrs. Breedlove is perceptive enough to notice this. She believes that if they were to lock eyes with her, they would realize something unpleasant: that she is no different from the white patients. With regard to invisibility, the early scene with Pecola in the candy shop also seems to be particularly telling.In speaking of Mr. Yacobowski, it says, â€Å"†¦he senses that he need not waste the effort of a glance. He does not see her, because for him there is nothing to see. How can a fifty-two-year-old white immigrant store-keeper†¦ see a little black girl? (48). What can be gathered from this is that the man, to some degree, has made a conscious choice not to look at her, not because he is physically incapable of doing so, but because he considers someone of her skin color insignificant, and not worth the energy necessary for acknowledgment.This theme underscores the difference between how one sees and how one is seen, also differentiates between superficial sight and real insight. Pecola’s desire for blue eyes is undoubtedly essential to examine when considering the power and impact of vision in the novel. Pecola is consumed with the thought of having blue eyes because she believes that they would be the simple panacea for everything that is unpleasant in her life. She is convinced that they will alter the way she is seen by others, and therefore the way that she sees the world around her.To Pecola, blue eyes and happiness, are inextricably linked. In a way, too, they represent her own blindness, since she attains them at the expense of her sanity. In addition, she has the understanding that if she had â€Å"beautiful† eyes, people would not think it right to do ugly things in front of her or to her: â€Å"Maybe they’d say, ‘Why, look at pretty-eyed Pecola. We mustn’t do bad things in front of those pretty eyes’† (46). She believes that the cruelty she is exposed to is somehow intertwined with how she is seen.Her insight is confirmed when Maureen steps in while being teased by the boys at school. Upon arrival, it seems that Maureen’s beautiful gaze causes the boys not to want to act badly. One character in The Bluest Eye that stands out against the rest as being one of the few individuals who can see clearly, and through an unadulterated lens is Claudia. Her clarity of vision is in part due to the fact that it is not marred by pain, like Pecola’s is. In the beginning of her narrative, she talks about how she has not yet reached the stage in adolescence where love turns to self-hatred.She is different from others girls her age because she does not strive to emulate them, at the loss of her well-being. When she receives the doll, she describes her impulse to dismember it: â€Å"I had only one desire: to dismember it. To see what it was made, to discover the dearness, to find the beauty, the desirability that had escaped me, but apparently only me† (20). In her childlike naiveness, she does not realize that the beauty everyone praises the dolls for does not come from within, but instead, is on the surface. She wants to take apart the doll in the hopes that she will unearth the inner secret to its beauty.At least at this point, she is unaware of what society has narrow-mindedly deemed beautiful. Near the end of the story, when she and her sister are talking about Pecola’s pregnancy, she imagines the unborn baby as beautiful in its blackness, indicating that she does not embody the impressionable mindset typical of other women in the book. The Bluest Eye is one of the most profound examples in modern literature that attests to the ability of vision in impacting the way in which people perceive the world and are perceived by others.The novel repeatedly brings to attention the malleability of human sight, and its vulnerability to distortion through the lens of hatred, love, bigotry, and racism. Even in the title of Morrison’s wor k, one can learn a substantial amount about the intrinsic role vision plays in the story. The word ‘eye’ in the title is singular rather than plural, suggesting the negative implications on the individual by society’s white tunnel vision in relation to concepts of beauty and approval. In addition, the double meaning of ‘eye’ and ‘I’ strongly emphasizes the significance of vision in the grand scheme of the novel.

