Music History Essay Example | Topics and Well Written Essays - 750 words

Music History - Essay Example According to the Catholic Encyclopedia, the Alleluia was introduced into Western churches around the fourth century and sung in response to the reading of the psalms (Bewerunge, Henry. "Plain Chant."). However, it is generally believed that the official recording occurred in the eighth century when St. Gregory made the effort to compile his beloved church music. It is at this time that the neum, the name of the strange characters, came into existence. (Bewerunge, Henry. "Neum"). The Alleluia was a melismatic composition which means that there were complex notes and melodies carried out on one syllable. The manuscript shows the squiggles streaming after the "a" in "Alleluia" which would suggest that the sound of the "a" is prolonged in the melody. The marks indicate how the sounds are sung or modulated, that is, whether there are glides or trills for example. Accent signs such as the acutus (/) written from left to right over a syllable would indicate a rise in the melody and the grav is, drawn downwards () would be the opposite, to lower the note. The gravis was abbreviated over time to only a dot, or punctum, and as a result was used in combination with (Last Name) 2 other marks to determine the melody. For example, in the group scandicus it shows an ascending group of three or more notes, drawn from left to right, and in the group climacus (), a descending group of notes (Bewerunge, Henry. "Neum"). The Alleluia chant was first used at Easter Sunday, then extended for the entire Easter period, then, courtesy of St. Gregory, again extended for use during the entire year with the exception of the period before Lent (Bewerunge, Henry. "Plain Chant."). As a praise to God, it seems appropriate that it should be used more than one or two times a year. The Agnus Dei is another example of plainchant or Gregorian chant as it is commonly called. However, the neums have evolved into another form in order to further convey the musical meaning. The Catholic Encyclopedia translates the Latin words ""Agnus Dei, qui tollis peccata mundi, miserere nobis" to "Lamb of God, who takes away the sins of the world, have mercy on us" (Henry, Hugh. "Agnus Dei (in Liturgy)"). In Henry Hugh's same article, he states that the Agnus Dei is generally used toward the end of the service before the giving of the Holy Communion. He also mentions that it is also found at the end of litanies, with a slightly different wording and in Requiem Masses. Early Agnus Dei plainsongs were mostly syllabic, where each syllable was given its own note and were mostly sung during days of "penitential character" such as during Lent or Advent, except Good Friday and Holy Saturday (Henry, Hugh. "Agnus Dei (in Liturgy)"). This example of the Agnus Dei is more embellished, and i t falls into the neumatic category, where two or more notes, are applied to one syllable. Sometimes up to a dozen notes are used in the neumatic form and it differs from the melismatic compositions where one will find a syllable carried for dozens of different notes. At the beginning of each four-line staff, there is a notation on the upper line and this tells what mode or key the piece will be in. In this case, it is the mode of C. The other popular mode was the key of F and later, the key of G was introduced. Bewerunge notes in his article in th

Human resources Essay Example | Topics and Well Written Essays - 1250 words - 1

Human resources - Essay Example The use of effective performance management could somehow contribute to the overall success of a business organization. Implemented by the line managers, performance management is valuable to corporate managers and employees in the sense that the organizational competencies are aligned with the organizational core values (Armstrong and Baron 20). Through the use of proper coaching and guiding techniques, the line managers are expected to be able to effectively motivate employees to unleash their potentials which are necessary in improving the overall performance of the group as a team (ibid). Considering the advantages of having effective performance management, improving the overall organizational performance of a business group is equally beneficial on the part of the public shareholders and the business owners. Basically, improving the overall business performance of an organization increases its profit earnings. Therefore, the public shareholders are expected to receive higher di vidends whereas the business owners are expected to receive more financial gains. ... hat is taking place within a business organization, it becomes a challenge on the part of the HR managers to establish organizational culture that promotes organizational behaviors that are more flexible and open to changes (Rahim and Rahim 227). For this reason, positive reinforcement on employees is necessary from time to time. Within a business organization, the