Benito Cereno and American Characteristic

19th Century Literature Prof. Bland Typical American Character â€Å"Benito Cereno† is a work that exceedingly depicts how ideological self-delusion of an American character is one of the most dangerous capacities of mankind. Captain Delano a Yankee from â€Å"Duxbury Massachusetts† exemplifies these two American cultures of concerning nature and confidence. As Americans we have concerned and helped other less fortunate (i. e. the amount we donate to help third world countries), we are also confident and fearless in nature that we can accomplish anything (i. e. American dream).These traditional American characteristics I believe forms the American arrogance that we are stereotyped to have. We maybe helping others we have no business helping. Just like the American culture Delano truly believes he is doing the right thing, by showing concern and having confidence in being able to help the San Dominick slave-ship and he is incapable of seeing the horrifying consequences o f his actions both with respect to his â€Å"friendly racism† and his fantasy of â€Å"superiority†. He spends a day on the  San Dominick  following a slave mutiny, never quite aware that anything is wrong until the truth all but bites his head off.Delano subscribes to a typical â€Å"Northern† view of African slaves: he considers them to be naturally good-natured, submissive servants. He spends much of his time aboard the  San Dominick  condescendingly admiring Babo's performance. Melville critiques this naivete arrogance of superiority and friendly racism to which although these characteristic are positive if not careful, can be a barrier that blinds a person from seeing the actual situation. â€Å"None wore fetters, because the owner, his friend Aranda, told him that they were all tractable† (BC 224) As Delano first boards Benito's ship, the slaves are still unfettered. The ship seems unreal; these strange costumes, gestures, and faces, but a s hadowy tableau just emerged from the deep, which directly must receive back what it gave† (BC). This â€Å"shadowy tableau,† on the ship inhabited mostly by unregulated African slaves, roaming around freely is there for Captain Delano to develop his own understanding as to why this ship culture is the way it is. Having the traditional American character of concern, Delano in nature is concerned about the ship and his intention of genuinely helping the troubled captain Benito Cereno becomes a curtain that prevents him from seeing the real intentions of the slaves.Symbols that have previously been formed and encoded by the American culture and upbringing in the back of his mind; Delano's â€Å"trustful good nature† makes him accept the image of the faithful slaves in his understanding of the unknown Africans slaves on the ship. With this idea of faithful slaves, confronted with a genuine signs and warning; the frail captain Benito Cereno, the vigilant Babo, chained Atufal, the oakum-pickers and hatchet-polishers, the flaring moments of violence and unease—he is not capable of understanding and arranging them accurately or truthfully.This trustful and concerned nature of Americans is one of the characters Captain Delano represents. That an American upbringing create a perception even today that we, as a country, had a right to go around the world helping other struggling nations who were beset by tyrants or internal fighting with the attendant killing and raping of the populace. This trusting and concerned nature makes us delusional preventing us from seeing the facts that maybe these country America is helping does not want our help.The same goes for captain Delano his trustful nature creates a delusion of â€Å"faithful and harmless slaves† that helping this slave ship and its current condition of unfettered slaves is a result of the poor management of Captain Delano’s lesser Hispanic counter Captain Benito Cereno theref ore his is obliged to help to get it under control. This concerning nature blinds Captain Delano from seeing the truth. Before even making contact with the blacks on the ship, Delano readily stresses their good-natured and pristine qualities.These â€Å"unsophisticated Africans,† with their â€Å"self-content† and â€Å"peculiar love . . . of uniting industry with pastime,† (BC) bring out Delano's â€Å"weakness for negroes. † In his understanding of them, they are a mixture of docility and nobility. Delano feels confident as he sees â€Å"the affectionate zeal† and â€Å"good conduct† (BC) As this book reveals, Delano alternates between his images of the Africans as an innocent faithful slaves, he completely misinterprets the slave revolt and totally neglects the blacks' inner motivations.While revealing how Delano adapts these ideological images of the black man to fit his own understanding. This confidence from his own American upbringing and staying in his own paradigm of slaves being kind in nature, and are submissive servants make Captain Delano a benign racist. He does not express hate for the black people; he likes them. But his fondness of them shows in a characteristic of overconfidence or arrogance, in which that he is confident in his own knowledge that the slaves are obedient creatures, incapable of harm and completely demeaning the black slaves.He considers Babo, for instance, to be a childish slave of limited intelligence. In Delano's understanding, the faithful blacks are closer to animal nature than the white man is. Delano's dialogue continuously dehumanizes the slaves by attaching animal imagery to them. First, as the narrator mentions, â€Å"Delano took to negroes, not philanthropically, but genially, just as other men to Newfoundland dogs† (BC).When Babo looks up at Don Benito, he is â€Å"like a shepherd's dog,† (BC) whose grins denote â€Å"mere animal humor† (BC). These refe rences and comparison to animals of the slaves becomes not to decline them as human, but instead to acknowledge them within the white community in their position as docile servants, the image of the dog, domesticated animal, is significant in this context. At the same time, their animal reference accounts for their inability for being totally free.This show of confidence and trust completely blinds Captain Delano from the truth and maybe be seen by the majority as a weakness but this ignorance ultimately helped him from the slave revolt. Delano's trustfulness and perception that all the blacks are docile and faithful slaves and are good nature saves their lives. Delano's ignorance prevents him from discovering the truth, which would almost certainly lead him to a untimely demise.Cereno conveys his surprise that Babo refrained from murdering Delano,   Cereno conveys his surprise that Babo refrains from murdering Delano, â€Å"to think of some things you did – those smilings and chattings,  rash  pointings and gesturings. For less than these, they slew my mate† (BC) This reinforces the fact that if Delano makes any indication of recognizing the truth, he would have been killed on the spot. Delano’s confident, arrogant and absolutely insulting demeanor and perception of slaves being too stupid to be able to formulate a revolt ultimately saves him and Benito Cereno.If Delano is not so unaware of the events encircling him and exhibits a little more suspicion, Babo would certainly have him executed. This confidence that conveys a typical American characteristic is also part of Captain Delano’s. This confidence created a barrier that prevented him from once again seeing the truth in the situation. An arrogant demeanor that he underestimates his adversary, in which nine out of ten will completely destroy you but in this particular story turned out to be an advantage.Captain Delano’s overconfidence in his own â€Å"limited† knowledge and upbringing and from his own experiences growing up, and perhaps his interaction with the black community, he views them as a lesser being forming an idea of himself as a superior or idea of white supremacy that completely limits his understanding and cannot read the gravity of the situation. This overconfidence in his understanding became ignorance and although I believed it helped him from getting killed on the ship by Babo and the slaves, is the same overconfidence that can potentially be deadly.With the revelation of the slave revolt, we should realize that one of the main reasons Delano has been incapable of seeing through the masquerade has been his benign racism, in which that he see’s the slaves as harmless and too stupid to come up with such an idea. Delano’s racism can be understood most directly it seems to be a reflection of his upbringing in a somewhat liberal Northern racism that practice anti-slavery views (it’s important to rememb er Delano is from Massachusetts, a hotbed of anti-slavery activity during the period).The story suggests that Delano, like others who viewed slaves sympathetically, may have a weak recognition of the horrors of slavery and may consider himself the slaves’ friend, but such feelings depend on viewing himself as superior to the slaves and to the slaves staying in their appointed position of submission. In conclusion while Delano finds blacks utterly charming and â€Å"fun-loving,† fond of bright colors and of â€Å"uniting industry with pastime,† this â€Å"admiration† masks his deep-seated conviction that blacks are not entirely human.In fact, when in the midst of trying to understand the odd occurrences on the San Dominick, it briefly occurs to Delano that Cereno might be in league with the blacks, he dismisses the thought with a shudder: â€Å"who ever heard of a white so far a renegade as to apostatize from his very species almost, by leaguing in agains t it with Negroes? † (BC). This proves once again his overconfidence in his understanding limiting him from seeing the big picture that the slaves are controlling the situation. He can never imagine that the slaves are the one who thought up the grandiose plan, that he thinks Captain Cereno is orchestrating something gainst his kin. He fails to discern that the Spanish vessel is in fact in the hold of a complex, meticulously plotted mutiny, that the slaves have successfully revolted, and that the dutiful Babo is in fact the revolutionary in command. Delano's trusting and overconfidence in this regard is very nearly fatal, and in a way that the text explains, and that critics have frequently described, it is his concerning, unselfconscious, absolutely stubborn ideology of slaves and creates a benign racism—his offhand white supremacism—that drives and sustains this ignorance.Despite his several moments of deep suspicion, is his unmoved confidence that a slave like Babo, so naturally docile, so ideally suited to those watchful and pleasant â€Å"avocations about one's person,† could never surpass the â€Å"unaspiring contentment of a limited mind† common to all Africans (BC). The blacks in league with a piratical Cereno? â€Å"But they were too stupid,† Delano reminds himself (BC).Believing this, he cannot see what's before him, because of his paradigm and views of the slaves in a northern upbringing of being sympathetically to the slaves, He is incapable of imagining the black slaves in any but a passive role of devoted and faithful servants, docile and incapable of harming their white superiors, This overconfidence is ultimately ignorance that Delano cannot perceive the true situation on the San Dominick. Works Cited Page Melville, Herman, and Herman Melville. Bartleby ; And, Benito Cereno. New York: Dover Publications, 1990. Print.

