Opposition to Medical Marijuana Essay Example | Topics and Well Written Essays - 2500 words

Opposition to Medical Marijuana - Essay Example Over the past two decades, however, a growing controversy has arisen regarding the classification of marijuana as having no legitimate medical purpose. There is growing support among the public and the medical community to rewrite the laws currently prohibiting use of marijuana so that its medical benefits can be of use for those with no other outlet. Marijuana has been used for medical purposes in the U.S. since at least the 19th century. Legal at the time, the drug was instantly popular as a treatment for pain ranging form headaches to menstrual cramps. Of course, simply using a drug to treat pain is not the same as evidence that it does treat the pain. Proponents of legalizing marijuana use for medical reasons raise evidence that marijuana has been proven effective in treating everything from glaucoma to cancer. It has even been hailed as being capable of prolonging the life of Aids patients. Closer scrutiny of the available scientific research, however, reveals that marijuana simply falls far short of what is commonly considered a medical treatment. Dr. Lester Grinspoon, an associate professor of psychiatry at Harvard, is one of those leading the call for reclassifying marijuana so that it can be used as a medicine. ... on would be unthinkable." Grinspoon is apparently willing to ignore that at one time or another throughout history a large majority of doctors were firm believers in treatments that run directly counter to the overwhelming majority opinion today. Indeed, the very idea that just because a minority of doctors would make a suggestion then that makes strengthens your case is fallacious. After all, if 44% said they would recommend marijuana treatment, doesn't that by definition mean that 56% of doctors would advise against it Grinspoon certainly does not rest his case based solely upon physician surveys, but the fact that puts such stock in the findings does not help his credibility. The credibility of the pro-medicinal marijuana movement cannot help but be considered a large issue. Opponents typically take the argument that the movement to allow legal medicinal use is just the first step in a plan to decriminalize marijuana entirely. This perspective has not been helped by certain facets of the pro-legalization movement. A former director of Director of National Organization for the Reform of Marijuana Laws (NORML), Keith Stroup, addressed the true motivation of the push to legalize marijuana for medicinal use as far back as 1979 when he gave a speech at Emory University audience that "medicinal marijuana would be used as a red herring to give marijuana a good name" (Souder, and Zimmer). Richard Cowan, a writer for the pro-marijuana High Times Magazine, would be even more explicit, explaining in no uncertain terms how the pro-legalization movement has used "medical model as spearheading a strategy for the legalization of marijuana by 1997" (Souder, and Zimmer). The movement suffered a major setback in 1997 failed to get a ballot initiative passed in

Medical biotechnology and leadership Essay Example | Topics and Well Written Essays - 1500 words

Medical biotechnology and leadership - Essay Example Prior to the commencement of any project, one must consider the external environmental factors that may affect its outcomes. In this case, the paper will be looking at the carcinogenic effects of heavy metals. Certain political players may have liaised with industrial leaders in their election processes. They may frown upon researches that link these businesses to a health problem. Conversely, those who are interested in protecting their constituents’ rights may use results from this study to make laws that protect the citizenry (Morrison, forthcoming). Certain economic factors will also be relevant to this study. The project will rely on moderate external funding. This will come from the church around the study area. Such financial support will only be forthcoming if the economic environment in the country is favourable. Additionally, the sociological element in this study revolves around the problems faced by people who deal with heavy metal pollution. Persons in developing countries are exposed to heavy metals in fish, water, food and their occupations. Therefore, the ability to obtain such samples will be dependent on getting cooperation from locals (Grundy, 2006). The technological factors in the study project refer to the availability and ability to use scientific equipments needed. Knowledge of microscopy and immunofluorescence is critical in achieving this. Furthermore, the university already has these machines, so gaining access to them will be vital. There could be more advanced methods of studying DNA repair, so the researchers ought to familiarise themselves with these methods. Legal factors include the regulatory policies and laws that govern the disposal and exposure of the public to these heavy metals. If handlers of the materials are flouting laws, then this could be a legal problem (Turner, 2002). Finally, the study has an

Modernism Art Essay Example for Free

Modernism Art Essay As some critics contended, postmodernism represents a break with the modernist notion that architecture should be technologically rational, austere and functional, discuss the ways in which one postmodern architect has developed strategies which overcome these tendencies. Juxtaposition is seen between the characteristics of early 20th century modern architecture and the artistic endeavours of postmodernism that followed. To represent the ‘Less is More’ (R.Venturi, 1966, pg16) notion the modernist tendencies had adopted, Robert Venturi built a ‘Ghost Structure’ to imply architecture had no longer become an art form and was merely just a ‘spectator’ (Architecturerevived, 2011) in society. This essay will discuss ways in which the architect Robert Venturi adopts methods to overcome these tendencies that architecture has lost meaning and ways in which he attempts to remove himself with any links with the ‘post-modernist’ movement that he is viewed in having. Modern Architects saw their role as ‘reformers,’ (R.Venturi, 1966, pg16) and tended to break with tradition and start anew. Considering it was a new revolutionary movement they tended to ignore potential problems and focused on the new modern advancements available. A modernist tendency was to build individually however Venturi claimed that a ‘building derives meaning from its context’ (Out Of the Ordinary, 2002) and evidently each individual location requires a different form of architectural style to represent this. In Venturis book ‘Complexity and Contradiction’ he quotes ‘familiar things seen in unfamiliar context become perceptually new as well as old’ (R.Venturi, 1966, pg43) here he perhaps means in order for art to become worthy of aesthetic appreciation the viewer needs to see it in a different context. For example, Tracy Emin’s unmade bed was placed in an art gallery and was more acceptable and appreciated as ‘art’ rather than being viewed in its original, everyday context. Venturi was focused on the reason behind and the visual perception of architecture, he believed that in applying a ‘medley of styles’ (S.V.Moos, 1987, pg32) opposed to an ‘either/or ‘(R.Venturi, 