Sergei Prokofiev

Ashley Owens Professor Lleweylln Music Appreciation 13 November 2012 Sergei Prokofiev How does music make us feel? Not what do we feel when we listen to music but more specifically, what is it about Music that triggers our human emotions? What effect did hearing those sad country songs on the radio during my morning drive to school have on the rest of my day? Why does upbeat hip hop music always make me nod my head with the beat? Why does a song like â€Å"Go rest high on that mountain† by Vince Gill always make me cry?Music is a large part of most of our everyday lives. Sergei Prokofiev understood that considering the feelings and emotions of the listener was vital in the production of music, and demonstrates in â€Å"Peter and the Wolf† how musical properties can persuade us emotionally. The road to Prokofiev’s growth to being one of the most unique composers of his time started in Sontsovka, Ukraine in the year 1891. His mother was a pianist and his first pian o teacher. Prokofiev began writing piano pieces at age five and by age nine had written his first opera.He studied at the St. Petersburg conservatory starting at ten years of age from 1904 to 1914. Prokofiev performed as a virtuoso starting in 1910 and began making a living in music. At his graduation recital he played his own first concerto. In 1915 during World War I he composed Scythian Suite and his first classical Symphony in 1917 (David Nice). In 1918 Prokofiev moved from Russia to the United States in search for greater artistic perspectives. After mixed experiences he moved to Paris in 1922 and finally returned home to Russia to be with his family in 1936.One of his first compositions upon returning home was Peter and the Wolf. Written in April of 1936, Peter and the Wolf were written as an introduction for children to the orchestra and were narrated by Prokofiev himself at the children’s theatre in Moscow. The story takes place in a meadow near young Peter’s h ouse. After watching the wolf swallow the duck, the young boy devises a plan with help of the bird, to capture the wolf and take him to the zoo. Each particular character in the story is represented by a musical instrument performed in the piece.The bird is played by the flute, high in pitch and quick in tempo. The duck is played by an oboe, slow in tempo and giving him a clumsy feel. The clarinet represents the cat, sneaky and methodical. Grandpa is represented by a bassoon deep in pitch giving him comedic properties. The wolf is played by a French horn which gives off a hominess and dark presence. The hunters are played by the Timpani and drums mimicking the sound of their guns as they try to shoot the wolf. Finally Peter is played by a mix of string instruments, Violin, Viola, String Bass, and Cello.Peter and the wolf show us how musical properties can persuade us emotionally. That we associate certain sounds with being happy or determined like Peter and the string instruments. W hile other sounds can be associated with sadness or generate fear like the wolf and the French horns. It is both the story, the composition of the music, and its ability to attach to parts of the story, that makes Peter and the Wolf so intriguing and timeless. These qualities also make it fun and enjoyable for multi age groups.The story itself quickly has us intently supporting our hero Peter as he is visiting animals in the nearby meadow. It builds a rapport with the core characters making us feel involved in the story, making us care for the bird as he narrowly escapes the clutches of the sly cat, and at the same time casting Peter as the hero in this story. It shows us the down fall of the duck, when he is swallowed by the wolf, pulling us in on the real danger there in the meadow. The climax comes when Peter, with help of the bird, capture the wolf and save the meadows animals from harm.True to his role of the hero Peter then stops the hunters from shooting the wolf and insists that he be taken to the zoo. The story seems to end on a happy note but leaves several questions unanswered and places for the story to continue. Questions like what happened on the way to the zoo, and would the duck ever escape from the belly of the wolf. The story is open-ended and allows us to form our own conclusions. The tune of Peter and the Wolf may be easily recognizable to some, since it is famous for its Disney interpretation and used regularly in classrooms for teaching.Personally I associate the style of orchestra with older cartoons in which a great deal of them were without much dialog and were backed by classical music, as was Looney Tunes – Pigs in a Polka which contained Brahms Hungarian Dances #5,7,6 and 17. It can be easily argued that Prokofiev is indirectly responsible for all of them, as his Peter and the Wolf were really the first