Transfer Functions

ECM2105 – Control Engineering Dr Mustafa M Aziz (2010) ________________________________________________________________________________ TRANSFER FUNCTIONS AND BLOCK DIAGRAMS 1. Introduction 2. Transfer Function of Linear Time-Invariant (LTI) Systems 3. Block Diagrams 4. Multiple Inputs 5. Transfer Functions with MATLAB 6. Time Response Analysis with MATLAB 1. Introduction An important step in the analysis and design of control systems is the mathematical modelling of the controlled process. There are a number of mathematical representations to describe a controlled process:Differential equations: You have learned this before. Transfer function: It is defined as the ratio of the Laplace transform of the output variable to the Laplace transform of the input variable, with all zero initial conditions. Block diagram: It is used to represent all types of systems. It can be used, together with transfer functions, to describe the cause and effect relationships throughout the system. State-space-representation: You will study this in an advanced Control Systems Design course. 1. 1. Linear Time-Variant and Linear Time-Invariant SystemsDefinition 1: A time-variable differential equation is a differential equation with one or more of its coefficients are functions of time, t. For example, the differential equation: d 2 y( t ) t2 + y( t ) = u ( t ) dt 2 (where u and y are dependent variables) is time-variable since the term t2d2y/dt2 depends explicitly on t through the coefficient t2. An example of a time-varying system is a spacecraft system which the mass of spacecraft changes during flight due to fuel consumption. Definition 2: A time-invariant differential equation is a differential equation in which none of its coefficients depend on the independent time variable, t.For example, the differential equation: d 2 y( t ) dy( t ) m +b + y( t ) = u ( t ) 2 dt dt where the coefficients m and b are constants, is time-invariant since the equation depends only implicitly on t through the dependent variables y and u and their derivatives. 1 ECM2105 – Control Engineering Dr Mustafa M Aziz (2010) ________________________________________________________________________________ Dynamic systems that are described by linear, constant-coefficient, differential equations are called linear time-invariant (LTI) systems. 2. Transfer Function of Linear Time-Invariant (LTI) SystemsThe transfer function of a linear, time-invariant system is defined as the ratio of the Laplace (driving function) U(s) = transform of the output (response function), Y(s) = {y(t)}, to the Laplace transform of the input {u(t)}, under the assumption that all initial conditions are zero. u(t) System differential equation y(t) Taking the Laplace transform with zero initial conditions, U(s) Transfer function: System transfer function G (s) = Y(s) Y(s) U(s) A dynamic system can be described by the following time-invariant differential equation: an d n y( t ) d n ? 1 y( t ) dy( t ) + a n ? 1 + L + a1 + a 0 y( t ) n ? 1 dt dt dt d m u(t) d m ? 1 u ( t ) du ( t ) = bm + b m ? 1 + L + b1 + b 0 u(t) m m ? 1 dt dt dt Taking the Laplace transform and considering zero initial conditions we have: (a n ) ( ) s n + a n ? 1s n ? 1 + L + a 1s + a 0 Y(s) = b m s m + b m ? 1s m ? 1 + L + b1s + b 0 U(s) The transfer function between u(t) and y(t) is given by: Y(s) b m s m + b m ? 1s m ? 1 + L + b1s + b 0 M (s) = = G (s) = U(s) N(s) a n s n + a n ? 1s n ? 1 + L + a 1s + a 0 where G(s) = M(s)/N(s) is the transfer function of the system; the roots of N(s) are called poles of the system and the roots of M(s) are called zeros of the system.By setting the denominator function to zero, we obtain what is referred to as the characteristic equation: ansn + an-1sn-1 + + a1s + a0 = 0 We shall see later that the stability of linear, SISO systems is completely governed by the roots of the characteristic equation. 2 ECM2105 – Control Engineering Dr Mustafa M Aziz (2010) ______________ __________________________________________________________________ A transfer function has the following properties: †¢ The transfer function is defined only for a linear time-invariant system. It is not defined for nonlinear systems. The transfer function between a pair of input and output variables is the ratio of the Laplace transform of the output to the Laplace transform of the input. †¢ All initial conditions of the system are set to zero. †¢ The transfer function is independent of the input of the system. To derive the transfer function of a system, we use the following procedures: 1. Develop the differential equation for the system by using the physical laws, e. g. Newton’s laws and Kirchhoff’s laws. 2. Take the Laplace transform of the differential equation under the zero initial conditions. 3.Take the ratio of the output Y(s) to the input U(s). This ratio is the transfer function. Example: Consider the following RC circuit. 1) Find the transfer function of the network, Vo(s)/Vi(s). 2) Find the response vo(t) for a unit-step input, i. e. ?0 t < 0 v i (t) = ? ?1 t ? 0 Solution: 3 R vi(t) C vo(t) ECM2105 – Control Engineering Dr Mustafa M Aziz (2010) ________________________________________________________________________________ Exercise: Consider the LCR electrical network shown in the figure below. Find the transfer function G(s) = Vo(s)/Vi(s). L R i(t) vi(t) vo(t) CExercise: Find the time response of vo(t) of the above system for R = 2. 5? , C = 0. 5F, L=0. 5H and ? 0 t < 0 . v i (t) = ? ?2 t ? 0 4 ECM2105 – Control Engineering Dr Mustafa M Aziz (2010) ________________________________________________________________________________ Exercise: In the mechanical system shown in the figure, m is the mass, k is the spring constant, b is the friction constant, u(t) is an external applied force and y(t) is the resulting displacement. y(t) k m u(t) b 1) Find the differential equation of the system 2) Find the trans fer function between the input U(s) and the output Y(s). 5ECM2105 – Control Engineering Dr Mustafa M Aziz (2010) ________________________________________________________________________________ 3. Block Diagrams A block diagram of a system is a pictorial representation of the functions performed by each component and of the flow of signals. The block diagram gives an overview of the system. Block diagram items: Summing point Takeoff point Block Transfer function +_ The above figure shows the way the various items in block diagrams are represented. Arrows are used to represent the directions of signal flow. A summing point is where signals are algebraically added together.The takeoff point is similar to the electrical circuit takeoff point. The block is usually drawn with its transfer funciton written inside it. We will use the following terminology for block diagrams throughout this course: R(s) = reference input (command) Y(s) = output (controlled variable) U(s) = input (act uating signal) E(s) = error signal F(s) = feedback signal G(s) = forward path transfer function H(s) = feedback transfer fucntion R(s) Y(s) E(s) G(s) +_ F(s) H(s) Single block: U(s) Y(s) Y(s) = G(s)U(s) G(s) U(s) is the input to the block, Y(s) is the output of the block and G(s) is the transfer function of the block.Series connection: U(s) X(s) G1(s) Y(s) G2(s) 6 Y(s) = G1(s)G2(s)U(s) ECM2105 – Control Engineering Dr Mustafa M Aziz (2010) ________________________________________________________________________________ Parallel connection (feed forward): G1(s) + U(s) Y(s) Y(s) = [G1(s) + G2(s)]U(s) + G2(s) Negative feedback system (closed-loop system): R(s) E(s) +_ The closed loop transfer function: Y(s) G(s) Y(s) G(s) = R(s) 1 + G(s) Exercise: Find the closed-loop transfer function for the following block diagram: R(s) Y(s) E(s) G(s) +_ F(s) H(s) 7 ECM2105 – Control Engineering Dr Mustafa M Aziz (2010) __________________________________________________________________ _____________ Exercise: A control system has a forward path of two elements with transfer functions K and 1/(s+1) as shown. If the feedback path has a transfer function s, what is the transfer function of the closed loop system. R(s) +_ Y(s) 1 s +1 K s Moving a summing point ahead of a block: R(s) Y(s) G(s) + R(s) Y(s) +  ± G(s)  ± F(s) 1/G(s) F(s) Y(s) = G(s)R(s)  ± F(s) Moving a summing point beyond a block: R(s) Y(s) + R(s) G(s) Y(s) G(s)  ± +  ± F(s) G(s) F(s) Y(s) = G(s)[R(s)  ± F(s)] Moving a takeoff point ahead of a block: R(s) Y(s) R(s) Y(s) G(s) G(s) Y(s)Y(s) G(s) Y(s) = G(s)R(s) 8 ECM2105 – Control Engineering Dr Mustafa M Aziz (2010) ________________________________________________________________________________ Moving a takeoff point beyond a block: R(s) Y(s) R(s) Y(s) G(s) G(s) R(s) R(s) 1/G(s) Y(s) = G(s)R(s) Moving a takeoff point ahead of a summing point: R(s) Y(s) + Y(s)  ± F(s) R(s)  ± F(s) +  ± Y(s) + Y(s) Y(s) = R(s)  ± F(s) Moving a t akeoff point beyond a summing point: R(s) R(s) Y(s) + Y(s) +  ±  ± F(s)  ± R(s) F(s) R(s) + Y(s) = R(s)  ± F(s) Exercise: Reduce the following block diagram and determine the transfer function. R(s) + _ + G1(s) G2(s) G3(s) _ Y(s) + + H1(s)G4(s) H2(s) 9 ECM2105 – Control Engineering Dr Mustafa M Aziz (2010) ________________________________________________________________________________ Exercise: Reduce the following block diagram and determine the transfer function. H1 + R(s) +_ + G H2 10 Y(s) ECM2105 – Control Engineering Dr Mustafa M Aziz (2010) ________________________________________________________________________________ 4. Multiple Inputs Control systems often have more than one input. For example, there can be the input signal indicating the required value of the controlled variable and also an input or inputs due to disturbances which affect the system.The procedure to obtain the relationship between the inputs and the output for such systems is: 1. 2. 3. 