unbreakable behavior laws are referring to the act of making accepted behavioral practices a significant part of the organizational culture. By making positive behavior a part of the organizational culture, the practice of positive behavior within the business organization can become a norm. This makes the development of positive behaviors more difficult to break. Organizational behavior is considered the key factor that could effectively improve the quality products and services being delivered by employees. Given that the HR manager is able to reinforce positive behaviors among its employees, the organizational managers will be able to effectively motive the workers into working as a team in order to reach the organizational goal. It is also possible to make employees become more self-sufficient as a worker. By making employees learn to embrace the importance of self learning, employees could contribute more in terms of improving the overall business performance. Q.3 What is pinpointing? As explained by Axson Pinpointing in performance management is pertaining to organizational behavior that indicates relevant business information that can be used by the organizational leaders when making important business decisions (216). By pinpointing parts of the faulty production process or negative human behavior that could hinder the operational success within a business organization, the organizational managers

International Human Resource Management in Japanese Firms Essay Example for Free

International Human Resource Management in Japanese Firms Essay During the 1980s, commentators and researchers of almost every stripe witnessed what was invariably seen as a miracle: the juggernaut Japanese economy. It seemed a perfect system, with all cylinders-from the political coordination of the economy through industrial structure and interfirm interactions to human resources management practices and cooperative relationships on the shop floorclicking at high, flawless speed. In the mindset of the time, one question quickly followed: How could the American economic system, with all its contrasting warts and imperfections, hope to compete against this titan? Now, little more than a decade later, that sighting of a miracle has been downgraded rather substantially. In the words of a Fortune analyst (Powell, 2002), Being compared to Japan these days, economically speaking, is about as low as it gets (p. 91). The reasons for this decline are varied but include many of the same factors that supposedly accounted for its ascendance. Now, Keeley pulls back the curtain even more, exposing a system seemingly trapped in neutral. Keeley, a Westerner fluent in Japanese and professor in international management at Sangyo University in Japan, is well positioned to reveal the inner workings of the Japanese corporation, particularly its international human resources management (IHRM) practices, without the infatuation that marked many of the earlier reports. The inescapable conclusion from this volume: These practices create almost insurmountable competitive disadvantages. In addition, Keeley provides a deep look at the tenets of Japanese culture, the management and personnel practices tied to that culture, and the resulting business practices and organizational dynamics that characterize the modern Japanese corporation. In the process, he also offers up a compelling argument for diversity, not simply as an affirmative action accounting of staffing, but rather as a mindset of inclusion and involvement. For all those who read about the Japanese miracle of the 1980s, this book is an important corrective and should go on your reading list. It can also be recommended to anyone interested in the cross-cultural application or transfer of management or human resources practices, or organizational behavior in a global environment. Keeley launches his analysis with the observation that the greatest challenge Japanese companies face in expanding their foreign direct investment is how to integrate host country national (HCN) managers into the management process of their oversees subsidiaries as well as that of the parent companies themselves (p. ). The reasons why such integration is important are clear and simple: competitive advantage in a global economy requires that a multinational company (MNC) be able to tap the talents of local HCN managers; to do this, the MNC must be able attract, retain, and develop talented HCN managers. Absent this, the MNC will forfeit local expertise as well as violate host country antidiscrimination laws, something for which Japanese MNCs have a certain notoriety. More specifically, Keeley argues, the IHRM practices of Japanese MNCs are their Achilles heel, and this is due to the fact that the Japanese system of management is so culture dependent that it is difficult to incorporate nonJapanese into the system, making internationalization of their organizations problematic. (p. 9) This theme is examined more fully