Poem Features Essays - Out, Out, Robert Frost, British Poetry

Poem Features In all poems there is a theme, whether the theme be obvious from the start or it be one that is difficult to find. No matter how long or short a poem or how complicated or simple every poem that you read will have a theme. In "Beale Street Love" by Langston Hughes, the poem illustrates a theme that would be along the lines of a dangerous love. Hughes demonstrates this quality over and over again by depicting an abusive love with his powerful words. Even though the poem is short in length, the words are so powerful that it completely takes you aback to a dangerous love situation. For example, Hughes uses such words as "crushing the lips, blackening the eyes, hit me again..." These words lead one to believe that there is definitely a feeling of love, fear, and embarrassment which in turn would lead to a potentially dangerous situation for whomever was in this predicament. I believe the poet handles this theme very well in the sense that it lets one in on something so common but yet so fearful. Hughes keeps the poem short, simple and to the point and does not put on the "rose colored glasses" so to speak. Elizabeth Bishop illustrates a theme that seems to include of feeling or sense of loss. The author goes on to describe the islands as if she were looking into a mirror of her past. She states, "the islands haven't shifted since last summer, even if I like to pretend they have..." It prepares the reader for the fact that she is about to reminisce or come across some sort of fond memory. As she continues she realizes how everything she is experiencing is just like the past. She continues to recollect about a friend that she kept dear to her heart. Bishop remembers previous conversations and fun times she experienced with this special friend. Then she continues on to say, "you left North Haven, anchored in its rock, afloat in mystic blue...And now-you've left for good. You can't derange or re-arrange, your poems again. (But the sparrows can their song.) The words won't change again. Sad friend, you cannot change." This implies that her good friend left and now she is alone with only her memories and rejoicing in the memories she will always have with her special friend. I think the author handles the theme very well. She puts the feeling of loss into a special feeling that only a memory that one may hold deep in one's heart. She sets the theme of loss in a positive state verses dealing with the theme of loss in a depressing. Robert Frost's theme in "Out, Out-" is one of loss. He demonstrates this by starting his poem talking about wood being sawed off and it falling to the ground, this is foreshadowing for the inevitable. He goes on to give description of the saw, through it sounds and its actions. You can tell from the begging of the poem that something tragic is going to happen with the saw whether it be with the one that is operating it or some one who is close to it. Frost depicts the boy as just that a boy doing a mans job and due to the fact that it is a boy doing a mans job he is careless and gets distracted. The boys sister comes outside and tells him that dinner is ready and carelessly the boy looses control of the saw cutting off his hand. The boys first words are "Don't let him cut my hand off-The doctor, when he comes. Don't let him, sister!" This shows the boys fear and the trust that he has in his sister. Frost at first leads you to believe that the boy is simply going to lose his hand but with the line " They listened at his heart little-less-nothing! And that ended it No more to build on there" You see that the boy lost his life. Frost handled the theme of loss very well he first lead us to believe that the thing that was going to be lost was the boys hand but Frost took it to another level by taking the boys life. I have tried to demonstrate to you that in every poem there is a theme. No matter the author or the length of the poem. You must make sure that you read the poem carefully and with an open mind to see really