4. Set all inputs except one equal to zero Determine the output signal due to this one non-zero input Repeat the above steps for each of the remaining inputs in turn The total output of the system is the algebraic sum (superposition) of the outputs due to each of the inputs. Example: Find the output Y(s) of the block diagram in the figure below. D(s) R(s) +_ G1(s) + + H(s) Solution: 11 Y(s) G2(s) ECM2105 – Control Engineering Dr Mustafa M Aziz (2010) _______________________________________________________________________________ Exercise: Determine the output Y(s) of the following system. D1(s) R(s) +_ G1(s) + + Y(s) G2(s) H1(s) + + D2(s) 12 H2(s) ECM2105 – Control Engineering Dr Mustafa M Aziz (2010) ________________________________________________________________________________ 5. Transfer Functions with MATLAB A transfer function of a linear time-invariant (LTI) system can be entered into MATLAB using the command tf(num,den) where num and den are row vectors co ntaining, respectively, the coefficients of the numerator and denominator polynomials of the transfer function.For example, the transfer function: G (s) = 3s + 1 s + 3s + 2 2 can be entered into MATLAB by typing the following on the command line: num = [3 1]; den = [1 3 2]; G = tf(num,den) The output on the MATLAB command window would be: Transfer function: 3s+1 ————s^2 + 3 s + 2 Once the various transfer functions have been entered, you can combine them together using arithmetic operations such as addition and multiplication to evaluate the transfer function of a cascaded system. The following table lists the most common systems connections and the corresponding MATLAB commands to implement them.In the following, SYS refers to the transfer function of a system, i. e. SYS = Y(s)/R(s). System MATLAB command Series connection: R(s) Y(s) G1 G2 SYS = G1*G2 or SYS = series(G1,G2) Parallel connection: G1 + R(s) SYS = G1  ± G2 or SYS = parallel(G1, ±G2) Y(s)  ± G2 Negative feedback connection: R(s) Y(s) +_ G(s) SYS = feedback(G,H) H(s) 13 ECM2105 – Control Engineering Dr Mustafa M Aziz (2010) ________________________________________________________________________________ R(s) Y(s) +_ G1 G2 H Example: Evaluate the transfer function of the feedback system shown in the figure above using MATLAB where G1(s) = 4, G2(s) = 1/(s+2) and H(s) = 5s.Solution: Type the following in the MATLAB command line: G1 = tf([0 4],[0 1]); G2 = tf([0 1],[1 2]); H = tf([5 0],[0 1]); SYS = feedback(G1*G2,H) This produces the following output on the command window (check this result): Transfer function: 4 ——-21 s + 2 Exercise: Compute the closed-loop transfer function of the following system using MATLAB. R(s) +_ 1 s +1 14 s+2 s+3 Y(s) ECM2105 – Control Engineering Dr Mustafa M Aziz (2010) ________________________________________________________________________________ 6. Time Response Analysis with MATLABAfter entering the transfer function of a LTI system, we can compute and plot the time response of this system due to different input stimuli in MATLAB. In particular, we will consider the step response, the impulse response, the ramp response, and responses to other simple inputs. 6. 1. Step response To plot the unit-step response of the LTI system SYS=tf(num,den) in MATLAB, we use the command step(SYS). We can also enter the row vectors of the numerator and denominator coefficients of the transfer function directly into the step function: step(num,den).Example: Plot the unit-step response of the following system in MATLAB: Y (s) 2s + 10 =2 R (s) s + 5s + 4 Solution: Step Response 2. 5 num = [0 2 10]; den = [1 5 4]; SYS = tf(num,den); step(SYS) Amplitude 2 or directly: step(num,den) 1. 5 1 MATLAB will then produce the following plot on the screen. Confirm this plot yourself. 0. 5 0 0 1 2 3 Time (sec. ) 4 5 For a step input of magnitude other than unity, for example K, simply multiply the transfer function SY S by the constant K by typing step(K*SYS). For example, to plot the response due to a step input of magnitude 5, we type step(5*SYS).Notice in the previous example that that time axis was scaled automatically by MATLAB. You can specify a different time range for evaluating the output response. This is done by first defining the required time range by typing: t = 0:0. 1:10; % Time axis from 0 sec to 10 sec in steps of 0. 1 sec and then introducing this time range in the step function as follows: step(SYS,t) % Plot the step response for the given time range, t This produces the following plot for the same example above. 15 6 ECM2105 – Control Engineering Dr Mustafa M Aziz (2010) _______________________________________________________________________________ Step Response 2. 5 Amplitude 2 1. 5 1 0. 5 0 0 2 4 6 8 10 Time (sec. ) You can also use the step function to plot the step responses of multiple LTI systems SYS1, SYS2, †¦ etc. on a single figure in MATLAB by typing: st ep(SYS1,SYS2,†¦ ) 6. 2. Impulse response The unit-impulse response of a control system SYS=tf(num,den) may be plotted in MATLAB using the function impulse(SYS). Example: Plot the unit-impulse response of the following system in MATLAB: Y(s) 5 = R (s) 2s + 10 Solution: Impulse Response um = [0 5]; den = [2 10]; SYS = tf(num,den); impulse(SYS) 2. 5 2 impulse(num,den) Amplitude or directly 1. 5 1 This will produce the following output on the screen. Is that what you would expect? 0. 5 0 0 0. 2 0. 4 0. 6 Time (sec. ) 16 0. 8 1 1. 2 ECM2105 – Control Engineering Dr Mustafa M Aziz (2010) ________________________________________________________________________________ 6. 3. Ramp response There is no ramp command in MATLAB. To obtain the unit ramp response of the transfer function G(s): multiply G(s) by 1/s, and use the resulting function in the step command.The step command will further multiply the transfer function by 1/s to make the input 1/s2 i. e. Laplace transform of a un it-ramp input. For example, consider the system: Y(s) 1 =2 R (s) s + s + 1 With a unit-ramp input, R(s) = 1/s2, the output can be written in the form: Y(s) = 1 1 1 R (s) = 2 ? s + s +1 (s + s + 1)s s 2 1 ? ?1 =? 3 2 ?s + s + s ? s which is equivalent to multiplying by 1/s and then working out the step response. To plot the unitramp response of this system, we enter the numerator and denominator coefficients of the term in square brackets into MATLAB: num = [0 0 0 1]; en = [1 1 1 0]; and use the step command: step(num,den) The unit ramp response will be plotted by MATLAB as shown below. Step Response 12 10 Amplitude 8 6 4 2 0 0 2 4 6 Time (sec. ) 17 8 10 12 ECM2105 – Control Engineering Dr Mustafa M Aziz (2010) ________________________________________________________________________________ 6. 4. Arbitrary response To obtain the time response of the LTI system SYS=tf(num,den) to an arbitrary input (e. g. exponential function, sinusoidal function .. etc. ), we can use the lsim command (stands for ‘linear simulation') as follows: lsim(SYS,r,t) or lsim(num,den,r,t) here num and den are the row vectors of the numerator and denominator coefficients of the transfer function, r is the input time function, and t is the time range over which r is defined. Example: Use MATLAB to obtain the output time response of the transfer function: Y(s) 2 = R (s) s + 3 when the input r is given by r = e-t. Solution: Start by entering the row vectors of the numerator and denominator coefficients in MATLAB: num = [0 2]; den = [1 3]; Then specify the required time range and define the input function, r, over this time: t = 0:0. 1:6; r = exp(-t); % Time range from 0 to 6 sec in steps of 0. 1 sec Input time function Enter the above information into the lsim function by typing: lsim(num,den,r,t) This would produce the following plot on the screen. Linear Simulation Results 0. 4 0. 35 Amplitude 0. 3 0. 25 0. 2 0. 15 0. 1 0. 05 0 0 1 2 3 Time (sec. ) 18 4 5 6 ECM2105 – C ontrol Engineering Dr Mustafa M Aziz (2010) ________________________________________________________________________________ TUTORIAL PROBLEM SHEET 3 1. Find the transfer function between the input force u(t) and the output displacement y(t) for the system shown below. y(t) b1 u(t) m b2 where b1 and b2 are the frictional coefficients.For b1 = 0. 5 N-s/m, b2 = 1. 5 N-s/m, m = 10 kg and u(t) is a unit-impulse function, what is the response y(t)? Check and plot the response with MATLAB. 2. For the following circuit, find the transfer function between the output voltage across the inductor y(t), and the input voltage u(t). R u(t) L y(t) For R = 1 ? , L = 0. 1 H, and u(t) is a unit-step function, what is the response y(t)? Check and plot the result using MATLAB. 3. Find the transfer function of the electrical circuit shown below. R L u(t) y(t) C For R = 1 ? , L = 0. 5 H, C = 0. 5 F, and a unit step input u(t) with zero initial conditions, compute y(t).Sketch the time function y(t) and pl ot it with MATLAB. 19 ECM2105 – Control Engineering Dr Mustafa M Aziz (2010) ________________________________________________________________________________ 4. In the mechanical system shown in the figure below, m is the mass, k is the spring constant, b is the friction constant, u(t) is the external applied force and y(t) is the corresponding displacement. Find the transfer function of this system. k u(t) m For m = 1 kg, k = 1 kg/s2, b = 0. 5 kg/s, and a step input u(t) = 2 N, compute the response y(t) and plot it with MATLAB. b y(t) 5.Write down the transfer function Y(s)/R(s) of the following block diagram. R(s) Y(s) K +_ G(s) a) For G(s) = 1/(s + 10) and K = 10, determine the closed loop transfer function with MATLAB. b) For K = 1, 5, 10, and 100, plot y(t) on the same window for a unit-step input r(t) with MATLAB, respectively. Comment on the results. c) Repeat (b) with a unit-impulse input r(t). 6. Find the closed loop transfer function for the following diagram. R(s) E(s) Y(s) G(s) +_ F(s) H(s) a) For G(s) = 8/(s2 + 7s + 10) and H(s) = s+2, determine the closed loop transfer function with MATLAB. ) Plot y(t) for a unit-step input r(t) with MATLAB. 7. Determine the transfer function of the following diagram. Check your answer with MATLAB. _ R(s) +_ s s + + 1/s s 20 1/s Y(s) ECM2105 – Control Engineering Dr Mustafa M Aziz (2010) ________________________________________________________________________________ 8. Determine the transfer function of the following diagram. R(s) +_ +_ 50 s +1 Y(s) s 2/s 1/s2 2 +_ a) Check you result with MATLAB. b) Plot y(t) for a unit-impulse input r(t) with MATLAB. 9. Determine the total output Y(s) for the following system. D(s)