in Chapter 2, looking at the issues of cross-culture management and the importance of national culture on organizational dynamics. For example, using Hofstedes (1991) national cultures variables, it is the work group-not the individual-that is the foundation of the Japanese organization. Japanese management techniques, such as lifetime employment, consensual decision making, and rewarding group members equally, are built upon the group. In Chapter 3, Keeley examines the three HRM practices that characterize the larger, global Japanese MNC: lifetime employment, a senioritybased wage system, and company-dominated unions. He also discusses the unique leadership role played by the personnel department. It is in this context that he reviews other distinctive features, like the long work hours of Japanese managers and the after-hours workgroup socializing that follows. Contending that this practice is essential to Japanese management, it is not common elsewhere, and Japanese managers find it difficult to manage without it. In this chapter, Keeley also does a good job reviewing the key traits of Japanese culture that so affect their HRM practices, including: strong ethnocentrism; an emphasis on the responsibilities of a (corporate) household (like paternalistic familism); harmony and loyalty in the context of vertically defined relationships; and the rigid separation of public face from private, personal feelings. Keeley also discusses how educational institutions are used as recruiting sources for corporate staffing. Although aspects of his review of Japanese culture, history, and institutions may be familiar to some, the coverage of Japanese IHRM practices in Chapter 4 is probably not. According to Keeley, Japanese firms were slow to move into investing in foreign sites and facilities, and it was not until the 1990s that Japan became a major foreign investor. Even so, only 8% of its manufacturing capacity was moved off shore, relatively small compared to the 17% for U. S. and 20% for German firms. On a continuum of IHRM practices, ranging from ethnocentric operations at one end to fully open and integrated global operations at the other, most Japanese firms would be classified as ethnocentric. Further, management positions in Japanese subsidiaries are invariably filled by native Japanese. Over the last 30 years or so, Japanese firms have consistently employed three to four times as many parent country nationals (PCNs) in manager jobs as have U. S. or European subsidiaries. Ethnocentric IHRM practices are also found in such other conditions as lack of local decision-making autonomy, demands for selecting and training PCN managers, substantial communication problems between PCN and HCN managers in Japanese subsidiaries, and even the pariah treatment that repatriating PCN managers experience when returned to Japan. In Chapter 5, Keeley continues his close and critical look at the interactions between culture and organizational behavior by examining communication and decision-making practices. This analysis is supported by the findings of his survey of Japanese subsidiaries in Singapore, Malaysia, and Australia in 1994 and 1996, as presented in Chapter 6. In the final chapter, Keeley draws out the implications of his analysis. HCN managers play a limited role in the management of local subsidiaries, with most decisions made at headquarters in Japan and communicated directly to the Japanese managers on site without local HCN manager involvement. These conditions make working for a Japanese subsidiary unattractive to many ambitious HCN managers, putting Japanese firms at a relative competitive disadvantage in the labor market. More generally, Japanese management practices are difficult to transfer to foreign operations and indeed may actually impede efficient and effective local operations. Both Japanese culture and their business operations create formidable barriers to effective integration. In short, Japanese MNCs seem tuck in an ethnocentric mode of operation that virtually dooms them to long-term mediocrity in the global economy. Keeley concludes that in order for them to succeed in a global economy, Japanese companies must transcend their ethnocentric attitudes and IHRM policies and practices and look at diversity, not as a defeat, but as a strength. Although some firms have recently begun to acknowledge this, most show little interest. International Human Resource Management offers an abundance of information and insight into the global HR operations of Japanese firms. In addition, it also provides an intriguing, more general assessment of the challenges involved in managing cross-culturally and the importance of effective diversity management. The book is well written. The frequent use of acronyms, like HCN and PCN, eventually becomes easy to follow. Though I found Chapter 6 on the authors own research somewhat anticlimatic, all in all this is a fascinating tour book and is recommended without hesitation.