of its kind. Over ten years after its original creation, an animated adaption was created by Walt Disney and released on Aug ust 15th 1946 introduced as part of its Make mine Music collection of shorts.Aside from narration by Sterling Holloway the cartoon is true to the original piece in that the characters are represented in sound by their respective musical instruments. The short animation does a great job of lining up the music with the art really bringing the characters and the music together. However trying to make the cartoon more child friendly the story is slightly altered and added to. During the introduction some of the characters are given names, â€Å"Sasha† the bird, â€Å"Sonia† the duck, and â€Å"Ivan† the cat.At the end of the Disney version we find that the duck was not really eaten by the wolf but instead had hid in a tree trunk and is happily reunited with Peter and the other pets once the wolf is captured. Since then Peter and the Wolf has been remade several times in various ways most recently in 2008 by Suzie Templeton. Having the music fit into the animations m akes it very easy for children of all ages to associate the sounds separately and really enjoy the story. Prokofiev’s music was sophisticated that almost a century later we are still using it to teach our children and entertain us all. Prokofiev was one of the great composers of the 20th century; arguably the greatest. I think the case for Prokofiev’s supreme greatness rests upon the likely premise that no other composer of the 20th century enriched the musical repertoire in as many different forms as did Prokofiev, and did so at such a consistently high level of quality and lyrical beauty† (Turlish). Though he is famous for only very few pieces of his work, the power of those pieces remains nearly unparalleled even to this day. Many artist credit Prokofiev for artistic inspiration in their creations.Unfortunately Sergei Prokofiev was in many ways a man out of time. He was product of 19th century music that had his own way of writing and composing. For many who l ived in the era this made him misunderstood and not taken seriously as a composer. In a recent interview, Barbara Nissman said, â€Å"he was such a natural talent, he followed his nose. Nobody ever dictated to him how to write and he wasn’t a member of any school of thought or academic theory. His music went where he thought it was supposed to go. You couldn’t put him in a box. Some people thought he was conservative but others thought he was way too out there.I think his unique approach to the instrument – his sense of originality – frightened a lot of people, especially the critics who had no idea which box to put him in. † Music, even if forgotten or put into the back of our subconscious for a long period of time can often trigger a memory or a feeling we had the first time we had heard it. Maybe an important time in our lives that we lived out while the radio was playing, we may or may not have even known it was there. However at any point we m ay stumble across that song on the radio, waiting in line at the bus station, or shopping at the local grocery store.For however brief a moment it allows us or forces us depending on how you look at it, to go back in time a memory and recall it with enhanced clarity. Sergei Prokofiev realized these things and implemented this epiphany into his music, which to me seems more than obvious in the classic piece Peter and the Wolf. For years to come both children and adults may associate the hominess sound of the French horn with the frightening wolf, they may hear a flute and be over taken by their first memory of watching the classical Disney short, where they were, or who they were with.Through concentrated listening we can learn to separate musical properties of any piece. However attaching those pieces to a character or a feeling is something that Sergei did way before his time. Prokofiev has touched so many lives, and through his music changed the landscape of how we all perceive it . Works Cited Turlish, Bruce. Kith. Org. Web. 18 Oct. 2012. Nice, David. Prokofiev: From Russia to the West, 1891-1935. Columbus. MT. Yale University Press Publication. 18 Oct. 2012. Print Nissman, Barbara. Adventures. In. Music. Biz. Web. 18 Oct. 2012

The Four Ps of Creativity