Police Power and Effective Policing Essay

Effective policing techniques are playing a major and an increasingly significant role with regards to keeping and maintaining peace in society. From this point of view, it seems that policing techniques are set to grow and develop in the years to come especially as the global society and community searches to develop and practice the principle of rule of law and to reform security establishments in the United States in order to recover from disagreement and conflict. Police are agents who are authorized to implement the law and to enforce social and public order by means of legally using force (http://www. tymonline. com/index. php? term=police). They are generally linked and associated with departments and agencies of the state that are empowered to observe and exercise police power of a particular state within a legal and defined area of responsibility. Police power is officially regarded as an intrinsic supremacy, controlled and limited by exclusions defined in the constitution of a state which makes it the most extensive, expansive and unrestrained certified power applied and implemented by the state (Hunter, 1994). The intent of writing this paper is to attempt to understand the idea of police power and effective policing that is being observed and exercised nowadays, mainly in the United States. Moreover, related literature about such a principle will be reviewed to better understand its concept and its role for maintaining peace and order in the society and community. Conclusions and recommendations will be generated from the existing literature. The idea of police power in English common law (1) dates back at least four centuries ago (http://www. un. org/apps/news/story. sp? NewsID=25538&Cr=UN&Cr1=police) and approximately concurs with the collapse of social order in Europe and the growth and expansion of both rural and urban areas. Police power is generally described as the ability of a state to control or standardize actions and conduct of its citizens and implement rules within its region which then includes aspects of security, safety, morality and public wellbeing. Also this kind of authority is not confined to the suppression of what is disorderly or offensive but encourages what is for the nation or state’s greatest welfare. Because the police power is the least limitable of the exercises of government, such limitations as are applicable are not readily definable. These limitations can be determined only through appropriate consideration to the subject matter of the practice or observance of that power. The police power is subject to limitations of the federal and State constitutions, and especially to the requirement of due process. In many countries, crimial law procedures have been developed to regulate officers’ discretion, so that they do not randomly or unjustly use their powers of â€Å"arrest, search and seizure, and use of force† (Walker, p. 43). Police power has a particular importance for understanding the constitutional division of power. The United States Supreme Court in the Nineteenth Century has confirmed that the national government had specific authority delegated by the constitution. However, all the undefined or specified regulatory powers rested with the states. The idea was extended in the new deal era to provide police power to the federal government under the commerce clause of the constitution, expanding it to the terms of services to promote public welfare. The United States courts are not based on a balance of interest’s principle to agree issues over police power (Walker, p 143). Controversies arise regarding the observance and practice of police power, specifically the utilization of physical means when it disagrees with the rights of individuals and states or social freedom such as the police power of American states or police violence or brutality. Since the 1960s in the United States, concerns over such matter has increased and reflected on law enforcement agencies, courts and legislatures at every level of government (Walker, p 143). Local governments and police agencies that supervise these officers in some aspects have tried and aimed to lessen or diminish some of these issues by means of community policing and community outreach programs (http://www. ncjrs. gov/App/Publications/abstract. aspx? ID=198029). This is to make the police more available to attend to the concerns of local communities by increasing diversity upon hiring, updating the training of these agents in their responsibilities to the community under the law and by improved supervision within the department or agency or by resident commissions (http://www. di. ucl. ac. uk/publications/short_reports/problem_oriented_policing. php). The United States Department of Justice will be bringing civil law suits against local law enforcement agencies which are authorized under the 1994 Violent Crime Control and Law Enforcement Act. This has obliged local agencies to create organizational amendments and changes, enter into consent decree agreements to assume such changes and will be presented to the Department of Justice to be controlled and standardized (http://www. jdi. ucl. ac. uk/publications/short_reports/problem_oriented_policing. php). Today the police power of a state embraces systems that are designed to uphold public security and convenience as well as those to support public safety health and morals. Though police power is said to be the greatest authority a state could ever gain, this type of control also has its limitations. Police powers are restricted by state constitutions. The notion of police power is utilized by federal courts which do not have power to interpret state constitutions: from the federal constitutional law’s point of view, states have universal police powers except where restricted by the federal Constitution. Because congress as a body has restricted authority granted in the Constitution, the Federal government does not have a universal police power, unlike the states. The exclusions are laws concerning Federal property and the military. Police forces also find themselves under criticism for their use of force. In this case, the police departments in the United States have devised programs such as outreach programs and further training for police officers to better review their responsibilities in the community in order to address and eventually mitigate this issue. This illustrates the effectiveness of policing in their nation. Training and further development are being planned to assure their community’s orderliness and wellbeing. However, since police power being granted to officers differs in their region or area or responsibility, it is suggested that their power or authority will be well defined and calibrated to avoid any discrepancies. Moreover, this idea may also help elevate the impression of some people in the society that some police officers are using their authority unjustly. With this is mind, a pleasant environment will be created with the use of an effective way of controlling and manipulating the citizen’s behavior.

A Critical Review of the Use of Dogs in the US Army During the WWII Essay

A Critical Review of the Use of Dogs in the US Army During the WWII - Essay Example In the past, the main of role of trained dogs was that that of sentries or patrols. But in modern warfare, dogs had been used the most tactfully. Though in post modern warfare, dogs’ role has mostly been replaced by modern technology, they played a crucial role in the US Army during the Second World War (Blumenstock pars. 2). After the attack on Pearl Harbor Navy Base in December 7, 1941, the US Army led a campaign to inspire the pet-owners to donate their dogs to the army-training camps. The US Army named this campaign as â€Å"Dogs for Defense†. In order to inspire the owner, they further claimed that the dogs would be trained to be accustomed into civil life after the war. Indeed, it was the beginning of the dog-squad in the US military. Subsequently, martial dog training programs were adopted and, in the meantime, a number of dog-training centers were established to facilitate the programs around the country (MWD History, pars. 2). Some of the dog-training centers w ere Gulfport, Fort Carson, Rimini, San Carlos, Fort Washington, Fort Riley, Fort Belvoir, Fort Robinson, Nebraska Camp, Beltsville, etc. During the Second World War, the US Army used dog to perform a number of risky as well as routine jobs. According to the types of breed and performance, the dogs were to be sled dogs, sentry, scouts, mine-detecting dogs, wire-layer, pack-pullers, and messenger dogs. The military training of a dog used to take 8-12 week to be fully trained. By late 1944, the Army selected about seven breeds of dogs to receive the highest performances in war-fields. Among these breeds were German Shepherd, Doberman Pinscher, Collie, Belgian Sheep dog, Eskimo, Alaskan Malamute, Siberian Husky, etc. During the Second World War, the German Shepherd was the most preferred choice in the army because of its courage, strong sense of responsibility, keen nose, strength, adaptability and trainability. Doberman Pinscher was second to German Shepherd in terms of strength, nervo us power, speed, sensing power, and tractability. Collie and Belgian Sheep dogs were mainly used as messengers for their loyalty, alertness, endurance and agility. Muscular and sturdy breeds were generally used for pack-pull and wire-laying jobs. Alaskan Malamute, Eskimo and Siberian Husky belonged to this group. Among these three breeds, Siberian Husky was the most desired type because of their speed and endurance. During the war, the US dog-squad’s performance was surprising (Blumenstock pars. 2-4). Due to their high sensibility, loyalty and alertness, the military dogs were the preferred options for the soldiers in many war fields. There were many fields where dogs were more skillful performers than the soldiers. During the WWII, the war-theater-wise performance of the US military dogs was great. The dogs showed great performances mainly in two theaters: the pacific theater and the European theater. In 1944, under the command of William W. Putney, the â€Å"3rd Marine War Dog Platoon† played a crucial role in the liberation of Guam from the Japanese occupation. According to the MWD, approved and led by the US Congress, â€Å"Twenty-five of Lieutenant Putney's war dogs gave their lives in the liberation of Guam and were buried there in a War Dog Cemetery with name markers† (MWD History, pars. 2). In the war-field of Guam, the Doberman Pincers breed showed a great performance in guarding and scouting along the frontline of the war. Evading the enemies’ eye, they successfully worked as messengers between the US camps. Several of the success stories are as following: In February 17, 1945, a war-dog called Bruce saved two wounded soldiers from the attack of three Japanese infantrymen. During the nocturnal

Law of Equity and Trusts Essay Example | Topics and Well Written Essays - 1000 words

Law of Equity and Trusts - Essay Example In 2009, he declared, â€Å"all of my property including our lovely barge home is as much your Lorraine as it is mine†. This takes the form of an oral promise and judging from the fact that it was made on several occasions, Lorraine can establish that it amounts to an interest of some kind in the property (Ungarian v Lesnoff (1990) and Eves v Eves (1975)). Thus, the second step for Lorraine in order to establish her equitable interest in the property would be to prove that she relied upon the promise to her detriment. Lorraine spent a considerable amount of structural repairs and decoration, to the tune of 65000 pounds and contributed half of her salary to maintenance while she was working. This satisfies the additional requirement that the detriment faced must be in relation to the property in question (Gissing and Christian v Christian (1981)). However, the detriment must be in reliance on the promise, and it seems that she spent the money BEFORE the actual promise was made, as the promises came after the birth of the triplets in 2009 and the money was spent much earlier. However, Lorraine also quit her job and was unable to return to it after the birth of the children. This could easily be a detriment that flowed from the promise. Lord Bridge in Lloyds Bank carefully acknowledged the operation of a constructive trust to be used to ‘do justice’ and its presence cannot be willfully denied in this case just because the job was not directly related to the property (a requirement set by Gissing).  

Wal-Mart Essay Example | Topics and Well Written Essays - 750 words - 1

Wal-Mart - Essay Example In the initial stage, Wal-mart was only tracking pallets and cases coming to one distribution center but the plan was to expand to cover 100 suppliers across US by the end of 2006 (Tutorial-Reports, 2005). They would then roll out the technology internationally. The entire plan was based on achieving a completely error-free, fool-proof transparent supply chain. To achieve this, Wal-mart planned to install RFID readers at the distribution centers and stores, and buying equipment for printing tags. The plan envisaged was so intense that suppliers could not escape using this technology. Wal-mart also wanted to gradually work on tracking recalls. The idea behind the entire plan was to gain competitive advantage over others in the sector. Within two months of the deadline indicated by Wal-mart, RFID system was installed at 104 Wal-mart stores. Within 30 minutes the suppliers could obtain the data through its Retail Link extranet website. By the end of February 2005, Wal-mart stores using RFID had received 23,753 tagged pallets and 663,912 cases, and taken over 5 million tag reads (IDTechEx, 2005). However, about half of the top 100 suppliers felt that there was lack of knowledge of RFID integration and hence decided to set up the systems themselves. While it was possible to read the tags on cars and on conveyors in distribution centers, it was difficult to read the RFID tags on fully loaded pallets. Successful reads was only 63% which was not acceptable by Wal-mart. They wanted nothing less than hundred percent. By October 2005 Wal-mart had achieved success to the extent that they could monitor stock levels which resulted in 16% reduction in out-of-stock status. Moreover, the out-of-stock items that carried the EPC could be replenished there times faster than items that were still using the standard barcode technology. It was also possible to avoid excess inventory as manual orders reduced. Based on the initial success Wal-mart set further timelines that by the end of 2006 more than 1000 stores, clubs and distribution centers would be covered under the program. They would have more than 6090 suppliers participating by the end of 2007. They conducted briefings and seminars to share knowledge back and forth. The suppliers that had gone live in 2005 also shared their learning with other organizations. The success of the RFID technology depends upon collaboration with partners and suppliers. This is critical for time-sensitive goods (Songini, 2006). It can enable Wal-mart to look at the items store by store and evaluate the cause of low sales. This would further enable Wal-mart to sit down with the partners and determine how to enhance sales. The value of RFID technology also depends upon the type of product involved. It would help to know how long the perishable goods have been in the supply chain. It can also help tag the response to new products introduced while also preventing theft. However, all their efforts did not fetch the desired results as the public was wary of privacy concerns. Chances of abuse of information from tracking the product tags were high. While the Wal-mart stores could items in the stores in the US, they could not kill the tags at the checkout. What was essential was to have kill switches that would disable the chips at the checkout counters (Tutorial-Reports, 2005a). Wal-mart argues that if the kill switches are installed it could block the radio waves before reaching the RFID reader devices. Moreover, they insist that the RFID tags do not collect any additional information about the customer but the future of the RFID techn