1966, pg16) mind-set would offer a varied combination of architectural styles. Thus enabling to a successful response to the multitude of tastes society desired, as he was well aware that there were an  array of underlying problems of everyday life. Problems that modernist architects tended to ignore due to their concern of the solution not corresponding with what they believed to be their perfect design. Venturi disregards modernist tendencies as he favours a more eclectic style rather than the ‘less is more’ (R.Venturi, 1966, pg16) approach modernism supports. Venturi aims to ensure his buildings have ties with historical architecture thus to draw meaning and value. This was to evoke a sense of familiarity whilst still staying in context with a more modern environment. Venturi believed in using his knowledge from what he had learned and new had worked in the past, so sought to apply these techniques to his designs. An example of this is Venturi’s State Mosque of Iraq; (Ref 1) finished in 1982. Here Venturi sought to draw from numerous styles and periods, specifically, Art Nouveau. The purpose of incorporating so many previous instances was to provide meaning and depth to architecture once more. Venturi was inspired by the work of Edwin Lutyen’s Capital Buildings in New Delhi as Lutyen had successfully managed to integrate historical themes to look postmodern however with an underlying modernist culture. Post-modernist architects questioned the modernist tendency that form depends on function. Walter Gropius quoted ‘aesthetic image and monumentality of a design are more important than functionalism.’ (Architecturerevived, 2011) However the context of the building was all the more important. Venturi championed this and consequently revived the tendency to ‘change things around’ (Architecturerevived, 2011) to develop and discover a more motivating form. He believed that the simplicity of modernist designs were so minimal that they therefore could easily be manipulated to communicate historic and ornamental tendencies of the past whilst taking advantage of the modern advancements in technology and construction all the while considering the users requirements. An example of this is the Vanna Venturi House, (Ref 2) completed in 1961 which has multiple references to past periods and styles. Firstly the street faà §ade denotes Michelangelo’s Porta Pia in Rome, Alessondra Vittoria’s Villa  Barabo at Maser and finally the Nymphaeum at Palladio. Venturi quotes to ‘recognising the complexities and contradictions’ (S.V.Moos, 1987, pg244) in which this building instils, nevertheless was an ideal way to overcome his statement that ‘less is a bore.’ (R.Venturi, 1966, pg17) Additionally Venturi’s love of distortion over ‘straightforward’ and ‘ambiguous’ over ‘articulation’ (R.Venturi, 1966, pg16) notion is a prime example of how he overcame the modernist tendency of clean, designed and hence forth the exclusion of design traits. Venturi was similarly intrigued by the parallel of how design in the past related to the hierarchy of upper and lower classes of his today and whether or not the aesthetics of said classes could be outlined into categories that reflected the social divisions. More precisely he connected classical modern architecture with that of ancient upper classes such as ruins of palaces and the contrast of how they were erected differently from that of how Venturi describes as ‘ordinary’ peoples buildings. (Learning from Las Vegas, 1972) Everything appears to be in relation to, form, space and social responsibility also implying modern architecture seems to have forgotten the art of steganography in which was not only significantly spanning across four centuries from the 15th to the 19th century but was also how architects learnt to progress, appreciate and respect the aesthetic awareness of form. This can be related back to the Renaissance in which the development of form has been linked to the visual for centuries. Venturi wanted to instil ‘new perceptions of old functions’ (Architecturerevived, 2011). He sought to draw from the past and carefully extract relevant features and characteristics and with the buildings context in the forefront of his mind, apply them. An illustration of is how he exhibited historical examples from Baroque and Egyptian architecture to symbolise frames and overwhelm small window openings. He symbolically implied unconventional messages or problems he thought society needed to address, an  example of this being The Guild House, completed in 1963, (Ref 3) Philadelphia. It displays a system of layers with artistic meaning,  organisation and a well thought out design process which represents the importance of historical and architectural discourse. By instilling a gold-plated TV Ariel on top of the building signified what Venturi described as the ‘relevant revolution of today.’ (Architecturerevived, 2011) It communicated the underlying idea that the importance of architecture could potentially be forgotten with the advancement of TV and media. Venturi was concerned that the development of these new technologies were influential on art, ‘a machine for living while practical, is emotionless,’ (Molly Jacques, 2009) and that all reference to historical architecture could be perceived as irrelevant or even worse, lost in the progressing society he found himself in. Therefore the TV Ariel became demonstrative of this, a representation based on the theme of classical architecture. It was also said to represent the buildings inhabitants, by simply stereotyping the occupants, believing they watch too much TV, and alas the symbolic connotation of classical statues in cathedrals. Modern architects had pragmatic views. They believed technological advances allowed for the disregard of all historical periods and movements. Led by the new approach of ‘machines for living’ (The Arts – Le Corbusier, Dominic Gallagher) as Le Corbusier cited, inevitably led to the demise of decorative and aesthetics in favour for more organised and geometrical buildings, in addition to this there was a new enthusiasm for building vertically. Venturi believed that the introduction of this technologically motivated notion advertently simplified architecture so much so it had seen a departure from the ‘experience of life.’ (R.Venturi, 1966, pg17) Consequently becoming focused on what characterised as Realism. Venturi studied people in their everyday life and routines, purposely so as not to exclude designing for social problems and consequently to design for the truth. A somewhat stark contrast to the modernist notion of designing for simplification or t he ‘Less is More’ (R.Venturi, 1966, pg16) idea, as stated by Miles Van De Rohe. This evidently left many social questions unanswered or as Paul Rudolf, a prominent modernist architect quoted ‘all problems can never be solved.’ (R.Venturi, 1966, pg16) Furthermore the development of new materials and constructional technological advances allowed for modernist architects to design freely with focus on spatial forms and  geometric proportions. Miles Van De Rohes Pavilion’s illustrate this as they lacked any sort of reference to the past as his desire and purpose was to exploit new technologies to the fullest and have no recognized relation to the past whatsoever. Venturi opposed this as he looked to past historical architecture for inspiration and saw relevance in previous movements and styles. This allowed him to design with meaning and by combing new methods of construction and technology allowed him to develop and erect innovative buildings that reflected historical traits whilst still fitting into a modern society. A further modernist view was that architecture was about a blend on technology and art, and to inevitably reform some sort of style they believed had become lost in tradition. They admired the emerging new developments, especially in transportation and new materials becoming available. They tried to instil this new, sleek, streamlined look in their buildings. It was almost as if they wanted to draw a line under the past and render a new concept of design to follow with the new advances that were being made in other fields. Nonetheless Venturi held on to his belief that architecture hadn’t become so much as lost but instead had been forgotten. Stating that ‘conventional elements’ (R.Venturi, 1966, pg43) could be applied using the advanced methods the modernists championed, and that some sort of balance could be achieved. It suggests a complete rejection of the past is not relevant in order to move forward in not only a social aspect but also to cater for what appeared to be, a demand for a new architectural style. Venturi was positive in regards to the new materials and construction methods now available and did not deny that they were not beneficial to society in his today and stating ‘conventional elements’ (R.Venturi, 1966, pg43) constructed in ‘unconventional ways’ (R.Venturi, 1966, pg43) supports this. As does his design for the Vanna Venturi House, (Ref 2) constructed in 1961 in which an array of modernist materials were used, such as steel. Yet he chose to mix both development in techniques and materials with historical features to create a design that was visually, functionally and constructed successfully in design. Venturi became interested in the Las Vegas Strip (Ref 4) leading him to write the book ‘learning from Las Vegas’ published in 1972. He came to the conclusion that the city had been built to accommodate for the  technologically savvy society. The architectural advertisement method Vegas seemed to have adopted had all been carefully angled to appeal to the people now driving down the strip. This was an original concept in which to appeal to an audience not necessarily on foot. The architecture almost becomes an advertisement in itself and the landscape inadvertently develops into its notorious messy, chaotic and fast paced form, which also reflected the traits the city and people in it had undertook. The architecture became a direct contrast to the modernist tendencies as the strip ‘serves culture rather than dictates it.’ (Architecturerevived, 2011) this was perhaps as Vegas was competitive and needed to directly interact with its audience in order to entice them. Venturi was inspired to take aspects of how Las Vegas had so forcefully removed the constraints of which had seemed to be put upon architecture and apply it, however in a not so embellished manner. Venturi states how The Guild House (Ref 3) was built with these intentions as well as having a ‘vernacular’ (Perkowitz, 2002) idea in mind. He went on to exploit every available inch of building space obtainable, by building up six-stories high. An attribute in fact of the modernist conception, however Venturi came to this design conclusion to enable the inhabitants to interact more conveniently with the outside. This was said to be purposely done so as not to break up the prevailing aesthetics of the street, nonetheless still managed to introduce another dimension to it. A fragmented outline of the Southern faà §ade directly contrasts with the smooth surface of the North. This intentionally done so as the building was built for the elderly so rather than isolate, the distorted faà §ade in fact drew the outside in, to allow for maximum interaction in a visual nature. Venturi attempts to imply a Baroque Palazzo style upon the Guild House (Ref 3) by the introduction of white tiles on the lower and upper levels of the building. Which was believed to have ‘symbolic’ and ‘representational’ (S.V.Moos, 1987, pg25) components that merge as a whole which in avertedly was to reflect the architectural connotation of the structure. It was understood that the Guild House (Ref 3) was built on a system of layers. Layers of artistic meaning and organisation, each one symbolising the importance of the  historical and architectural discourse. This is reinforced by Venturi testifying ‘knowledge instead of learning’ (R.Venturi, 1966, pg12) supports the fact he draws upon what was effective in the past and relates it to his own compositions. He breaks up the historical foundations and is driven and instils a sense of the past throughout his designs. The modernist notion of designing for what the architect believed society wanted rather than needed impacted primarily upon the poorer societies. Hence forth Venturi was particularly careful when building The Guild House perhaps to show designing with the context and user in mind can be achieved successfully without social problems having to be ignored or forgotten, again a tendency modern architecture seemed to adopt in fear of losing aesthetic value. Venturi sought to prove you could have both. In reflection it can be said that Venturi is extremely knowledgeable and has an in-depth understanding and appreciation for historical architecture in which he feel shouldn’t be forgotten but instead should be admired and inspire future movements. Despite modernism striping what Venturi believed was the ‘art’ from architecture he fought to overcome these tendencies are drew upon relevant historic features and characterisations and applied them liberally to his design, in accordance to their context. Nevertheless he understood that designing for the user was significant and not to exclude social problems. He undertook the modernist concept of advanced ways to construct and recognised and understood the developing society, yet he chose not to ignore historic references and applied them in a system of layers within his designs to accommodate for the advanced civilization whilst electing to apply asceticism for both a functional and visual experience. As some critics contended, postmodernism represents a break with the modernist notion that architecture should be technologically rational, austere and functional, discuss the ways in which one postmodern architect has developed strategies which overcome these tendencies. Juxtaposition is seen between the characteristics of early 20th century modern architecture and the artistic endeavours of postmodernism that followed. To represent the ‘Less is More’ (R.Venturi, 1966, pg16) notion  the modernist tendencies had adopted, Robert Venturi built a ‘Ghost Structure’ to imply architecture had no longer become an art form and was merely just a ‘spectator’ (Architecturerevived, 2011) in society. This essay will discuss ways in which the architect Robert Venturi adopts methods to overcome these tendencies that architecture has lost meaning and ways in which he attempts to remove himself with any links with the ‘post-modernist’ movement that he is viewed in having. Modern Architects saw their role as ‘reformers,’ (R.Venturi, 1966, pg16) and tended to break with tradition and start