An Analyse of a Significant Creative and Innovative Thinker in Terms of the Four Ps A concept labelled as the ‘Four Ps’ has been used to help understand the influential factors around creative beings and how these factors influence their final creative products. According to Mel Rhodes in his book An Analysis of Creativity (1961) these Four Ps; person, place, process and product are the underlying factors of creativity itself. By understanding how the 4 Ps work we are able to venturing into the life of a creative thinker and conduct and analysis of there creativity. In this case we will look at a German media artist, Tom Tykwer who has constructed a variety of unique films due to his high level of creativity. This creativity has been shaped by the Four Ps or in other words, his individual characteristics, the environment he is surrounded by and the particular processes he under took in order to create his productions. In this analysis we will begin with the first P, Person. The personal attributes of someone influences ideas and how these ideas are produced into being. Determination, imagination and curiosity are all personal attributes found in a creative artist (Sternberg 1988). Born in 1965 (The Auteurs 2010), Tom Tykwer always had a strong passion for filmmaking, making his first films at the age of eleven. His friends where unfortunately vaguely interested in his products (Haase 2007) yet this did not stop him from creating. After High School Tykwer failed to receive a place in almost all of the film schools in Europe (Haase 2007) though his determination to make films did not allow this fall back to prevent him from achieve his ambitions. Tykwer merely created his own film studio in which he could create at his own accord. The act reflects Tykwer’s ability to think of alternative situations which is a highly regarded creative personality trait (Sternberg 1988). When Tykwer was a child the first film he viewed was Peter Pan (Haase 2007). The possibility of a parallel world struck Tykwer as fascinating and became his first inspiration in film making. Peter Pan sparked an imaginative streak in Tykwer which entranced him for almost 30 years. His imagination is what defines his earlier films, such as Lola Rennt and True, two movies which expanded the realms of reality through innovative techniques and unique narrative structure. In regards to curiosity every single one of Tykwer’s movies, short and long, reflect a high level of experimentation and risks to portray his own personal feelings and willingness to manipulate media to create magnificent effects. Another key feature about Tykwer is that he calls upon varies types of film genres. He claimed, ‘I like everything that speaks to me loudly, and that gives me a vision. I don’t care about the genre’ (Tom Tykwer 2010a). This is reflected in all his productions as he uses a mixture of crime and thrill (_Perfume_) romance (_Truth__)_ and action (_The International) _ to portray his ideas. His desire to not stick to just one style of film demonstrates a large amount of curiosity and desire to experiment with ideas and cinematic styles. Tykwer demonstrated a high level of curiosity for film at an early age, something along with imagination and determination is an essential aspect to creativity. The second P, place, also has a profound impact on creativity. Place includes the environment which a person is surrounded by and the influence this has upon someone’s creative ability. The German director was brought up surrounded by a modern and artistic culture. The fall of the Berlin wall in 1990 was a significant cultural movement in Germany (The Guardian 2010), further enhancing modernisation, innovation and artistic products which expressed revolution and a movement to new approaches to life. Berlin was fuming with a large variety of artistic expression inspired by the strong political change. Movement such as feminism became popular, something which is reflected in Tykwer’s film with the constant use of a female main character. For example, Deadly Maria 1993, Winter Sleeper 1997 and Run Lola Run 1999. Working as a projectionist at a Berlin Art Cinema Movement, allowed him to be continually exposed to a variety of artistic films (Tykwer 2010a). Here Tykwer met the first person that was too help him develop his film career, an independent film maker in the late eighties called Rosa von Praunheim (Cowie 2010a). This man strongly influenced Tykwer’s approach to film making and Tykwer’s first film displayed many of the stylistic and thematic trademarks that his other movies now contain. It was after this that Tykwer created his own film company, X Filme (Tykwer 2010b) and was able to keep his own artistic licence. Many directors who allow funding from more mainstream production companies tend to lose artistic licence. Artistic licence is simply the amount of say the director has within the creation of their film. Tykwer felt strongly about keeping his films very personal giving him the label of an Auteur (Clarke 2006). The belief that directors should have complete artistic control is what separates him from other directors/filmmakers. Tykwer created what he wanted too, not what others did. This promoted his creativity immensely as his imagination is able to run wild. Environment is known to change throughout someone’s