Depression During the Depression essays

Depression During the Depression essays Of Mice and Men, by John Steinbeck, is an enthralling novella which depicts the difficult and lonely lives many came face to face with during the Depression. Lack of work, money, and companionship are not only issues that appear in the Depression, but in the hard, problematic lives of Crooks, Curleys wife, and Candy, all characters in this story. Crooks, an African American ranch hand, finds his life on the ranch to be an extremely difficult and unhappy one. Alienated by his race and handicap, Crooks has not one friend in the world. Also set apart from others by his handicap is Candy, an old and unhappy worker on the ranch. After losing his only true companion, an old and feeble dog, Candy finds himself as lonesome as ever. Curleys wife, the only female living on the ranch, dreams of a better life, in which she feels loved and appreciated by those around her. While striving for happier and better lives, many characters portray the feelings of loneliness and desperation. Throughout th e novella, the theme of loneliness is evident in Crooks, Curleys wifes, and Candys lives. Crooks faces the feeling of loneliness many times during the story. He is often alienated because of his race, causing him to feel extremely alone. Aside from being the only African American on the ranch, Crooks must live with the knowledge that there is only one other African American family in all of Salinas. However, by masking his unhappiness with pride, Crooks eliminates any possibility that he may appear weak or vulnerable to those around him. Aside from being estranged by his race, Crooks is separated from others on the ranch by his handicap. Acquiring his name from his crooked back, Crooks not only looks different from others, but is labeled because of it. Although he does not speak of his handicap and its many faults, Crooks views it as yet another reason for him to feel ostracized when compared to the perfect&quo...

The Effects of Long-Term Care on the Quality of Life of the Elderly Essay

The Effects of Long-Term Care on the Quality of Life of the Elderly - Essay Example 1. Long term financial plans to underwrite the costs of LTC in a bid to resolve the problem of poor service delivery due to underfunding. Currently the funding of this sector is very low and with more people requiring such services soon, the system will be overburdened with financial needs. Nearly 70 % of those turning 65 in the year 2006 will need long-term care (LTC) in their lifetimes; 20 percent will need it for five years or longer. (Marcia, Clemmitt, 2006) 2. The staffing needs of the industry will be addressed by this study and thus help to plan staffing and labor related issues. The staffs available to deal with the huge numbers of elderly people are simply not available. An urgent recruitment and retraining of existing staff is necessary to cope with the challenges of new procedures and delivery systems. This issue is all the more acute taking into consideration that the need for caregivers will rise by 39%between 2000 and 2010, yet the population of those that make up the bulk of this workforce(18 – 55 tear old women) will increase by only 1.25%.(Marcia Clemmitt, 2006) 3. The appropriate service delivery systems necessary for the improvement of LTC and the future trends in relation to home and community based care of the elderly. Changing technology and newer treatments make it imperative that the delivery systems be continually updated to keep pace with the new developments. (Robyn I. Stone. 2000) The study will focus on how long term care (LTC) programs can be financed by the state and federal governments. It will identify the sources of income and possibly see how the general public benefitting from home based treatment and institutionalized care may contribute to this effort. The financial plan of this program must be long term in nature to take into consideration the increasing number elderly people that will need such care soon. Public insurance schemes like Medicare have been poorly managed. This study will examine how

Experimental economics summary paper Essay Example | Topics and Well Written Essays - 500 words - 4

Experimental economics summary paper - Essay Example The article describes how two variations on similar experiments test consumer behavior of people put in different market-type situations. The first variety of the game takes place between two people who are put in multiple sessions of a staged bargaining situation. They are to divide a sum between themselves and their acceptance or rejection of the proposed division determines what they get. One of them takes the lead and makes the other an offer of division. If the other person accepts the offer, they keep the money according to that division. On rejection, both participants get nothing. The second variety places a group of up to nine people in a bidding session against a ‘seller’. The seller’s acceptance or rejection of individual offers determines earnings in this case. The ‘buyers’ each make an offer for an object that is of the same monetary value to them and is of no value to the ‘seller’. If the seller accepts the highest offer, he gets the money and the buyer receives the difference between the highest price and the value of the object. On the seller’s rejection, nobody receives anything.