Economics Assignment Example | Topics and Well Written Essays - 250 words - 6

Economics - Assignment Example With customs preference agreement, countries that sign the agreement are assured of preferential customs levels unlike countries that are not part of the agreement. Under an economic union, economic policies are integrated for member countries. This means that members of an economic union enjoy the same trade policies as well as unified economic regulations and policies. A common market takes a customs union a step further to account for eliminated barriers when it comes to the movement of factors of production. Finally, political integration combines most or all of the above discussed trade agreements. Jagdish Bhagwati supports free trade agreements and subsequently connects them to the welfare of the society. He argues that free trade agreements translate to better living standards unlike trade barriers, restrictions, or sanctions. Moreover, Jagdish Bhagwati contends that social and environmental issues are better addressed through free trade agreements. In other words, Jagdish Bhagwati supports the concept and practice of free trade agreements in almost every aspect of the contemporary global

International Perspectives on Managing Human Resources Essay

International Perspectives on Managing Human Resources - Essay Example A further discussion will include the assessment of the job opportunities concerning the hiring system. The Chinese Government focuses on the Small and medium enterprises as this constitutes to the country’s income and revenues. The enterprises range from local establishment to international exporting industries. As such, the government formulates rigid investment policies that target to safe guard the interest of the large labor force. The government of China manages to regulate the minimal wage expectation through defined employer memorandum signed before company establishment. As a follow-up to the understanding, existing government institutions monitor company performance with intent to access the payment systems. This precedes an annual review of the memorandum terms through bills and policies enacted through specific industrial sectors. The Chinese government focuses on the employee treatment rather than investment returns among different companies. As such, the employee welfare dominates a given industrial establishment (Warner, 211). China’s HRM operates on a scale of governmental enterprises and multinational firms. China also pioneered an open door structure in the year 1978, that later gave rise the operating labor laws enacted in the 1995. The historical development reformed the Chinese human resource economy through an establishment of management customs. As such, the Chinese government selects the preferred business managers. The labor agency determines responsibility allocation within the different industrial sectors. This structural performance enables the governmental institution to regulate wage allocations and individual performance standards. As such, the Chinese government is a central unit monitoring the human resource management with intent to support the Chinese progress (Warner, 189).

Design of an Enterprise Level Business Essay Example | Topics and Well Written Essays - 1500 words

Design of an Enterprise Level Business - Essay Example An Enterprise's need for tighter financial controls1, more consistent data2, support for streamlined sourcing and procurement processes3, a single data source for product or services data4, support for closed-loop sales and operations planning processes5, portfolio approach6 collectively points to the requirement of a software system named Enterprise Resource Planning (ERP). It's a comprehensive system capable of breaking down barriers between departments within an enterprise and brings together various pockets such as sales, production, finance, human resources, purchasing and shipping - to unify access to the up-to-date information to produce a consistent, single version of the truth on Talking simply about organisation and its processes isn't understanding them. To get a deeper understanding of the processes, one needs the right information for capturing process detail. It's in the heads of the people who, day in and out, are living the process (Ben B Graham, 2004). This is where Ben Graham process mapping methods steals the picture. The symbols used call attention to value-added work, non-value-added work, work inspections (controls), movement of work from one location to another and delays (when nothing is happening). No other mapping technique provides such a transparency, decision making support and support for analysis that is provided by Ben Graham Process Map. Another such is the 'IDEF' methodology (Integrated DEFinition language). It frees the process from arguing about process modelling taxonomies. IDEF suite provides functional, information, data, process, object oriented and ontology modelling to map business processes. The 'BPMN' (Business Process Mode lling Notation) provides a set of graphical elements, Swimlanes is most popular among them, which facilitates the developers in implementing the technology that will perform those processes. For a close comparison, Graham stands taller than the rest (See figure 1). Documenting the design requires a right tool. It should provide clarity without being overly simplistic and provide detail without clutter. There are a lot of flowcharting tools which provide symbol sets but unless it's wrapped in a methodology, it's of no use. The 'Process Developer Enterprise Edition' is a mapping tool for internal activity, flowchart mapping and document control. It helps an organization to meet ISO 9000:2000 standards. Another very useful tool is the 'FlowBreeze Flowchart Software'. It is 100% MS Office integrated tool for making flow charts faster and easier. It lets you just type the text and converts it into flowchart shapes, adds flow lines, and formats the drawing. It is in accordance with Sarbanes Oxley. The 'Stylus Studio XML' Enterprise Edition is another mapping tool with IDE features, XML Editing, Debugging, Testing, Graham vs IDEF vs BPMN Features G I B Displays All the Items that are involved in the process / detailed Shows step by step processing at the task level- the work people do Shows processing at a function level Shows relationships between items Shows multiple related flows Displays single-line flow Identifies WHO

Nucor Corporation Essay Example | Topics and Well Written Essays - 1000 words

Nucor Corporation - Essay Example To begin with, there is competition for the inputs that are required in the production of steel. The industry core input is from recycling of scrap metal. The many firms in the industry thus compete for these metals used in production. There is also competition for market share between the players. Market share determines the level and volume of sales that a firm makes and therefore influence e the profits to a firm (Porter, 1998). The foreign suppliers further tighten competition for market share in the steel industry. Firms in this industry as well are faced by the threat of entry by new firms as this may influence negatively on the performance of the already existing firms. Michael Porter five forces model can be applied to explain the competitive forces in this market. According to porter, the five factors that influence the performance of firms are the threat of entry of new firms, threat of substitute products, bargaining power of suppliers, bargaining power of customers, and t he rivalry among firms (Porter, 1998). These five forces will affect operations and determine the policies to be adopted by firms to ensure that the competitive edge against competitors is attained. In this market for instance, there is high bargaining power of customers. ... The fight for market share is a zero sum game where if one firm increases its market share then the others will lose their share. In the US industry, there is threat of entry of very new firms or formation of partnership, alliances, or mergers that will make the competition stiffer. Nucor Corporation has therefore increased its acquisition of new firms and reduced the bureaucracy to ensure flexibility and better performance. The industry is thus highly competitive. The bargaining power of suppliers also exists in the industry because of the many firms in the industry. In this industry, firms have to look for scrap metals that are molted and used in producing steel products. The companies must therefore offer good prices for input for them to have continued supply of raw materials and reliable suppliers. The third force is the threat of substitute products. Substitute products have similar uses and satisfy the same need, therefore becoming important for competition. Industries that ar e characterized by the existence of closer substitutes are highly competitive and must ensure quality production and good pricing. Continuous restructuring and strategies are also important for the success of the firms. Presence of substitute products in the steel industry, together with the imports from china, turkey and other foreign countries have made competition stiff in this industry (Thompson, 2010). The four forces together with the rivalry among firms are the component of the five forces model. The rivalry among firms is determined by the ease of exit, branding, product identity, product difference and switching cost. The low cost of switching and the ease of exit makes the steel industry in US

Dante's Inferno Essay Example | Topics and Well Written Essays - 1000 words - 1

Dante's Inferno - Essay Example In his journey, he met three animals – leopard, lion and wolf. At a glance, it just seemed that these animals were plain predators that would cause harm to the narrator. However, these animals are symbols of the forms of sin. The leopard symbolizes sins of self-indulgence or lust. This form of sin is the easiest to commit. Naturally, humans seek pleasure, extravagant and sometimes greedy which are often sins of youth. The sin of bestial violence is represented by the lion. These are sins of adulthood, one of which is pride. The wolf represents malicious sins or the sins of age (Davis 2006). The poem illustrated the different levels of hell which corresponds to a particular sin. Beginning in Canto IV, the first circle is the Limbo where sighs were mostly heard is described as peaceful, yet sad. The souls in this were those people who are good but were not baptized. In the Catholic religion, one has yet to be baptized for the original sin (sin of Adam and Eve) to be forgiven. I am truly torn about this particular punishment because I also believe that if one is not baptized, one is not a part of the Christian world. In this case, since God has three entities – the Father, the Son and the Holy Ghost- God is Christ and if you are not a Christian, there is no place for you in heaven or in paradise. On the other hand, logic tells me that there are non-Christians who are more deserving than Christians, and in this perspective it is not fair. The second circle is where the lustful are tortured; but the punishment is still considered as mild because lust is closely assoc iated with love and therefore is viewed with compassion. The third circle of hell was smaller, filled with cold and heavy with dirty rain. This circle is surrounded by new suffering with souls unhappily lain in the filthy mud, tormented by the three-headed doglike demon Cerberus. These were the

Ovulatory cycle effects on tip earnings by lap dancers Essay Example for Free

Ovulatory cycle effects on tip earnings by lap dancers Essay The empirical article â€Å"Ovulatory cycle effects on tip earnings by lap dancers: economic evidence for human estrus†, [Myler, Tybur and Jordan, Evolution and Human Behavior 28 (2007) 375 – 381] examines whether human estrus was really â€Å"lost† during evolution. The estrus refers to estrous (or oestrous) cycle that comprises the recurring physiologic changes induced by reproductive hormones in most of mammalian females with a placental reproductive system. Humans undergo a menstrual cycle instead and it is believed by many theorists that human estrus has been lost during evolution. The authors have used an economic model that analyzes the effects of estrus on tip earnings by lap dancers. Typically males of a mammalian species are more solicitous towards a female of the same species. The hypothesis of existence of human estrus is sought to be proved by higher earnings reported by lap dancers during the productive period corresponding to estrus in other placental mammalian species. Here the logical assumption is that an estrous lap dancer would receive more solicitations for private show increasing her tip earnings during estrus. Design of the experiment involved multiple observations (i. e. , tips per shift) for dancers who were nested within contraception use and crossed with cycle phase. The data gathered was used to analyze effects of cycle phase and contraception use on tip earnings using multilevel modeling. Result of the empirical work confirmed the authors’ prediction that pill using and normally cycling participants would demonstrate a similar difference in tip earnings between the menstrual and luteal phases. Second prediction that cycling participants would demonstrate a larger increase in the fertile phase relative to the other phases than pill-using participants was also confirmed by the findings. Experiment found strong ovulatory cycle effects on tip earnings moderated by whether the participants were normally cycling. This path breaking paper provides the first direct economic evidence for the existence of estrus in contemporary human females. Real consumer spending patterns reveal human preferences more reliably than verbally stated judgments do. This is particularly true for socially stigmatized products such as pornography or sex work. The experiment involved only 18 participants which can be considered a relatively small size for an experiment with such vast conclusions. But the small size was adequately offset by an observation period of three months and a sufficiently large number of shifts for which observations were recorded. Moreover, the tip earnings of lap dancers are a result of changes in behavior pattern of a much larger number of their clients who were influenced by the estrous state of the lap dancer. When women and men interact intimately over the course of several minutes through conversation and body contact, women apparently either â€Å"signal† or â€Å"leak† cues of their fertility status, and these cues influence spending patterns by male consumers. These results argue against the view that human estrus evolved to be lost or hidden from males. Logical next step, despite its difficulties, would be further research to clarify whether women have evolved special adaptations to signal estrus through such cues – or whether the cues are â€Å"leaking† to sexually discriminating men as unselected side effects of cycle physiology.