life constantly. A brief overview of artist Brice Marden in Imagination First: Unlocking the Power of Possibility by authors Eric Liu and Scott Noppe-Brandon (2009) reflects the importance of how specific surroundings affect creativity. Marden was a minimalist painter (Liu and Noppe-Brandon 2009) with a very distinctive technique. This technique was modified greatly when the artist decided to travel through Asia. He picked up specific cultural techniques which he saw to be fascinating and from then on allowed them to define his works of art. In relation to Tom Tykwer, Germany was his first cultural influence upon his productions allowing his products to reflect the strong cultural movement at the time. In the last few years, Tykwer has developed a more American approach to film making, something which can be reflected in his latest movie The International as he is surrounded by a strong American influence. Tykwer has removed himself from his independent film company, X-Filme, and has allowed more commercial industries to take hold of him. The International and _Perfume: A Story of a Murderer _separated themselves from Tykwer’s other films as their narratives are linear and contain a more acceptable style of cinematic photograph and realism. This shows that the director has lost a part of his own artistic licence as he has teamed up with Commercial film producers (Internet Date Base 2010a; Internet Data Base 2010b). Here we can see how the surrounding environment of someone can both excel or hinder creative ability. The third P, Process is the particular actions taken in order for a creative product to come to life. In media this has a very practical sense and is to do with the measures taken to overcome obstacles that restrict a creative thought coming to life. Process consists mostly of the production and post-production phases of media, such as filming and editing. Independent films, due to their lack of popularity are given less money compared to mass-produced films. For example, the limited budget of Run Lola Run influenced its editing, the way in which it was filmed and how it was filmed. Tykwer received a budget of only $2 million (Cowie 2010b). In comparison the Blockbuster The Dark Knight had an estimated budget of $185 million (Whitaker 2010). Special effects such as CGI are used in the Blockbuster in large quantities as well as High Definition film and hundreds of extras. In Lola the case was different and alternative techniques where required in order to overcome the budget restrictions. The lack of money permitted Tykwer to only 200 extras. This created difficulties particularly during the first two minutes of the movie. The title ‘_Lola Rennt’ _is spelt out by extras, each letter being filmed separately then contrasted together in post-production. ) In Matthew May’s In Pursuit of Elegance (May 2009) he talks about the innovative creation of Ronnie Stuiver , who designed a water pump with a merry-go-round which is ‘powered by play’ (May 2009, 173) in order to entertain the children of South Africa as they watch their mothers retain water from the water hole. May uses Stuiver as an examp le to explain that we can overcome specific obstacles in our surroundings if we can observe and are determined (May 2009, 174). Like Tykwer, Stuiver expands his ideas and overcomes restrictions (May 2009, 174). In South Africa, villagers would have to wait for the wind in order for their pumps to work, Stuiver created an alternative which not only overcame the problem, but also entertained. This ability to overcome specific obstacles yet still up hold a level of entertainment for an audience is essential in movie making. Tykwer over looks his budget and manages to create exceptional alternatives in order for his productions to come to life, reflecting his amazing creativity. As stated in Cropley’s Fostering Creativity, ‘Creativity involves systematic and purposeful thinking not blind generation of novelty. (Cropely 2009, 68) Finally the fourth P, product. Product involves the final outcome and result of each creative production (Scritchfield 1999). There are three main characteristics in regards to product, these being ‘novelty, resolution and synthesis’ (Besemer and O’Quin 1987). Novelty being the uniqueness of the product, resolution includes the products response to the challenge it was created for and synthesis includes whether the product is used for something other than what it was created for (Scritchfield 1999). In regards to novelty (Scritchfield 1999), all of Tykwer’s productions have been made with innovative techniques and styles to reflect both person and place. His films have captured audience around the world due to their originality. When if comes to resolution, Tykwer’s films where created to express his own ideas and thoughts about the