Application Of Sound In Movies And Games Film Studies Essay

Application Of Sound In Movies And Games Film Studies Essay Approaches to Game Audio. Modern computer games are undeniably becoming more realistic and cinematic. As graphics become better quality and game consoles become more powerful, the distinctive line between films and computer games that was set in the 1970s now hardly exists. Graphics have a big part to play in films and modern computer games, but an even bigger part of films in my opinion is the music and the sound in the film general. The music helps create the tension, emphasise dramatic moments in the plot and giving films another dimension to what is shown on screen. These techniques in music and sound/sound effects in film have been taken and used into the production of the modern computer game. Although the music and sound in film and modern computer game may have the same cinematic practice, the way it is implemented in computer games is very different. This is because of the interactive nature of the gaming environment in the computer game. Throughout this assignment Im going to be looking at what kind of strategys game audio developers have created and adopted from film to produce effective audio in the music, dialogue and effects in computer games. We will firstly be looking into the techniques on how film music and sound is made, and the different strategies have been used to produce them. Then at the strategies and techniques on music for modern games, then discussing and evaluating the different and similar techniques and strategys that computer games have adopted. Sound in film Music and sound have always been a big part of film. Even before technology was advanced enough to play dialogue or music, silent films would normally accompanied by a pianist or even a whole orchestra. But why is sound so important to film? Composer Aaron Copland describes five purposes of film music which we will be going into detail about: Creating a convincing atmosphere of time and place; Underlining psychological refinements the unspoken thoughts of the character; Serving as a kind of neutral background filler; Building a sense of continuity; Underpinning the theatrical build-up of a scene, and rounding it off with a sense of finality. (Copland 1975: 154-5) Creating a convincing atmosphere of time and place Composers can achieve creating a time and place by capturing the musical colour, creating the feeling that the music would be created in that location or time. They can achieve this by using instrument of that era or location- Bagpipes would suggest the scene was in Scotland, while a String quartet could symbolise a Scene from the 1800. Although this is an effective way of locating the film musically in some respects, sometimes the composer or director of the film may not want to use authentic Chinese  music but just want to achieve a Chinese flavour or colour by using a pentatonic scale with Western instruments (Source 1) This can create a better effect overall, hinting towards where the scene is musically without using unwanted interments. Underlining psychological refinements the unspoken thoughts of the character In some instances, music can portray a psychological element much better than dialogue can. This type of film music seems more effective if the composer reads over the script at the creation stage, making suggestions on where he would like the music to be. Far too often, however, this possibility is passed over and music is not allowed to speak (B source 1). Music can also give the viewer a better understanding on what is going on within the head of a character, not specific detail, but an overview. Leonard Rosenman  thinks that The musical contribution to the film should be ideally to create a  supra-reality, a condition wherein the elements of literary naturalism are perceptually altered. In this way the audience can have the insight into different aspects of behaviour and motivation not possible under the aegis of naturalism. This show that music can give a film another dimension, bringing out emotions and insights into characters where film without sound cant. Serving as a kind of neutral background filler Through research many composers feel this is one of the hardest things to do within composing a piece of music. Roy A. Prendergast point out that creating background music for a composer calls for him to be at his most subordinated. At times one of the functions of film music is to do nothing more than be there This shows that sometimes music is just needed to blend in the background as though it would exist as sound rather than as constructed music. Building a sense of continuity What is meant by continuity in film is that music can hold a film together Music can tie together a visual medium that is, by its very nature, continually in danger of falling apart (B source 1).The editor of the film will probably be the most aware of this particular attribute of music in films. Music can also bring a film together as a whole using a unifying musical idea. Underpinning the theatrical build-up of a scene, and rounding it off with a sense of finality When used correctly, music can add a huge amount of intensity and intimacy to a scene, it can evoke a gut reaction unobtainable in any other way (B Source 1) But music isnt a miracle worker, a lot of good composers have been asked to create music for a weak scene, hoping that it will the scene stronger. But if the scene is weak it is near impossible to make it stronger, and sadly it is normally the composer who critics blame. Three forms of music The sound in Cinema takes on three