anew. Considering it was a new revolutionary movement they tended to ignore potential problems and focused on the new modern advancements available. A modernist tendency was to build individually however Venturi claimed that a ‘building derives meaning from its context’ (Out Of the Ordinary, 2002) and evidently each individual location requires a different form of architectural style to represent this. In Venturis book ‘Complexity and Contradiction’ he quotes ‘familiar things seen in unfamiliar context become perceptually new as well as old’ (R.Venturi, 1966, pg43) here he perhaps means in order for art to become worthy of aesthetic appreciation the viewer needs to see it in a different context. For example, Tracy Emin’s unmade bed was placed in an art gallery and was more acceptable and appreciated as ‘art’ rather than being viewed in its original, everyday context. Venturi was focused on the reason behind and the visual perception of architecture, he believed that in applying a ‘medley of styles’ (S.V.Moos, 1987, pg32) opposed to an ‘either/or ‘(R.Venturi, 1966, pg16) mind-set would offer a varied combination of architectural styles. Thus enabling to a successful response to the multitude of tastes society desired, as he was well aware that there were an array of underlying problems of everyday life. Problems that modernist architects tended to ignore due to their concern of the solution not corresponding with what they believed to be their perfect design. Venturi disregards modernist tendencies as he favours a more eclectic style rather than the ‘less is more’ (R.Venturi, 1966, pg16) approach modernism supports. Venturi aims to ensure his buildings have ties with historical architecture thus to draw meaning and value. This was to evoke a sense of  familiarity whilst still staying in context with a more modern environment. Venturi believed in using his knowledge from what he had learned and new had worked in the past, so sought to apply these techniques to his designs. An example of this is Venturi’s State Mosque of Iraq; (Ref 1) finished in 1982. Here Venturi sought to draw from numerous styles and periods, specifically, Art Nouveau. The purpose of incorporating so many previous instances was to provide meaning and depth to architecture once more. Venturi was inspired by the work of Edwin Lutyen’s Capital Buildings in New Delhi as Lutyen had successfully managed to integrate historical themes to look postmodern however with an underlying modernist culture. Post-modernist architects questioned the modernist tendency that form depends on function. Walter Gropius quoted ‘aesthetic image and monumentality of a design are more important than functionalism.’ (Architecturerevived, 2011) However the context of the building was all the more important. Venturi championed this and consequently revived the tendency to ‘change things around’ (Architecturerevived, 2011) to develop and discover a more motivating form. He believed that the simplicity of modernist designs were so minimal that they therefore could easily be manipulated to communicate historic and ornamental tendencies of the past whilst taking advantage of the modern advancements in technology and construction all the while considering the users requirements. An example of this is the Vanna Venturi House, (Ref 2) completed in 1961 which has multiple references to past periods and styles. Firstly the street faà §ade denotes Michelangelo’s Porta Pia in Rome, Alessondra Vittoria’s Villa Barabo at Maser and finally the Nymphaeum at Palladio. Venturi quotes to ‘recognising the complexities and  contradictions’ (S.V.Moos, 1987, pg244) in which this building instils, nevertheless was an ideal way to overcome his statement that ‘less is a bore.’ (R.Venturi, 1966, pg17) Additionally Venturi’s love of distortion over ‘straightforward’ and ‘ambiguous’ over ‘articulation’ (R.Venturi, 1966, pg16) notion is a prime example of how he overcame the modernist tendency of  clean, designed and hence forth the exclusion of design traits. Venturi was similarly intrigued by the parallel of how design in the past related to the hierarchy of upper and lower classes of his t oday and whether or not the aesthetics of said classes could be outlined into categories that reflected the social divisions. More precisely he connected classical modern architecture with that of ancient upper classes such as ruins of palaces and the contrast of how they were erected differently from that of how Venturi describes as ‘ordinary’ peoples buildings. (Learning from Las Vegas, 1972) Everything appears to be in relation to, form, space and social responsibility also implying modern architecture seems to have forgotten the art of steganography in which was not only significantly spanning across four centuries from the 15th to the 19th century but was also how architects learnt to progress, appreciate and respect the aesthetic awareness of form. This can be related back to the Renaissance in which the development of form has been linked to the visual for centuries. Venturi wanted to instil ‘new perceptions of old functions’ (Architecturerevived, 2011). He sought to draw from the past and carefully extract relevant features and characteristics and with the buildings context in the forefront of his mind, apply them. An illustration of is how he exhibited historical examples from Baroque and Egyptian architecture to symbolise frames and overwhelm small window openings. He symbolically implied unconventional messages or problems he thought society needed to address, an  example of this being The Guild House, completed in 1963, (Ref 3) Philadelphia. It displays a system of layers with artistic meaning, organisation and a well thought out design process which represents the importance of historical and architectural discourse. By instilling a gold-plated TV Ariel on top of the building signified what Venturi described as the ‘relevant revolution of today.’ (Architecturerevived, 2011) It communicated the underlying idea that the importance of architecture could potentially be forgotten with the advancement of TV and media. Venturi was concerned that the development of these new technologies were influential on art, ‘a machine for living while practical, is emotionless,’ (Molly Jacques,  2009) and that all reference to historical architecture could be perceived as irrelevant or even worse, lost in the progressing society he found himself in. Therefore the TV Ariel became demonstrative of this, a representation based on the theme of classical architecture. It was also said to represent the buildings inhabitants, by simply stereotyping the occupants, believing they watch too much TV, and alas the symbolic connotation of classical statues in cathedrals. Modern architects had pragmatic views. They believed technological advances allowed for the disregard of all historical periods and movements. Led by the new approach of ‘machines for living’ (The Arts – Le Corbusier, Dominic Gallagher) as Le Corbusier cited, inevitably led to the demise of decorative and aesthetics in favour for more organised and geometrical buildings, in addition to this there was a new enthusiasm for building vertically. Venturi believed that the introduction of this technologically motivated notion advertently simplified architecture so much so it had seen a departure from the ‘experience of life.’ (R.Venturi, 1966, pg17) Consequently becoming focused on what characterised as Realism. Venturi studied people in their everyday life and routines, purposely so as not to exclude designing for social problems and consequently to design for the truth. A somewhat stark contrast to the modernist notion of designing for simplification or t he ‘Less is More’ (R.Venturi, 1966, pg16) idea, as stated by Miles Van De Rohe. This evidently left many social questions unanswered or as Paul Rudolf, a prominent modernist architect quoted ‘all problems can never be solved.’ (R.Venturi, 1966, pg16) Furthermore the development of new materials and constructional technological advances allowed for modernist architects to design freely with focus on spatial forms and geometric proportions. Miles Van De Rohes Pavilion’s illustrate this as they lacked any sort of reference to the past as his desire and purpose was to exploit new technologies to the fullest and have no recognized relation to the past whatsoever. Venturi opposed this as he looked to past historical architecture for inspiration and saw relevance in previous movements and styles. This allowed him to design with meaning and by combing new methods of construction and technology allowed him to develop and erect innovative buildings that reflected historical traits whilst still fitting into a  modern society. A further modernist view was that architecture was about a blend on technology and art, and to inevitably reform some sort of style they believed had become lost in tradition. They admired the emerging new developments, especially in transportation and new materials becoming available. They tried to instil this new, sleek, streamlined look in their buildings. It was almost as if they wanted to draw a line under the past and render a new concept of design to follow with the new advances that were being made in other fields. Nonetheless Venturi held on to his belief that architecture hadn’t become so much as lost but instead had been forgotten. Stating that ‘conventional elements’ (R.Venturi, 1966, pg43) could be applied using the advanced methods the modernists championed, and that some sort of balance could be achieved. It suggests a complete rejection of the past is not relevant in order to move forward in not only a social aspect but also to cater for what appeared to be, a demand for a new architectural style. Venturi was positive in regards to the new materials and construction methods now available and did not deny that they were not beneficial to society in his today and stating ‘conventional elements’ (R.Venturi, 1966, pg43) constructed in ‘unconventional ways’ (R.Venturi, 1966, pg43) supports this. As does his design for the Vanna Venturi House, (Ref 2) constructed in 1961 in which an array of modernist materials were used, such as steel. Yet he chose to mix both development in techniques and materials with historical features to create a design that was visually, functionally and constructed successfully in design. Venturi became interested in the Las Vegas Strip (Ref 4) leading him to write the book ‘learning from Las Vegas’ published in 1972. He came to the conclusion that the city had been built to accommodate for the technologically savvy society. The architectural advertisement method Vegas seemed to have  adopted had all been carefully angled to appeal to the people now driving down the strip. This was an original concept in which to appeal to an audience not necessarily on foot. The architecture almost becomes an advertisement in itself and the landscape inadvertently develops into its notorious messy, chaotic and fast paced form, which also reflected the  traits the city and people in it had undertook. The architecture became a direct contrast to the modernist tendencies as the strip ‘serves culture rather than dictates it.’ (Architecturerevived, 2011) this was perhaps as Vegas was competitive and needed to directly interact with its audience in order to entice them. Venturi was inspired to take aspects of how Las Vegas had so forcefully removed the constraints of which had seemed to be put upon architecture and apply it, however in a not so embellished manner. Venturi states how The Guild House (Ref 3) was built with these intentions as well as having a ‘vernacular’ (Perkowitz, 2002) idea in mind. He went on to exploit every available inch of building space obtainable, by building up six-stories high. An attribute in fact of the modernist conception, however Venturi came to this design conclusion to enable the inhabitants to interact more conveniently with the outside. This was said to be purposely done so as not to break up the prevailing aesthetics of the street, nonetheless still managed to introduce another dimension to it. A fragmented outline of the Southern faà §ade directly contrasts with the smooth surface of the North. This intentionally done so as the building was built for the elderly so rather than isolate, the distorted faà §ade in fact drew the outside in, to allow for maximum interaction in a visual nature. Venturi attempts to imply a Baroque Palazzo style upon the Guild House (Ref 3) by the introduction of white tiles on the lower and upper levels of the building. Which was believed to have ‘symbolic’ and ‘representational’ (S.V.Moos, 1987, pg25) components that merge as a whole which in avertedly was to reflect the architectural connotation of the structure. It was understood that the Guild House (Ref 3) was built on a system of layers. Layers of artistic meaning and organisation, each one symbolising the importance of the historical and architectural discourse. This is reinforced by Venturi testifying ‘knowledge instead of learning’ (R.Venturi, 1966, pg12) supports the fact he draws upon what was effective in the past and relates it to his own compositions. He breaks up the historical foundations and is driven and instils a sense of the past throughout his designs. The modernist notion of designing for what the architect believed society wanted rather than needed impacted primarily upon the poorer societies. Hence forth Venturi was particularly careful when building The Guild House perhaps to show designing  with the context and user in mind can be achieved successfully without social problems having to be ignored or forgotten, again a tendency modern architecture seemed to adopt in fear of losing aesthetic value. Venturi sought to prove you could have both. In reflection it can be said that Venturi is extremely knowledgeable and has an in-depth understanding and appreciation for historical architecture in which he feel shouldn’t be forgotten but instead should be admired and inspire future movements. Despite modernism striping what Venturi believed was the ‘art’ from architecture he fought to overcome these tendencies are drew upon relevant historic features and characterisations and applied them liberally to his design, in accordance to their context. Nevertheless he understood that designing for the user was significant and not to exclude social problems. He undertook the modernist concept of advanced ways to construct and recognised and understood the developing society, yet he chose not to ignore historic references and applied them in a system of layers within his designs to accommodate for the advanced civilization whilst electing to apply asceticism for both a functional and visual experience.