Federal Communications Commission (FCC) Indecency Policies

Federal Communications Commission (FCC) Indecency Policies The Federal Communications Commission (FCC) is the agency in the United States tasked with the regulation of interstate and international communications carried out via radio, satellite, television, wire and cable. The agency was commissioned by the Communications Act of 1934, and its scope of authority extends throughout the 50 US states, the District of Colombia and all the US territories (Commission). The FCC has the responsibility of prohibiting the display of obscene programming at any time between 6 am and 10pm. In the event of a breach of this rule, the FCC policy requires that the license granted to the station breaking this rule be revoked, or a monetary fine be imposed. Also, it can give the station a warning with regard to its breach of rule (Commission). Ever since its institution, the FCC has sanctioned companies for brief curse words aired, or accidental nudity on live award shows. A particular case in point is the 2004 Janet Jackson wardrobe malfunction saga, which cost CBS a whopping $550,000 in fines though it was appealed to an appellate court (Calver, p. 1-29). The FCC policy requires it to take appropriate punitive action, in respect of any media outlet, following documented complaints received from the public about any obscene, profane, or indecent material aired to viewers. Following such complaints, the FCC conducts a review to determine whether there has been a breach of the profanity, indecency, or obscenity laws. In cases where it is found that a broadcast station has violated the law, investigations into the claims are carried out. In this regard, the FCC policy requires complainants to follow a three-step process, before the act being complained about can be labeled as obscene, profane, or indecent. First, the average person must find that the content is appealing to the prurient interest, or an excessive interest in sexual matters. Following this stage, the material must be found to be depicted in a manner that is patently offensive and sexually explicit, and falls within the confines of the applicable law, in the particular case. In the third and last step, the content of the material must be determined to lack, in one way, or another, educational, artistic, scientific, or political value. In other words, it adds no value to the viewer. However, one crucial aspect of the entire process is putting the content of the material in context to determine its obscenity, indecency, or profanity (Commission). My opinion, in regard to the FCC policy, is that it is not doing much when it comes to censoring inappropriate content. One major reason is that the policy requires claims of obscenity, profanity or indecency, to pass the three steps before they can be so labeled. This process makes it extremely difficult to successfully censor, or prosecute, media outlets for airing inappropriate content. Therefore, the FCC should make the process less restrictive, to be able to accommodate more punishable cases of indecency. Indecency is defined by the FCC as, â€Å"Language or material that, in context, depicts or describes, in terms of patently offensive as measured by contemporary community standards for the broadcast medium, sexual or excretory organs or activities† (Commission). Putting this statement in context, indecent programming basically comprises sexual or excretory references that are patently offensive in nature; however, they do not reach the obscenity level. Hence, courts hol d on to these indecent materials, as protected by the first amendment to the constitution, and do not ban them completely. Hence, viewers are left with the same initial problem of indecent material being aired. However, this indecent material can be restricted to avoid times when children are the primary audience. The FCC should make a policy that stipulates zero tolerance for any form of indecency, instead of having courts back them up with loopholes, such as by arguing that they are protected by the first amendment which upholds the right of free speech (Courts). An example is Nicole Richie’s 2003 speech at the Billboard Awards, where she categorically stated, â€Å"Have you ever tried to get cow st out of a Prada purse? Its not so fing simple† (CNN). The statement is a clear example of an indecent speech. The case brought up issues to do with the constitution and administration. The courts argued that FCC’s policy on the case violated the first amendment and, therefore, it was unconstitutional. The courts argued that the policy restricted free speech. Another major issue that the FCC should look into is amending its policy to include monitoring broadcasts for violation of its laws. This will make it more restrictive by broadening the scope of its mandate. . Currently, the FCC only responds to claims from the general public. Though this is a safe move to prevent pressuring a media outlet the FCC might be at loggerheads with, it is also a disadvantage. The FCC only investigates cases brought in by the viewers, and at times, not all the issues are given attention, although a significant number is analyzed. The major problem arises when specific viewers bear a grudge with a particular station, or individual, which is broadcasted. Such a scenario defeats the reason for the establishment of the FCC and makes it look like a platform, where personal grudges people hold can be settled. By being able to monitor broadcasts on their own, they can identify reasonable claims of a violation, instead of allowing individuals to act as if they own the FCC. A good example is Al Wescot, who is well known as a self-made watchdog. His grudge with Howard Stern is well recorded. He has on several occasions made it his job to file complaints with the FCC, with regard to Howard Sterns conduct (Mintzer, p25). In conclusion, the FCC should maintain its broadcast indecency policies. However, they should be made more stringent. Isolated expletives, or non-sexual nudity, should be treated the same; they are indecent. Furthermore, it should consider having a policy to be able to scrutinize broadcasts, instead of waiting for the viewers to file complaints. In this manner, broadcasters will be more aware of a watchdog that is the overriding authority. This will minimize cases of indecency in broadcasting. Works Cited Calver, C. Imus, Indecency, Violence (and) Vulgarity: Why the FCC Must Not Expand Its Authority Over Content. 30 Hastings Comm. Ent. Law Journal (2007): 1-29. CNN. Justices tackle free speech dispute over broadcast TV indecency. 6 January 2012. 24 February 2015 http://edition.cnn.com>. Commission, Federal Communications. Federal Communications Commission. 14 August 2014. 24 February 2015 http://www.fcc.gov>. Courts, United States. United States Courts. 24 February 2015. 24 February 2015 http://www.uscourts.gov>. Mintzer, Rich. Howard Stern: A Biography. United Kingdom: Simon Schuster Publishing, 2010.