different forms: Speech, Music or Noise. Speech The dialogue in films are spoken by the actors or narration heard as a voice over (Source 2). A major component in speech for films is an automated dialogue replacement. When recording on set there is normally back ground noise of traffic or planes flying overhead, this drowns the actors lines out. Because of this, the dialogue is recorded within a studio. Recording dialogue in this way makes it possible for actors to make their lines more dramatic then recording on location. An example of this is the screaming by the actor in Jurassic Park actually was recorded in the sound studios in New York and Los Angeles (source 2). In the studio an ADR expert would match the new recording with the film, making sure that they were properly in sync so that the audience isnt aware of it being recorded in a studio. Music Music is a very powerful component to a film, in many different ways. For example in musicals such as The Sound of Music (1965) the music trys to captivate the audience creating an emotional response when music and words are linked in a scene (B source 2). Music also helps explain and move the plot instrumentally. Themes are very commonly used for individual characters, for example Star wars when Darth Vader appears on screen his theme music is played. There are two different types of film music. Firstly there is Source music, which is the realistic part of the scene; Street Musicians, Rock band playing in the background etc. The second film type is Underscoring; Music motivated by dramatically consideration (B source 3). The composers are normally not needed until a rough cut of the film is made, or even later. Within films that have to be shot in time with music that does not exist yet a temporary music track may be played on set (B source 3). Many films without music feel very empty; this is why films are normally pretracked. The editor would cut scenes to stock or classical music so that the tempo and phrasing lend structure to the footage. Composers then have the task too music that is similar but different. In scoring, one of the first steps is deciding which scene will have music; this is called spotting. The composer will have to cue the start and end of the scene with a stop watch. The music editor will then create a time sheet or breakdown which will change the feet of the film into seconds, or even smaller time scale. He will then detail the action in a cue, making it easier for the composer to write any way he wants, The closes synchronisation of music to action is called Mickey-mousing' (B Source 3) There are two main types of cues in films. Long Cues which are length normally classical pieces of composition, an example of this is a scene from Gold finger where planes are dropping sleeping gas on to a military base, throughout this scene that lasts over two minutes, the same composition is played throughout. Short cues are normally just a few bars of music; this normally acts as punctuation. For example, in many horror films when someone is going to be stabbed with a knife, this is normal accompanied with a strings playing a high sustained chord, giving a sense of anticipation and making the audience uncomfortable. At the recording stage of the music, the conductor of the piece is alerted by a streamer, a three-foot scratch in the film at the end of which a punched hole producing a light on the screen that acts as the starting cue. For the additional short cue scenes, there are similar streamers that will alert the conductor. Throughout the recording, the conductor will normally have a set of headphones where he can listen to the dialogue or a click track. Noise This can be any other sound that can be heard within the movie for example footsteps or birds. Usually the quality recorded on set is poor, which means that special sound effect (SFX) have to be produced in a studio. To produce these sound effects, sound technicians called Foley artists will record different sound effect with items in a studio. For example to create a horse walking, the Foley artist can use two half of a coconut and tap them on the table or floor, or using a metal sheet to create the sound of thunder. Many of these sound effects can be bought digitally from companies that have noise libraries for a cheaper cost then to get Foley artists. But many producers for major motion pictures will employ people and spend more money on Foley artists to create custom sounds for the movie. Timing There are two different timings within films: Viewing Time and Story Time. Viewing time means the physical length of the film. This normally differs from Story time, which is the time that passes within the film itself. Films can normally cover a few years in the characters lives, but most films that we see only take around a couple hours to watch. Viewing time becomes an instrument of the plots manipulation of story time. (B Source 3) Matching a sound or dialogue within the films images is called synchronization. When dialogue or sound is synchronized properly, the audience will not normally be able to tell if everything has been over overdubbed, or sound effects have been added. Sound in games The process of producing game audio resembles in many ways the production of film audio. Game audio follows the same five purposes of film rules made by Aaron Copland, has similar recording techniques for live sound and Foley, and use many of the same software and recording equipment. A lot of game play, i.e. the battles or the big set pieces, essentially has to be scored in some form or fashion. So thats all similar to a film. (B source 