Concepts of Bio-Electricity

Concepts of Bio-Electricity Introduction What is Bio-electricity? Bio-electricity is an interdisciplinary theme which refers to the production of electric, magnetic and electromagnetic fields in biological tissue (Cameron, 1996). This essay focus on the production of electric fields for use in organisms rather than in electrical circuits. An electric field is an area around a charged particle created by an electric force; the magnitude and direction of this force is determined by the charge of the particles surrounding it (Dictionary, no date). An example of this in Biology is the electrical system of the heart and the maintaining of membrane potentials in cells in the body. Bio-electricity in Nature American Paddlefish An example of an organism which uses Bio-electricity in an enhanced form is the American Paddlefish (or Spoonbill Catfish). These are large, freshwater fish from North America which have an extensive, paddle-like flat nose. The extended nose of the fish is embedded with pores with cells called electroreceptors (Thomas, 2016). These pores spread over the fishs body, from the nose to gill covers, covering around half of its skin (Wilkens, 2001). This allows the detection of weak electric currents in the water they travel in, thus allowing them to hunt their main source of food; plankton. These sensors are extremely sensitive, and are able to respond to electrical fields of less than 1/100th of one 1-millionth volt per centimetre (Wilkens, 2001). All organisms emit weak electric signals (e.g. electrical impulses due to the beating of the heart), and thus can be detected by these cells. The electrical signal is sent to the brain via the neurons. Paddlefish being able to detect these fields aid their survival, as their environment is generally very dark (Thomas, 2016). Electric Eel Another example of Bio-electricity in nature being used in a different way is with the Electric Eel. It can do this due to the electrogenic cells in its body called electrocytes, each with a negative charge of around 100 millivolts (Scientific American, 2005). These are all modified muscle cells in the eels tail. When a signal from a command nucleus arrives to each of the cells, a neurotransmitter is released. These are chemical signals which allow information to be transmitted between nerve cells (Cherry, 2016). As a result of this, a path of low resistance is created, connecting the interior and exterior of each cell. This allows the cells to behave like batteries, with opposing sides of the cell acting as positive and negative terminals (Scientific American, 2005). This is used to both hunt and kill prey. If in sight, prey can be hunted by the eels the release of high voltage pulses of a frequency of 400/s. If these pulses reach another organism, it will interfere with its neurons, causing them to involuntarily contract. This contraction is extremely strong due to the sequence of the pulses released; each lengthy torrent is succeeded by a pair of rapid pulses, making the process as efficient as possible. As a result of this, the prey can experience complete short term paralysis, allowing the eel to attack. The effect is similar of that of a taser on a human (Yong, 2014). Similar to that of the Paddlefish, potential prey can also be detected through the use of Bio-electricity. The Electric Eel can send out pulses, again causing the prey to contract involuntarily. The resulting ripples in the water would reveal the location of any organism affected, as the eel is extremely sensitive to movement (it can strike within 20 thousandths of a second from when movement is detected). This provides a further opportunity for the eel to kill (Yong, 2014). Moreover, the eel can kill prey (or deter predators) by directly shocking them. Though each individual electrocyte can create only a small electric field, the cells are connected as parallel batteries are in a circuit, creating a larger electric field. The combined electrocytes create 3 large electric organs which can take up 80% of the eels body (Giardina, 2016). This means an average Electric Eel can produce electricity of around 600 volts at 2 milliseconds at a time. Bio-electricity in Medicine The use of Bio-electricity to treat human conditions is being increasingly explored. A link between the immune system, the series of processes which works to primarily fight off disease, and the nervous system, processes which involve electrical signals within the body, is being researched. One of the main method of using our knowledge of Bio-electricity in Medicine is through the stimulation of the Vagus nerve, also known as Cranial Nerve (X). This is one of 12 cranial nerves, which are nerves which begin from the brain stem rather than the spinal cord. These nerves are responsible for the motor and sensory functions of our body (InnovateUs Inc, 2013). Of all the cranial nerves, the Vagus nerve is the longest, extending through the thorax, heart, stomach, abdominal muscles and others. This links the brainstem to the body and major organs (particularly the heart), allowing information to be easily transferred in an electrical circuit-like system (InnovateUs Inc, 2013). One of the uses of the Vagus nerve stimulation is the controlling of seizures in epilepsy patients. This is by connecting a small device to the left Vagus nerve in the neck. The device can then send out small electrical impulses via the nerve to the brain. This reduces activity in the brain which can lead to seizures; seizures themselves are caused by abnormal electrical activity in the brain. (Epilepsy Society, 2016). A second use of Bio-electricity in Medicine is the use of cardiac pacemakers in the treatment of Parkinsons disease, a neurodegenerative disorder caused by a loss of dopamine producing nerve cells in the brain (NHS Choices, 2016). To help reduce the symptoms of Parkinsons, which include rigidity, tremors and bradykinesia, doctors are implanting a small electronic device called a neurostimulator in patients (Lazarus, 2014). The device sends out regular electrical impulses to areas of the brain responsible for movement. This allows impulse to block the irregular signals which cause the shaking in patients, giving them more control. The entire process is called Deep Brain