Looking At The Storys Behind Indian Art Cultural Studies Essay

Looking At The Storys Behind Indian Art Cultural Studies Essay I intend to do research on the Indian folk art forms, their styles, different symbols and forms as well as the context and cultural backgrounds. I will focus on MDAHUBANI PAINTINGS, a folk art originated from North India. This research will help me understand the characteristics of these art forms, which will inspire my animation story and visual style. The story of Indian art is also the story of one of the oldest and most resilient cultures on earth. Throughout its history, Indian art has combined local tradition with outside influences, and has evolved along with a civilization, which has been remarkably innovative in all areas. As in every culture, art has been a mirror of Indias fascinating history from the beginning, reflecting religious beliefs, political events, and social customs. Especially in folk arts we find a compelling and beautiful record of centuries of Indian culture. Introduction to Indian Folk Arts The somewhat lesser-known traditions of Indian painting are the so-called folk paintings dating back to a period that may be referred to as timeless. These are living traditions, intrinsically linked with the regional historic-cultural settings from which they arise. It has an age-old heritage that can be traced back to the beginning of civilization on this subcontinent [1]. It began with cave paintings, with the natural dyes so strong that they can still be seen today on the walls of the caves after centuries. The folk and tribal painting come from the remote rural and tribal regions. Sometimes the artists of these rustic works are not even educated. They lack the basic means to attend schools, and as they are gifted with such beautiful mean of expression by nature. The various painting forms coming from these regions began not just as a painting but also as a religious and social ritual performed daily. It began with painting the walls and floor of mud houses. They hide the belief that this purified the ambience and pleased the deities. Various religious and symbols were therefore seen within the painting. The term folk paintings here encompasses pictures made in Indian villages by both men and women, for ornamentation of their abodes, portrayals of their gods and for their various rituals; and, by local professional painters or artisans for use of the local people. All these paintings were produced in a variety of styles and themes. History, sociology and geography infused the painting of each region with local flavor. Their style and quality depended on the materials available in the place in which they were executed, these very factors that helps to identify the region. Folk art may be defined as the art created among groups that exist within the framework of existing society, but, for geographical and cultural reasons, are largely separated from the sophisticated and cultural reasons, and the developments of their time. As a result, they produce distinctive styles and objects for local needs and tastes. In folk tradition, art is nourishment to the daily life of the people. Whether he is a TAMILNADU (an Indian state) [2] potter who creates a massive terracotta AIYANAR (example in Appendix. Pic.1) or a MADHYA PRADESH (an Indian state) [2] tribal who creates PITHORA painting (example in Appendix. Pic.2), at the moment of creation, the poverty-stricken, illiterate folk, becomes a master-crafts-man who can create marvelous plastic and visual forms with a creative genius handed over to him by generations. Topography and geography too have control over the medium of art. In the case of UTTAR PRADESH (an Indian state) [2], we can find folk paintings on the walls of the houses. Whereas in ASSAM (an Indian state) [2], one cannot find wall paintings because most of the walls of the house are built with cane or bamboo. The folk and tribal traditions, consider all materials available in day-to-day life are worthy of serving as a medium of expression. In this regard, artist-writer, HAKU SHAH writ es, When a tribal touches a blade of grass, gourd or bead, fiber, twig, grain, pin, plastic button, conch shell, feather, leaf of flower, he sees through it, smells it, hears it, and therein starts the ritual of being with it [3]. Each part of the country with its own trees and plants, birds and animals, hills and dales has inspired Indian folk artists to have multiple metaphors, series of symbols and innumerable images to build a rich treasure-house of art. The following are the common stylistic characters in folk-art: Preference for simple outline and choice of typically representational lines; A simplification of colors and volumes so that shading is eliminated; Stylization of motifs to create decorative elements; and Repetition of lines, of entire figures, of dots for intensive or rhythmical purposes. Following is the list of some of the main folk arts from different parts of India Madhubani Painting Folk art of Madhubani from the Mithila region [2] of north India. There are different styles developed by different castes of the region. (Examples in Appendix Pic.16a 16h) Thanka Painting Combining the magnificent beauty with spiritual vision, Tankha is painting solely dedicated to Buddha and his teachings. These represent how the Buddhists see the universe. It is generally in eight layers with the upper most layers or part depicting a deity. The rest seven are the various elements of the universe like, fire, earth, space, water and air. Colorful and geometrical, these are many a time seen as the basis of temple architecture. These paintings are done with dedication, concentration, and passion and also with the deep religious feeling of doing something directly related with the supreme power. (Example in Appendix Pic.3a, 3b) Patachitra Painting Indian art Patachitra is a pre-Islamic form of religious art. It comes from the eastern Indian state Orissa [2]. Hindu gods and goddesses and other mythological scenes are painted on a leather-like surface made of several layers of old cotton glued together. (Example in Appendix Pic.4a, 4b) Kalamkari Painting Kalamkari Literally meaning pen-work, it is the religious painting on cloth with blocks and wax resist, from the temple town of KALAHASTHI in southeast ANDHRA PRADESH [2]. (Example in Appendix Pic.5a, 5b) Warli Painting Warli is a tribal community from MAHARASHTRA, India [2]. They have made a significant contribution to the heritage of Indian tribal art. Done by both men and women, these art works show their dedication to the nature and the superpower. (Example in Appendix Pic.6a, 6b) Gond Painting Tribal painting, Gond is a freehand expression of the Gond tribes of MADHYA PRADESH, India [2]. Painted freehand, these two dimensional paintings reflect their perception of life. The third dimension, the depth is always lacking in these paintings reflecting the simplicity of the artist. Sometimes these paintings also tell how colorful their imagination can be. They put colors to the blandest creations of the nature at times. (Example in Appendix Pic.7a, 7b) Batik Painting Batik, wax resist painting from WEST BENGAL, India [2]. Meaning wax-painting in Javanese, it originated in Indonesia and later revived in WEST BENGAL, India. The creativity of the talented dyers has given it a fresh new definition. The principle of batik is a simple one, wax or a similarly resistant substance such as rice paste is used to create patterns or motifs on cloth before it is dyed or colored in some way. When the wax is finally ready to be removed, the untouched cloth beneath it stands out as the original color of the cloth. (Example in Appendix Pic.8a, 8b) Miniature Painting Folk art miniature paintings inspired by the graceful romantic life style of the Mughals [4]. These paintings show one moment at a time and in minute details. The love scenes, the court scenes, various solitary women, animals, flowers all were closely observed and reproduced simultaneously. (Example in Appendix Pic.9a, 9b) Santhal Art The Santhal tribe, one of the famous tribes belonging to the Bihar state of India [2], has a typical style of painting, known as Santhal paintings. The bodies of the various forms that they paint are seldom or perhaps never in one shade, they are always striped, dotted or filled with any other geometrical pattern. They are done on a handmade paper with poster colors. The topics are selected from the natural surroundings or just from the happenings of their day-to-day lives. (Example in Appendix Pic.10a, 10b) Phad Art RAJASHTAN, an Indian state [2], the land of colors is known for Phad painting, which is done on cloth. This type of painting is mainly found in the BHILWARA district. The main theme of these paintings is the depiction of local deities and their stories, and legends of erstwhile local rulers. Phad is a type of scroll painting. These paintings are created while using bright and subtle colors. (Example in Appendix Pic.11a, 11b) Yantra Tantra art or yantra is used as an instrument or medium of focus on a deity while meditating. It is used while performing religious ceremonies. It is a graphical representation of geometrical or abstract images such as triangles, squares, pentagons, hexagons or circles. (Example in Appendix Pic.12a, 12b) Chittara Chittara, meaning picture is an expression of the village artists of KARNATAKA India [2]. Chittara is done on handmade paper. This paper is coated with mud first and then the desired color of the background is given to it by various colors extracted from the natural objects. The color red is procured by grinding a special red stone, the color black is procured by grinding burnt rice and soaking it in water for few days, mud and rice paste gives white. (Example in Appendix Pic.13a, 13b) Introduction to MADHUBANI Paintings Painting is generally done by folk artists or classical artists in three ways: wall-painting (BHITTI-CITRA), canvas-painting (PATA-CHITRA) and floor-painting (ARIPANA). Of these the wall-painting and the floor-painting are very popular in MITHILA region [2]. The Wall-painting or mural paintings, popularly known as MITHILA painting or MADHUBANI painting. MADHUBANI, literally meaning from the forest of honey is the name of the village from where comes the MADHUBANI paintings. Situated in the interior of northern India, this art is the expression of creativity in the day-to-day life of the local people. Done mainly by the females of the family, this art is regarded as a part of daily ritual. Initially all vegetable dyes were used for the paintings but today they have access to the variety of poster colors to cater to their needs and to enable them for more experiments with colors. The estimated date cant be traced back to the actual era that brought MADHUBANI art in to existence. It is however centuries old art that is associated with the normal lives of the villagers. In that region it is believed that every morning the worshipped deity comes invisibly to the household to bless the members of the family and also to bring more prosperity. So this art started as a welcome painting for deities. It started from the entrance floor and the exterior of the house. Passed from mothers to their daughters, the art of MADHUBANI has constantly been improving in its quality. As this tradition was initialized with a purpose of decorating the exterior of the house, the walls and the floor always served as the canvas. Floor-painting (ARIPANA) The art of ARIPANA or floor-painting has been handed down from generation to generation. There is not a single house in MITHILA in which ceremonies are held without ARIPANA. The women of MITHILA specialize in drawing circular patterns of designs with a white liquid paste made of ground rice mixed with water. Sometimes vermilion is also applied, besides white, red, green, yellow and black colors. In various ARIPANA designs, they have the images of gods and goddess painted on different shapes and forms with multiple colors, reflecting the artists originality and imagination. ARIPANA is an indigenous word, which means the art of drawing embankment or wall. The word is derived from ALIMPANA or ALEPANA (of Sanskrit origin) and though grammatically correct, it falsifies the real origin of the word [5]. (Example of ARIPANA art in Appendix. Pic.14a, 14b) The land and people North of the river Ganges, in the state of BIHAR [2] lies a land called MITHILA, shaded by old mango groves and watered by melt water rivers of NEPAL [2] (Indian neighbor country) and the Himalayas. MITHILA has played a noteworthy part in the political and cultural life of ancient India. It is a land full of the beauty of landscape in sharp contrast to the ugliness of poverty in which its people, most of whom are talented painters, live, who accept their fate, good or bad, and paint for painting sake. It is said that altogether MITHILA was the home where the enlightened and the learned might always find a generous patron, peace and safety, where courts were devoted to learning and culture and where poets and philosophers lived in honor and affluence. Even though women in the villages around MADHUBANI have been practicing their folk art for centuries, the world at large has come to know about these women and to consider them to be artists only in the last forty years. Even now, most of their work remains anonymous. The women, most of them illiterate, are reluctant to consider themselves individual producers of works of art and only a few of them mark the paintings with their own name. Among the first modern outsiders to document the tradition of MADHUBANI painting were William and Mildred Archer. Mr. Archer was a British civil servant assigned to the district during the colonial era (till 1947). The Archers obtained some drawings on paper that the women painters were using as aids to memory. Works that the Archers collected went to the India Records Office in London (now part of the British Library) where a small number of specialists could study them as creative instances of Indias folk art [6]. The women painters in MADHUBANI lived in a closed society and were unwilling to paint openly. Eventually due to a drought (1966-68) in the surrounding areas of MITHILA that resulted in severe economic crisis women began to commercialize their art. The All India Handicrafts Board [7] encouraged the women artists to produce their paintings on handmade paper for commercial sale. The government of India, the state government of Bihar and the regional craft guilds has all come in together to initiate the productions and marketing for these women painters. This sudden change in the form of art and its presentation has enabled the world to discover a new form of art with an enviable linkage to the lives of women [8]. The Style of painting This style of painting belongs to North Bihar. In keeping with the tradition under which it began, the style is replete with symbols of fertility like the lotus plant, the bamboo grove, birds, fish, etc. in union. The art shifted to drawing paper in the 1960s, and this brought with it a new freedom and creativity. Paper is movable and economically feasible too. Figures from nature mythology are adapted to suit this