surrounding world. The ability to work in his own film studio for the majority of his films has permitted this task to be very successful. Lastly, synthesis applies strongly to all of Tykwer’s products. Each has an added value of entertainment and an ability to promote curiosity due to their avant-garde feel. The Four P’s are closely intertwined, each influencing each other incredibly, operating simultaneously. Person, place and process all determine the outcome of a creative product in any area of expertise. In regards to media art, as demonstrated by Tom Tykwer’s analysis, it is the personality of a director, their environment and processes which influence their techniques and ideas reflected within their production. In conclusion, creativity is not something that is simply just there. It is influenced by a series of surrounding factors which determine why, what and how something is created. The Four P’s are an excellent way to determine what creativity is and how it is developed. REFERENCE LIST Besemer S. P and O’Quin, K. 1987. Creative product analysis: Testing a model by developing a judging instrument. In Frontiers of Creativity research: Beyond the basic_s, ed. _S. G. Isaksen. 341-379. Buffalo: Bearly Limited. Clarke, David. 2006. Tom Tykwer as an Auteur. Gfl_ Journal. _3: 7. http://www. gfl-journal. de/3-2006/clarke. df (accessed 14/5/10) Cowie, Peter. 2010a. Because_ (short film). _Tom Tykwer. http://www. tomtykwer. com/Filmography/Because-short-film (accessed 23/4/10) Cowie, Peter. 2010b. Run Lola Run. _ _Tom Tykwer http://www. tomtykwer. com/Filmography/Run-Lola-Run (accessed 23/4/10) Cropley, Arthur and David Cropley, 2009. Fostering Creativity, 67-77. NJ: Hampton Press. Reprinted in Creativity and Innovation Reader (FDN101)2010. Murdoch: Mu rdoch University. Haase, Christine. Bambi, Zombie, Gandhi. In When Keimat meets Hollywood: German Filmmakers and America 1985-2005. 63. USA: Camden House. Internet Movie Data Base. 2010a. The_ International. _http://www. imdb. com/title/tt0963178/ (accessed 12/5/10) Internet Movie Data Base. 2010b. _Perfume: A Story of a Murder. http://www. imdb. com/title/tt0396171/ . __ _(accessed 12/5/10) Liu, Eric, and Noppe-Brandon, Scott. 2009. Imagination First: Unlocking the Power of Possibility. 177-179. San Francisco: John Wiley and Sons. May, Matthew. 2009. _In Pursuit of Elegance. 172-175. NY: Broadway Books. Reprinted in Creativity and Innovation Reader (FDN101)2010. Murdoch: Murdoch University. Rhodes, Mel. 1961. An Analysis of Creativity. Phi Delta Kappan. 42. 305-310 Scritchfield, Michael Lee. 1999. _The Creative Person, Product, Process and Press: The 4P's. _. The International Center for Studies in Creativity. http://www. buffalostate. edu/orgs/cbir/readingroom/html/Scritchfield-99 . html (accessed 6/5/10) Sternberg, R. ed. 1988. The Nature of _Creativity. _434. New York: Cambridge University Press. Reprinted in Creativity and Innovation Reader (FDN101)2010. Murdoch: Murdoch University. The Auteurs. 2010. Tom Tykwer. http://www. theauteurs. om/cast_members/1013 (accessed 11/4/10) The Guardian. 2010_ _. Fall of the Berlin Wall: 20th anniversary celebrations. http://www. guardian. co. uk/world/blog/2009/nov/09/berlin-wall-anniversary-celebrations (accessed 14/5/10) Tykwer, Tom. 2010a. Biography. _ _Tom Tykwer. http://www. tomtykwer. com/Biography . (accessed 13/5/10) Tykwer, Tom. 2010b. _Music. Tom Tykwer. _http://www. tomtykwer. com/Music . (accessed 14/5/10) Whitaker, Bill . 2010. Filming the â€Å"Dark Knight†. _ _CBS News. http://www. cbsnews. com/stories/2008/07/13/sunday/main4256384. shtml (Accessed: 28/4/10)

Much Ado About Nothing Report

To start this report I am going to explain a little about the Elizabethan theatre and the plays that were performed, like this one, and also a little on what it would have been like. For example the lighting, sound and costumes as these played a very large role in these times. Firstly a little about the theatre itself, the Elizabethan was named after Queen Elizabeth I and was built for Shakespeare and many other play writers. The theatre itself was very different back then from theatres today. Nowadays you can go and pay an affordable price and sit in a good seat in a comfortable theatre and have perfect lighting and great sound to illuminate the actors and have complicated background and scenery to give impressions of indoor and outdoor scenes, but back then they were very different. The centre of the theatre  had no roof. And since there was no powerful lighting they  had to depend on sunlight. The centre, open part, contained a stage and a courtyard. Unlike today, many people had to stand in the yard in front of the stage and the stage was raised so everyone could see. Only wealthy people could sit in the high storeys which were covered by a roof. There was