Stimulation and is a widely used technique to help improve quality of life in people with Parkinsons. Conclusion In conclusion, Bio-electricity is a naturally occurring phenomenon occurring in humans and animals alike, and is essential to everyday living. Its natural uses explored include communication between the brain and body via neurotransmittors and nerve cells, the detection of prey and predator in animals and its use in hunting. With modern technological advances, its use is being extended to the treatment of disorders in humans including depression, Parkinsons, arthritis and epilepsy, many of which through the installation of electrical devices which send out impulses. With further research and understanding, it is hoped to that it can be used to treat many more diseases, improving quality of life for many more people. Bibliography Cameron, J. (1996) Bioelectromagnetism-Principles and applications of Bioelectric and Biomagnetic fields, by J. Malmivuo and R. Plonsey, Medical Physics, 23(8), pp. 1471-1471. doi: 10.1118/1.597895. Cherry, K. (2016) Basics of biological psychology the brain and behavior. Available at: https://www.verywell.com/lesson-three-brain-and-behavior-2795291 (Accessed: 22 December 2016). Dictionary (no date) The definition of electric field, in Available at: http://www.dictionary.com/browse/electric-field (Accessed: 27 December 2016). Epilepsy Society (2016) Vagus nerve stimulation. Available at: https://www.epilepsysociety.org.uk/vagus-nerve-stimulation#.WGHxfFxHa0w (Accessed: 27 December 2016). Giardina, T. (2016) ELECTRIC FEEL: Scientist explains how eels make electricity. Available at: http://www.pressconnects.com/story/news/local/2015/05/30/electric-eels-create-shock/28208993/ (Accessed: 26 December 2016). InnovateUs Inc (2013) What is the function of the Vagus nerve? Available at: http://www.innovateus.net/innopedia/what-function-vagus-nerve (Accessed: 27 December 2016). Lazarus, J. (2014) Surgical Treatment Options. Available at: http://www.parkinson.org/understanding-parkinsons/treatment/surgery-treatment-options/Deep-Brain-Stimulation (Accessed: 27 December 2016). NHS Choices (2016) Parkinsons disease causes. Available at: http://www.nhs.uk/conditions/parkinsons-disease/pages/causes.aspx (Accessed: 27 December 2016). Scientific American (2005) How do electric eels generate a voltage and why do they not get shocked in the process? Available at: https://www.scientificamerican.com/article/how-do-electric-eels-gene/ (Accessed: 22 December 2016). Thomas, B. (2016) Paddlefish are tuned to eat only Plankton. Available at: http://www.icr.org/article/paddlefish-are-tuned-eat-only-plankton/ (Accessed: 17 December 2016). Wilkens, L. (2001) Tuning in to Paddlefish. Available at: https://mdc.mo.gov/conmag/2001/01/tuning-paddlefish (Accessed: 17 December 2016). Yong, E. (2014) Electric Eels can remotely control their preys muscles. Available at: http://phenomena.nationalgeographic.com/2014/12/04/electric-eels-can-remotely-control-their-preys-muscles/ (Accessed: 22 December 2016).

Ann rule- Dead At sunset Essay -- essays research papers

This book is just one account of what took place on that fatal September 21, 1986 night. It was a warm and beautiful Sunday night on the Sunset High way in Oregon when Cheryl Keeton was brutally bludgeoned body was found in her van, in the fast lane by a motorist, Randall Kelly Blighton who just stopped to see if he could offer any type of help.   Ã‚  Ã‚  Ã‚  Ã‚   Randall Blighton saw a silhouette of an infant in the vans window which now he says was a car seat. He felt that he couldn’t just pass by after he had just dropped off his own children with their mother. When he first arrived by the van he set out flares to make sure that everybody knew that the van was there. He then went to open the drivers side door and found that a woman’s purse was jammed between the accelerator and the firewall, that would explain the continually motion forward. He could see that a figure was lying across the front seat and that the head was tucked into the chest just over the passenger seat. He could see that the figure had on one loafer type on one foot that looked feminine. As he searched to turn on the emergency flashers and was unable to find them, not knowing that they were over head. He felt the floor to see if there was a baby. However, as he felt around he realized that the floor and seats of the van and realized why it was so hard to see through the drivers side window that was splattered with something dark, blood. Nevertheless, he felt it was more important to keep searching to find the baby instead of stopping. He shuddered and didn’t get how there could be so much blood in the van if it hadn’t been hit by another vehicle. Randall then hopped in the drivers seat and moved the van on to the shoulder of 79th where it met sunset highway. Mr. Blighton then ran to the passenger side door, which was slightly open to see if the woman had a pulse when he could not feel one he then ran to get help. He finally came to a house and told them to call for help. Thomas Stewart Duffy Jr was on duty that night at Washington County Fire District Number One. The call came in roughly at 8:44 that night. They had many calls come in from the sunset highway and most proved fatal. They arrived to see the blue Toyota van parked facing north along 79th . The man was covered in dark spots and they weren’t sure just what they were getting into. When they arrived at the woman ... ...s fear. Brad later left the house and it was a mess Sara was unsure if he was ever to return and went to the house with a realtor only to find the locks and high tech security system had been changed. Did you know?  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  This would be the second case to be tried in civil court for a murder with no weapons just circumstantial evidence.  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Cheryl Keeton could see that Brad would kill her and was warned by many close friends never to be alone with him but felt she had to go and get her children back that fatal Sunday night.  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Brad Cunningham grew up in a divorced household where he was not wanted by his father and was never to see his mother or have any contact with her. After she had an affair with a Hispanic man and was caring his child.  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  He had a brother that never was able to have a relationship with a woman.  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Been married 4 times before Sara, seemed not to marry for love but for control and to get what ever he wanted. Eight years after killing his divorced wife in Portland, Oregon, Brad Cunningham was finally convicted of her murder