style. The themes designs widely painted are the worship of Hindu deities such as KRISHNA, RAMA, SIVA, DURGA, LAKSHMI, SARASWATI, Sun and Moon, TULSI (basil) plant, court scenes, wedding scenes, social happenings around them, etc. Floral, animal and bird motifs, geometrical designs are used to fill up all the gaps. There is hardly any empty space in this style. The skill is handed down the generations, and hence the traditional designs and patterns are widely maintained. One of the main features of MITHILA paintings is simplicity. All that is required for the artist is a suitable surface, ordinary paints, and local brushes. Preliminary sketching is hardly required in MITHILA paintings because the outlines are developed in a single sweep of the brush. Tools Used No sophisticated tools are needed in MADHUBANI paintings. Artists are still unacquainted with the modern brush. The traditional brush is made from a bamboo-twig by wrapping the twig up with a piece of cloth or by having its end frayed in such a way that the fiber looks like a bundle of hair. Color Scheme The artists prepare the colors. Black is obtained by mixing soot with cow dung; yellow from turmeric or pollen or lime and the milk of banyan leaves; blue from indigo; red from the KUSUM flower juice or red sandalwood; green from the leaves of the wood apple tree; white from rice powder; orange from PALASHA flowers. The raw materials were mixed with goats milk and juice from bean plants. Today green, blue, red and orange have been added to these colors. The colors are applied flat with no shading. There is normally a double line drawn for the outlines, with the gap between the lines filled by cross or straight tiny lines. In the linear painting, no colors are applied. Only the outlines are drawn. Some villages only produce black ink drawings. Other villages use pink, yellow, blue, red and parrot green, each paint mixed with the traditional goats milk. Impact of Hindu religion and mythology in Indian folk arts Hinduism Religion has been a definitive influence on Indian Art. Hindu Paintings featuring Hindu gods, Hindu goddesses, and the various Hindu pantheons are one of the most prominent symbols of Indian and Hindu Art. Hindu god/goddess in branding In India, manufacturers try to affect the psyche of consumer, by branding an item with the names and images of Hindu deities. They bring the premium image of a God and His virtues and associate them to their product, thus exploiting the mass recognition of well-established imagery of the God to boost product branding. The beauty of this strategy lies in the fact that the companies using Gods images do not have to be concerned about any kind of intellectual property issues like copyright, thus enjoying an immense credibility just by virtue of having connected their name to a venerated name. This kind of branding shows the popularity of god/goddess images in India and the corporate/legal freedom of their use. Manufacturers use images and names of Hindu Gods on product labels and promotion materials to attract buyers attention. Even in America some of the phone card companies like MCI, which target Indian consumers, print Gods images on its international phone cards and sometimes even t he phone card itself is named after a God. In India the largest group of advertisers are the food marketers, followed by marketers of drugs and cosmetics, soaps, automobiles, tobacco, appliances, and oil products. All of these companies somehow associate their products virtues with the virtues of a God and try to sell it to the consumer, who can very well relate to the image presented. For instance, Indian jewelers use image and name of Goddess LAXMI, who is considered the ruler of all material wealth extensively. One of the most famous names among jewelry shops in India is: Maha Laxmi Jewelers. (Examples of some Ads and products in Appendix. Pic.17a 17j) Forms and symbols in MADHUBANI Paintings The motifs of the designs include conventionalized flora and fauna, circles in series, spiral or curvilinear devices, series of short lines, foot-points of fragmentary (imaginative) pictures illustrating legends and stories, giving glimpses of environmental and natural life. While the religious paintings include various gods and goddess, the secular and decorative paintings contain various symbols of prosperity and fertility such as elephant, horse, fish, lion, parrot, turtle, bamboo, lotus, flower, PURAINA leaves, PANA, creepers, SWASTIKA etc. Besides, we also come across in these paintings aspects of agricultural animal life, which plays an important role in the rural economy of MITHILA. The animal, in fact, is a duplicate representation of energy and character of God. Thus, the subject matter generally falls into two groups: (1) A series of heavenly forms. (2) A series of strictly selected vegetables and animal forms. For different occasions, they have different forms and symbols attached to these paintings. Wedding Paintings At weddings, the following objects the sun and moon, a bamboo-tree, a circle of lotuses, parrots, turtle and fish come into prominence. These paintings draw their themes mostly from the PURANAS and epics. The most prominent image looming largest on the walls are the bamboo-tree and the ring of lotus, the KAMALAVANA or PURAINA. The focus is on fertility, and the marvelously intricate diagrams of the KAMALAVANA, the PURAINA and the forest of bamboos are, as pointed out by Archer, MANDALAS and diagrams of the generative organs. The lotus circle is not only a lotus but also the symbol of the brides sex, while the bamboo-tree is a bamboo, it also represents the phallus. (Although sometimes it is said that the women artists iconize the husbands patrilineage as a stand of bamboo.) In other words, lotus is a female and bamboo is a male. According to Archer, the latent symbolism reaches its height in the many paintings in which the bamboo-tree is depicted not as aloof and apart but as driven through the center of a clinging circle [9]. There are also minor symbols of parrots, turtles, fish, sun and the moon. In Indian context, the parrots symbolize the lovebirds and they feature constantly as images of the bride and bridegroom in folk songs and poetry. Turtles also have a significant place because they associate water with all its beneficent power with marriage, their strange shape being diagrammatic of the lovers union and their head and tail emerging from the shell looks like the exact counterparts of the bamboo plunging in the lotus. Then, there are fishes which are emblems of fertility and, finally we have sun and moon who are inserted because of their life-giving qualities. (Example of marriage art known as KOHBAR in Appendix. Pic.16a 16h) About the MADHUBANI painting Artists: Baua Devi Baua Devi is one of the most respected artists in the MITHILA community, and certainly the most successful. She lives in JITWARPUR, the village where she was born. Her work has been exhibited widely throughout India as well as the Center Georges Pompidou in Paris and at the MITHILA Museum in Tokamachi, Japan [10]. Also, at the MATRIX show at UC Berkeley Art Museum, 1997 [11] included two mural-scale paintings by Baua Devi, one depicting the life of KRISHNA, the other, a festival around a pond in a Mithila village. The scope of MADHUBANI paintings, its popularity in India and in other parts of the world MADHUBANI Painting has lately received much attention and popularity. There are quite a few websites devoted to MADHUBANI painting. I simply would like to add that the credit for bringing recent and massive popularity to this art form goes, in large measure, to the Lalit Narayan Mishra. In his capacity as the Minister for Railways in Mrs. Indira Gandhis cabinet, reproductions of these paintings adorned the coaches of many fast and super-fast trains. [12] Copies of the paintings became a hot-selling item for both native and foreign travelers. The reproductions could be found in plenty, for instance, among the hawkers in the bustling street side market along the JANPATH in New Delhi, India a must for the foreign tourist! Credit is due also to Mr. Bhaskar Kulkarni, erstwhile member of the Indian Handicrafts Federation. He was the first to organize an exhibition of this school of paintings at New Delhi in 1967 [13]. This brought instant international recognition. Folk art is having a tr easure house of symbolic language to contribute as a gift to Modern art. Folk in a sense carries the connotation of anonymity, collective wisdom, spontaneity and simplicity. With the development of Anthropology a new awareness has come into understanding the primitive and folk traditions. Anthropology has proved that regionalism in art is not against internationalism. [14] Conclusion MADHUBANI paintings are popular because of their tribal motifs and use of bright earthy colors. I would like to explore how these unique features of folk art could be successfully translated into the form of Animation. Based on my research I have these findings about MADHUBANI PAINTINGS characteristics: -The figures are recognizable by a face in profile while the rest of the body faces the front. -The face has one very large eye and a bumpy sort of nose coming out of the forehead. -The figure outlines are drawn as a double line with diagonal hatching between them. -The borders are highly decorated either geometrically or with ornate floral patterns. -Clothing also is highly decorated with geometrical, floral or even animal patterns. -The drawings of animals are easily recognized for what they are, but again tend to be very stylized. -The forms and symbols in these paintings have their own significance and different forms and symbols are used on different occasions. -There could be different interpretations of symbols and its uses. -These paintings have a limited number of colors and each color has its own meaning. Artists prepare the colors applied. -The artist uses traditional brushes (made from a bamboo-twig) for drawing. With time medium has changed. Originally these paintings were done on walls in villages. Later, the artists successfully transferred their techniques of wall painting to the medium of paper. Now most of the artists use watercolors and handmade papers. At the same time they maintain the characteristics and style of paintings although the medium has changed. In order to create a new source of non-agricultural income, different organizations encourages the artists to produce their traditional paintings on handmade paper for commercial sale. This way now it also widely spread. Even in the more recent work on paper, the themes are normally the Hindu Gods and Goddesses and stories from Hindu mythology. They exhibit their paintings throughout India as well as different parts of the world. Now with the advent of digital tools like Macromedia Flash, which can produce the similar kind of drawings using different combinations of pencil and brush strokes. Use of digital tools also makes these dr awings faster and more effectively as these paintings has lots of repetitive patterns. So we can say, transferring the techniques of wall painting to the medium of paper gained these paintings more popularity and recognition. Same way I strongly feel that when these styles and characteristics of MADHUBANI paintings will be transformed into digital medium, such as animation, it will take the paintings to the next level, where these folk art styles will be used by more and more digital artists from India and all over the world. End Notes [1] Based on the art history timeline the art produced on the Indian subcontinent from about the 3rd millennium BC . However based on the recent findings, An archaeological site off Indias western coast may be up to 9,000 years old. The revelation comes about 18 months after acoustic images from the sea-bed suggested the presence of built-up structures resembling the ancient Harappan civilization, which dates back around 4,000 years. . [2] States from India. Map of India Appendix Pic.15 [3] Thakur, Upendra, MADHUBANI Painting. New Delhi: Abhinav Publications, 1982. [4] Roy, The Bratas of Bengal, The RANGOLI or ARIPANA, KOLAM or MURGGY, as it is known in Bombay (now Mumbai), TAMILNADU and ANDHRA, is a pleasing decoration of the ground. [5] The Mughals ruled in India from 1526 to 1857. The Mughal period can be called a classical age in northern India. In this cultural development, the Indian traditions were amalgamated with the Turko-Iranian culture, brought to the country by the Mughals. [6] Gene R. Thursby, University of Florida . [7] Ministry of Textiles (Govt of India) [8] Madhubani Painting Workshop Brochure. . [9] Archer, W.G., MADHUBANI Paintings. Mumbai, 1998. [10] The Mithila Museum in Tokamachi, Japan. . [The Mithila Museum is housed in a converted schoolhouse in Tokamachi, Niigata Prefecture, situated in Japans snow country. Here approximately 850 Mithila paintings, more than 300 paintings that the Mithila artists created in Japan, Warli paintings by an aboriginal group in India, and Indian teracotta statues and figurines, are exhibited on a permanent basis.] [11] Baua Devi and the Art of Mithila. . MATRIX: August 15 through October 26, 1997 at the UC Berkeley Art Museum. [This is the first United States exhibition of paintings on paper by the Indian artist Baua Devi. The exhibition also includes a selection of works by other artists from the Mithila region of northeastern India. Baua Devis paintings explore an array of personal and mythological themes. An image, which she has come to adopt as her own is the nag kanya, or snake maiden, a creature with the torso and head of a beautiful woman and the lower body of a snake. The nag kanya resembles the snake goddess Manasa, whose attributes echo those of the key Hindu god Shiva. The nag kanya also derives from the real snakes that occupy the watery region where Baua Devi lives.] [12] Railways in North Bihar. . [13] Mr. Bhaskar Kulkarni. . [14] The Art of Folk Tradition. . References Thakur, Upendra, MADHUBANI Painting. New Delhi: Abhinav Publications, n.d. Thakur, Upendra, History of MITHILA. New Delhi: Abhinav Publications, n.d. Jain, Jyotindra, Ganga Devi: Tradition and Expression in Mithila Painting. Ahmedabad, India: Mapin Publishing Pvt Ltd., 1997. [A fine book on a leading artist who practiced what is sometimes called the Kayastha style of MADHUBANI painting.] Vequaud, Yves, The Women Painters of Mithila. London: Thames and Hudson, 1977. [A book that contributed to and then reflected the worldwide popularity of MADHUBANI painting.] Osaki, Norio, MADHUBANI Paintings. Kyoto Shoin, 1998. Shearer, Alistair. The Hindu Vision: Forms of the Formless. Thames Hudson, 1993. Aldred, Gavin. Indian Firework Art. Trafalgar Square, 2000 Prakash, K. Authentic Folk Designs from India. New Delhi: Dover Pubns, 1995. Dawson, Barry. Street Graphics India. Thames Hudson, 2001. Archer, W.G., MADHUBANI Paintings. Mumbai, 1998. Anand, Mulk Raj, MADHUBANI Painting. New Delhi: Publications Division, Ministry of Information and Broadcasting, Government of India, 1984. Online exhibit of MADHUBANI Paintings. . About an Artist.. The MAITHILI BRAHMANS: An Online Ethnography.. Marketing God: About religious content on Indian television.