4) Although these traits are very similar between game audio and film audio, there are very distinctive differences in the processes. Most of film audio is normally done on the post-production stage, which takes place after the film has been edited and the visuals have been locked (the final version set) (B source 4). A large amount of time is spent mixing and balancing the sounds at this stage, which is one of the most significant differences between film and games sound. Post- production within film doesnt generally exist within game audio. This is because the timings are variable, the music needs to adapt to the game play. The reason for this is because some game players may vary greatly in the length of time needed to complete a level, and often they can complete tasks in different ways. The way they have come across this hurdle is by creating adaptive audio or interactive audio to others. To find out how game audio makes this adaptive or interactive audio, we are going to look through the three production stages. The three stem can be found in the same file or separate files depending on the individual or companys choice. Pre Production The first step on pre production for game audio is the creation of an audio design document. An audio design document contains the details of the design and implementation of the games audio. At this early stage, the audio team dont have much information; they may only have storyboards and characters sketches on which they have to develop an audio design document. But with this information the can start at an early stage of the production, making sure that the audio plays a significant role in the game. The first thing is to determine what type of game it is, finding out the genre and theme for the audio. One technique of finding out the right genre is by creating a temp track. A temp track means placing pre-existing music where the final composition should be. This helps the composer have an idea on where to work from. The second step is how the sound will interact with the gameplay. Rules will normally be placed out by the games designer describing what role the sound design will have within the game. The next stage is to find out which parts of the game should have ambient sound and music. This is known as spotting, it involves defining cue point entrances, exits, play-ins/play-outs, and game state changes, as well as deciding if the games variables (such as players health, surface properties, and so on) will be used to change sound parameters(B source 4). To help the music fit into context with the game, a music cue list can be created. This helps break down the storyboard or script into segments and chapters, creating an individual map for the game, as well as for each individual level. At theses first stages the audio team will need to look for spots for environments, action, pace, tension/release, objects, characters/personalitys and so on. Another important step is spotting the game in terms of emotion; Within a games there is normally movement or a certain rhythm in terms of emotional peaks and valleys (B source 4). To help the sound designer which sounds may interfere with one and another and which sounds need emphasis, an emotion map can be created showing tension and release points. At this stage level descriptions are broken down into different sound types, for example ambient noises, weapons sounds, Foley etc. These sound types will be created within an asset list which can be used at a later stage too track recording in order to reproduce sounds at a later stage, if necessary Production At this stage the production of game sound is normally taken place in several different locations. Like production of film sound: sound libraries are used and normally these effects are layered and manipulated to create the right effect. Bigger companies may have a dedicated Foley studio where Foley artists are hired and are told to create original sound effects for the game. The same techniques in film are used in game audio for sound. One of the most useful techniques that are being used in game audio is the processing of digital signal processing (DSP) in real time. Being able to do this saves a lot of recording time for the sound developers. Before processing DSP in real time effects on certain sounds had to be re-recorded individually, for example; to get the effect of footsteps to change when walking from, say, a stone path into a cave, the effects would have to be pre recorded onto the footsteps file (B Source 4) But now only one sound sample of footsteps needs to be recorded, this is because the DSP filters can be set for location, making the audio responded physics graphic engines which can create more realistic sounding effects in real time while playing the game. The final part of the audio production process is the integration of the music, sound effects, and dialogue. The integration of audio into game decides how the audio will be triggered within the game. This also controls what part of the audio might change the games state or the games parameters. For example Music or ambience tracks may be triggered by location, by game state, by time-ins or time-outs, by players, or by various game events. For the composers music to work with the game, it must be able to integrate into it. Cutting the music into chunks, splits or loops may help in creating a much more dynamic score for the game. An hour or so of music can be stretched out to many hours by cutting it up and looping it. To make it easier to cut, normally the songs have to be quite rhythmic. In game music compositions, the composer will normally make