no scenery back then so Shakespeare's actors could move freely across the stage. Costumes were often rich and impressive but were not always historically correct. Back then without scenery or costumes the play had to rely on words to show the audience when, where and what was happening. Back then the audience had to use their imagination far more than we do today in theatres or in movies, almost like a Childs show on ABC, especially in one way: there were no actresses! The theatre was not considered a good place for a woman to be; instead the women were played by young men whose voices had not broken. So as you can see everything was much more different than it is today, from the setting of the theatre to the actors and what they wear on their body. Next is the report  about the play and everything, after that is the play that we  as a group re-wrote in modern English language. Pg.1 Much Ado about Nothing Plot: Don Pedro, Prince of Aragon, has just returned from a victorious military campaign and they have come to visit Leonato – Governor of Messina. Meanwhile Claudio, a young Lord accompanying Don Pedro falls in love with Hero, the daughter of Leonato. At the same time, Don John, Don Pedro's evil brother is planning to destroy the proposed marriage between Claudio and Hero. Whilst all of this is happening Beatrice and Benedick have a supposed love for each other, after a while the friends find out and rather than breaking them apart, they want to bring them together. Which leads into the main storyline. Towards the end Claudio sees Hero cheating on him (but it was one of Don John's servants, Borachio – planned) and insults Hero at the wedding for what he saw and killed her verbally. The story ends with the news of the capture of Don John who had run away after his evil planning, and the marriages of Claudio and Hero, Beatrice and Benedick who secretly loved each other. Characters: there are a lot of characters in this play but I have chosen the main 10, so here they are. Leonato: is the Governor of Messina and is the father of hero. He is an old wise man and cares for many people, is brave and was once a soldier. He has a lot of caution for things and other people and their ways. Don Pedro: is the brave, young, strong and smart prince of Aragon he is a great soldier, he is a very mature bachelor and also can sometimes be very cunning and witty, he likes everyone except for his evil brother don john, or as we call him, the bastard. Claudio: he is a young, brave and handsome soldier accompanying Don Pedro he can also be immature and sometimes jealous. He is also the one whom is in love with hero. Hero: is the daughter of Leonato, and what's not to like, She is young, pretty, smart and is also madly in love with Claudio, she is the one to marry him. Benedick: he is also a young, brave and handsome soldier accompanying don Pedro. He is smart, witty and also has a little thing for Beatrice which comes after all the name calling as he thinks as her as the devil himself. He also thinks he can have any girl he wants and all the girls like him except for Beatrice. Beatrice: she's bright, pretty, witty and sometimes annoying; she is a bit fussy with men, she doesn't want one with a beard or without, they are either too young or too old. She does her best to make benedicks life a living hell; she also secretly has a soft heart for him, as you can tell (later on). She is leonatos niece and Heros cousin. Don John: is bitter, antisocial, and jealous of the love and friendship everyone has for each other. He lacks of manners and social graces, he also can not get a woman because of his mannerisms. Don John is the mastermind behind the evil plan of wrecking Claudio and Heros wedding. Pg.2 Dogberry & Verges: he is one of the most memorable comic creations from this play. He is keenly aware of his position and enjoys explaining to every one, in his own English, full of long misused words, what his and their duties are. Even with his very amusing malapropisms, he is valued by high importance, by Leonato especially, for his services. Verges on the other hand, is wiser and is their to accompany Dogberry and give him able support whilst examining prisoners. Conrade & Borachio: they are the followers of don john and are also the master minds behind the wedding. Borachio is the smarter, more cunning one out of the two, and is also the more dominant one. Conrade, however, not as cunning as Borachio, and does not show it, but helps his master in any way he might profit from it. Setting: the setting of the play is set-in Italy and in little towns such as Messina. Scenes and Acts are mainly set in Leonatos house and are set in gardens and courtyards, during the day. At night it is mainly set inside the hose in room and in apartments. In one scene it is set in a hall and in a