Anorexia and Bulimia :: Causes of Bulimia, Eating Disorders

Anorexia And Bulimia Anorexia Nervosa: a condition characterized by intense fear of gaining weight or becoming obese, as well as a distorted body image, leading to an excessive weight loss from restricting food intake and excessive exercise. Bulimia: an eating disorder in which persistent overconcern with the body weight and shape leads to repeat episodes of binging (consuming large amounts of food in a short time) associated with induced vomiting.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  To support our definitions we interviewed Dr. David Praul of Charter Hospital by fax. 1. Is there a typical sufferer of Anorexia or Bulimia?   Ã‚  Ã‚  Ã‚  Ã‚  While anorexics are often members of the middle class or affluent society, recent findings show sufferers come from all backgrounds and many different styles and sizes of families. Also there is a tendency for anorexics to set unreasonably high goals and to aim for perfection in all that they do.   Ã‚  Ã‚  Ã‚  Ã‚  Generally speaking, bulimia is likely to begin after the late teens, while anorexia more often starts during adolescence. The incidence of anorexia or bulimia in males is about 5% of all cases, with the onset of the disorders generally mid-teens to early twenties. 2. What are the causes of the eating disorders Anorexia Nervosa and Bulimia?   Ã‚  Ã‚  Ã‚  Ã‚  There are many theories, but no clear picture. It is an over simplification to blame the mass media's presentation to blame the mass media's presentation of the ideal shape: though western society's increased emphasis on the slim, fit body places pressure on many people.   Ã‚  Ã‚  Ã‚  Ã‚  We know there are many factors affecting the development of the disorders- biological, psychological and sociological- so the relationship between parent and child need not to be seen as the dominant cause. However the reluctance to mature physically (sexually) and emotionally, and the issues of personal control between parent and child, could contribute to some cases of anorexia.   Ã‚  Ã‚  Ã‚  Ã‚  Low self -esteem and poor body image contributes to both disorders; and it seems life crises- such as changing relationships, childbirth or death- may trigger the eating disorders. 3. What are the side-effects of Anorexia and Bulimia?   Ã‚  Ã‚  Ã‚  Ã‚  These are described more fully in Anorexia and Bulimia Nervosa Foundation of Victoria's brochures on the disorders.   Ã‚  Ã‚  Ã‚  Ã‚  The anorexic experiences physical side-effects similar to malnutritian, with severe sensitivity to the cold, loss of menstral periods and growth of down-like body hair. Bulimic women may also stop mensturating or have irregular periods. Both disorders involve the possible dysfunction of the kidneys, imbalance in the bodily chemicals and damage to colon or urinary tracts. Constant vomiting erodes dental enamel and gives the person a sore throat and gullet.   Ã‚  Ã‚  Ã‚  Ã‚  Each disorder places tremendous emotional strain on sufferers, the malnourishment of anorexics actually results in an inability to think clearly or

William Edward Forster Essay -- Education Act of 1870, England

Section A – Plan of Investigation I will analyze the question of â€Å"How did William Edward Forster contribute to the Education Act of 1870 in England?† How he contributed to the act and what changes he did within the act will show how the act became a new advantage in England for the middle-working class. A speech made by William Edward Forster about the Education Act and a memorandum of October 21, 1869 will be used to discuss his contribution and all the provisions made to the act. The book The Elementary Education Act 1870 by Thomas Preston can be great help because it focuses on the Education Act only. For this question, it is best to start by researching about W.E. Forster and the Education Act of 1870 itself. The contribution of W.E. Forster to the act benefited a lot of families and children themselves because they could get an education for free. Section B – Summary of Evidence William Edward Forster drafted the Education Act of 1870 after the government decided to educate the citizens of the country and because England feared that they lacked an effective education system (Docstoc-documents). This act was also known as the Elementary Education Act and it was a culmination of a long struggle (thirty years) to establish an effective and nationwide education schooling system for children ages 5 to 12 (Looking at History). Jackson wrote, â€Å"Forster did not go to school until he was thirteen, he was taught by his mother† (16) could be the reason why he started the Education Act. Therefore W.E. Forster contributed in creating school boards for England, and the country would be divided into about 2,500 school districts (Spartacus Educational). Like W.E. Forster stated in his speech, there are two primary objects in this bill t... ...Brown who loves to talk about history because it interests him and because he likes discussing the political issues in the world. The purpose of the webpage is to inform about The Education Act 1870: revised version. The website was very helpful because it gave a handful of information about the act and it especially talks about the working-class in England. It also gives a great understanding of the requirements of the act and how the working-class benefits from it. The webpage was worth it because it gave many different facts about the Education Act and it also helped a lot while doing research. There could possibly be some limitations to this source because it was written about 140 years later. The good thing is that the source was never bias at any point, it just gave all the different facts and never focused specifically on one thing with one point of view.