sure that the music is played within the same key throughout. This is because it is easy for sections to be cut and looped without the audience realising. The music composers for Red Dead Redemption composed the music by creating many riffs and small composition lasting less than a minute each, all within the same key. After mastering each one individually, they then put it into the music engine of the game where segments of the musical material are constantly chosen at random an put together to form a piece of music. (B source 5) Music can not only be cut, but also elements of it can be changed in real time in the game engine, for example DSP effects, tempo and instrumentation. Software such as Wwise and FMOD are being used much more these days to create editing such as this. This is because the software lowers cost and production time, and makes it easier to integrate a more dynamic score within the game. Segments of the musical material are constantly chosen at random and put together to create a piece of music. Post Production stage At this stage of production the main task is the mixing of the audio. The mixer has to find anything within the mix which is unnatural, too much repetition or anything having an unnatural imbalance. Within current games, the different stems of audio are competing with each other because they are all in the same aural space. This gives a great risk of sounds being in the same sound range and masking each other out. This is also problematic within film, but because of the unpredictability on where different sounds are going to be heard in a game, makes the mixing an even more difficult task. A strategy mixers have used to tackle this obstacle is by prioritizing sounds real-time in games. Using FX and ducking the music when dialogue happens, is an effective way of making sure needed information is passed on to the player. Another effective technique is making certain frequencies in the music quieter; this makes room for the dialogue to be heard and the music still has a presence. Strategies adopted by game audio developers To make it easier to see the similarities and differences in film and game audio, they have been made into two different sections Similarities Film and game audio have very similar, if not exact recording techniques. They both have to overdub dialogue and ambience. Game audio however, is more reliant on over dubbing, this is because there is no original sound because they have to create the ambience and dialogue from scratch. They both follow similar rules in what they want from the audio, and how they want their audience too feel. The music is very similar, both film and game audio often have scores arranged by professional composers, have a dedicated team that that deal with all the audios needs. Differences Evaluate Conclusion Overall thoughts Examples, including discussion and evaluation, of strategies adopted by game audio developers; Conclusion; References.

The Five Types of Memory Essay -- memory, psychology,

The human body is a complex structure. The brain being the most complex organ has the most work to do. The human memory consists of a process in which memories are stored and remembered. According to Intelegen Inc., there is this unique process of Memory in which the process only involves three stages. In the stages of this process, the memory is formed, retained, and retrieved. There are three stages of the five different types of Memory; the three stages are encoding, storage and retrieval. The five types are Memory is classified by a few different characteristics. Declarative Memory is the memory of dates, historical facts, and telephone numbers (Silvia Cardoso). It is easier to build up Declarative Memory but can be easily forgotten as well. Procedural Memory is the memory/ability to drive a car, to play sports and tie shoes. This type of memory involves repetitive practices. The other of types of memory is Elaboration, Self Referent and Visual Imagery. Elaboration is known as memory associating with other information. Self Referent Memory is how it is made personally relevant. Then, there is Visual Imagery, which can be used in a few ways, one of which can be used to add richness to the material to be remembered. The first stage is known as Encoding, which is how the memories are formed. Encoding requires selective attention to the material to be encoded (Intelegen Inc.). All the messages are registered but only the meaningful ones are put into memory. There are different types of encoding. Structural Encoding is the first; it keeps emphasis on the physical structural characteristics, also known as the shallow level. Phonemic Encoding is the second; it keeps the emphasis on the sounds of words, the intermediate level. ... ...By this it is meant that some see the glass half empty or half full, then it is stored into their memory and then relate everything else to that. When thoughts and ideas grow off one another once the first part is lost it becomes hard to bring any of the memory back. This happens often, anyone can have a retrieval flaw and thus it messes up the whole system. The three stages are encoding, storage and retrieval and there are five types of memory. Memory may seem to come and go but yet it will always be there. When starting to age the thing is that losing memory is always the problem. The problem is trying to find where in the mind it was stored. This complex process will be one of the only things that will not change over the years seeing as of now there is no way to input the human brain with fake memories but that does not mean in the future that will not happen.