courtyard where they are all dancing and celebrating. Lighting outside was probably natural and at night it was artificial so it would capture the light and effect of lamps and candles. Theme: the plays title is a very important clue to its theme, and Shakespeare has done a very good job at this, for the word nothing means noting, and the plot is based on noting-on eavesdropping, observing, taking notes on people's behaviour and coming to conclusions about other people, conclusions that are sometimes wrong. The title ‘much ado about nothing' basically means ‘making a big fuss of nothing'. As you will see this in the movie, as it is basically what the whole story is about, making a fuss of nothing. So that brings us to the end of my report. Overall I thought the play was interesting, and fun. The main plot with benedick and Beatrice grabbed my full attention, and the wedding I really wanted to know what would happen. There was so many great characters, my favourite character who knew what he was going to say next. To sum it up in 4 words would be†¦Shakespeare is a genius. Pg.3 Next is the play we as a group wrote up ourself in modern English. Which was very hard to do. Much Ado About Nothing Our own version. ACT THREE, Scene 5 Leonato: Jack Dogberry: Russell Verges: Eddie Leonato: Yes Dogberry. What would you like? Dogberry: I would like a quick word with you that may concern you. Leonato: please make it quick, I'm a little busy. Dogberry: marriage, it is, sir. Verges: yes, really, truly it is. Leonato: What is it guys. Dogberry: thankyou verges, sir, a little bit off the topic: some one of your age, sir, is not as cunning and smart as, well, I thought he would be, but is very honest and wise in his ways. Verges: I agree, thankyou god that there is some man as old as him as smart as me in his ways. Dogberry: comparisons are terrible, Verges. Leonato: guys, you are boring. Dogberry: if it pleases you to say so, we are unfortunately under the control of the duke, but truly on my own behalf, if I were as boring as you, would simply out of my heart give my worship to you. Leonato: all of your boredom on me, huh? Dogberry: yes and a thousand pound more, for I hear good praise to you, if I was not a poor man, but I am glad to hear it. Verges: I am too. Leonato: I would really like to know what is so important you want to tell me. Verges: sir on our watch tonight, before meeting you, had taken a couple of wicked villains in Messina. Dogberry: a good man, sir, verges, two men ride on a horse and one must ride behind him in front, neighbour verges. Leonato: indeed, verges comes short of you dogberry. Dogberry: thankyou sir, it is a gift from god. Leonato: I must be going now. Dogberry: one more thing, sir, we have caught two men and will have them examined by yourself in the morning. Exit Leonato

Research paper on the author Dylan Thomas Example | Topics and Well Written Essays - 1750 words

On the author Dylan Thomas - Research Paper Example J.M. Kertzer has already noted that Thomas’ critics have made two conflicting claims: â€Å"some insist that he is "the least intellectual poet of the century" because his poetry does not appeal to or depend on reason; others hold that his work displays "rigorous intellectual organization" which provokes a subtle play of thought† (295). While the first assertion implied that the wild poet has created his poems spontaneously without resorting to logic; the second claim employed that Thomas had a rigorous intellectual control over his creations, although he was inspired by â€Å"the cult of irrationality†. Dylan Thomas, paradoxically, acknowledged both views and tried to reconcile them. On the one he asserted that his poems’ â€Å"form was consistently emotional† and â€Å"illogical naturally† (cited by Kertzer 295). On the other hand, he defined himself as a "painstaking, conscientious, involved and devious craftsman in words† (295). He advocated â€Å"passionate ideas† in order to reconcile both views. For him those â€Å"‘passionate ideas’ come to life ‘out of the red heart through the brain’ (EPW, p. 165). Both thought and feeling must be engaged in ‘the antagonistic interplay of emotions and ideas ... brain chords and nerve chords’† (295). Thus, he focused on mind-body relationship while he tried to synthesize rational thoughts with emotions as they are engaged in a battle. Furthermore, for him, a poem must be both intellectual and emotional â€Å"adventure† for the reader. Dylan Thomas’ notion of â€Å"adventure† must be examined more closely in order to have a better understanding of his poetics. According to Thomas, adventure is movement and â€Å"all poetical impulses are towards the creation of adventure† (296). For him, a poem does not reflect life; but itself must be part of life, as he described a poem in terms of action, and