Golgi Complex :: essays research papers

The Golgi complex's structure is made up of many flattened membranes sacs that are surrounded by tubules or vesicles. These are called the cisternae. The golgi complex accepts vesicles from the endoplasmic reticulum and modifies them for usage in the cell. The golgi complex is used to distribute materials which help form the cell membranes. They also assemble the membranous material by producing glycolipids and glycoproteins. The golgi complexes also hand their vesicles materials for secretion. The golgi complex could not do its job without the help of vesicles. Vesicles bring and send the organelle its materials. Attributes:  § 1.0  µm in diameter  § Flattened sacks  § Takes materials from the Endoplasmic Reticulum Functions:  § Packages materials  § Readies products for export from the cell  § These products are then transfered to other organelles or out of the cell Description: Want me an example? Have you ever made a sandwich for lunch and sealed it inside a plastic bag? That's what happens inside the Golgi complex. Important materials that the cell needs to grow and repair itself are packaged in the membrane material made inside the Golgi complex and then shipped to the parts of the cell where they are needed. The Golgi Complex (or Golgi Apparatus, or Golgi Body) is a cytoplasmic structure composed of multiple cisternae (pools of solution surounded by membranes) arranged to look like a stack of pancakes hovering over the Endoplasmic Reticulum (ER). The Golgi Complex can be subdivided into three principal parts - cis, medial, and trans - based on proximity to the ER. The cis- and trans- Golgi stacks look discontinuous and irregular as vesicles are constantly joining and leaving, so they are usually referred to as the cis Golgi network (CGN) and trans Golgi network (TGN), respectively. The medial Golgi can have any number of cisternae, which are referred to collectively as the medial stacks. The function of the Golgi Complex is to modify proteins and then target them to specific sites in the cell. As proteins are being made through the translation of mRNA on Ribosomes, they are identified by amino acid "tags" which tell the cell where the protein belongs. Many proteins have a signal peptide which tells the cell to insert the protein directly into the ER during translation. Proteins which enter the ER are modified in several ways, including the addition of large glycosides (branched sugars) to specific amino acid side chains (Asparagines). After processing in the ER is done, the proteins are shuttled to the CGN via small vesicles.

Disaster Response and Relief

If being provided with a list from the Department of Homeland Securities of potential risk factors I would first look at these key issues and ways that I could improve the city’s chances of survival in a terrorist attack. I would look at the issues that were involved with these issues. My personal choice for order of dealing with the issues would be done so by my deciding which issues were more crucial and which ones needed to be dealt with first.With the list that was provided the order for these issues to be dealt with would take place in a specific order in order to promote the best chances of security and safety for all of the citizens involved. The first thing that would be done is that the airways would be secured and all incoming and outgoing air traffic would be stopped for some time. The next thing to do would be to secure waterways. This would include making sure that there were security efforts involved in protecting the city’s water sources as well.This woul d include the stopping of all water traffic and the security of the different ports and waterways that are surrounding the city. Next transport would be secured and stopped in order to allow for a more smooth evacuation of the city if necessary. This would mean that there need to be an exit strategy plan in the disaster plan that is on location at the town hall and other area disaster planning sites like the American Red Cross. All areas that produced power would be secured by as many forces as could be spared as well as trained disaster volunteers.This would be done so in order to help reduce the chances of harmful chemicals or toxins being released into the air in these areas. All food sources would be secured and there would be limited access to these sources in order to reduce the likelihood of contamination. During the beginning phases of this plan there would be specialists that would be involved in securing the computer systems and making sure that there was no one who was ab le to hack into important information. This would be handled at the same time as some of the other issues just by different specialists.There would be many different agencies that would be contacted. The first agencies to be contacted would be local law enforcement and area military. These would be first initiated in order to work on the security and safety of the city. The next agencies to be contacted would be those that are listed in the disaster plan including the local chapters of the American Red Cross, ESDA, and any other agency that has quick access to high volumes of volunteers. Schools and churches would be looked at as possible places for there to be shelters and food banks would be contacted as part of the process of having food and other goods.Other places that would be contacted are local grocery stores and other discount stores that would have access to high quantity of needed supplies. This would be done in partial efforts on putting limits on what each person could buy or have in order to ensure that supplies lasted for the most people possible. There would be limits placed on needed goods to ensure that all citizens could have some of them. The potential list of areas of vulnerability would need to be dealt with on a level where they were noted in the city’s Emergency Management Plan.Each of these issues would need to be discussed and there would need to be a plan for the emergency situation and how these issues would be dealt with. Whether or not the Incident Command System would need to be changed would depend on what was currently in place and what was needed. Basically if they were capable of addressing and dealing with all of the issues then there would not need to be any changes. However if they were not capable of this then there would need to be changes in order to ensure that they were capable.