Tan Dun Essay Example | Topics and Well Written Essays - 250 words

Tan Dun - Essay Example During the 1980’s Tan moved to New York City and enrolled in Cambridge University where he was educated in both classical and contemporary composition and music. From here Tan realized that he could take and combine all these musical influences and produce his own unique sense of style and form. Tan’s creative and broad works have left an everlasting mark on the world of music, distinctly reflecting his own concepts, ideas and individuality. Tan takes both western and eastern music and combines it with natural elements like paper, water, and wood producing a rich style of unique and exceptional composition. Some of Tan’s earlier and notable works are the Ghost Opera featuring a string quartet in 1994, Marco Polo an opera composed in 1995, and Symphony 1977: Heaven, Earth, Mankind an orchestra played in 1997 with bianzhong bells (â€Å"Tan Dun†). One of his most famous and praiseworthy works is the masterpiece for Crouching Tiger, Hidden Dragon for which he deservedly received an Oscar Award as the best original score. In 2003, Tan brought the world of western music to the rural villagers of Hunan is his performance of The Map. That same year he also premiered the Paper Concerto at the opening of Walt Disney Concert Hall in Los Angeles (â€Å"Tan Dun†).

The Inspiration Of Art In Architecture

The Inspiration Of Art In Architecture The essay investigates the inspiration of art in architecture and the links and interchanges between them in the late sixties and early seventies with emphasis on the exchanges between conceptual art and architecture. The basic assumption of the essay is that the rigorous conceptualisation that characterised conceptual artist was transferred into some advanced architectural practices during the late sixties and early seventies. It also discusses about the parameters on which the inspirations are carried further to design process in terms of project conditions. During this process of transforming the art to a design, it passes through the process of adding architectural characteristics. So the essay seeks, how further is the design taken and if it still has the essence of the original art from which it was inspired. The text examines relations and differences between artist Sol Lewitt and architect Peter Eisenman in reference with a few of Eisenmans past works and argues that this dis cussion is still relevant to current practices exploring the potentials of digital based design through the use of parametrics, scripting etc. INTRODUCTION Design should do the same thing in everyday life that art does when encountered : amaze us, scare us or delight us, but certainly open us to new worlds within our daily existence. 1 Aaron Betsky While both art and design can perform a similar role, there is a distinct difference between the two. Art is unladen by boundaries, whereas design takes on the added responsibility of performing a function. The challenge of design is to try and meet the lofty ideals of art while remaining utilitarian. The artists work freed from practicality is more agile and able to freely explore concepts and ideas that will open us to new worlds. Artists are the scientists who research and test concepts; designers are the engineers who translate those discoveries into everyday life. Architects, as designers of spaces, can learn valuable lessons from artists. The same principles that have been tested and found successful in art can become a part of the built environment. Why not have colorful buildings that explode organically like Dale Chihulys glass works? i1 If nothing else, looking at art should remind architects of the artistic possibilities of architecture. This is especially important today, when architecture tends too heavily toward utility. CONCEPTUAL ART I will refer to the kind of art in which I am involved as conceptual art. In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art. This kind of art is not theoretical or illustrative of theories; it is intuitive, it is involved with all types of mental processes and it is purposeless. It is usually free from the dependence on the skill of the artist as a craftsman. It is the objective of the artist who is concerned with conceptual art to make his work mentally interesting to the spectator, and therefore usually he would want it to become emotionally dry. 2 Sol Lewitt By Conceptual art I mean work that firstly makes the immaterial ideas that define its artistic concepts and than secondary its object status and method of production. By conceptual architecture I mean that work which tries to do what conceptual art does while retaining some of the distinctive characteristics of architecture. Sol Lewitt (1928-2007) was a painter and sculptor who helped establish Conceptualism as a dominant art movement in the post war era. He was chosen for this study, first and foremost, because he had a similar relationship with his works that an architect does; he planned the pieces but entrusted their execution to others. This distance meant his works were less dependent on rendering techniques to be successful. In this regard, his works are a step closer to architecture than many artists. Another reason LeWitt was selected was his interest in a conceptual art, rather than a perceptual art. The way his pieces looked was important, but not as important as the concept that created them. Architecture deals with environments, which are inherently perceptual, so moving to a conceptual understanding of architecture, seemed to be an interesting challenge and worthwhile pursuit. Many of Sol LeWitts works were never seen by the artist until their exhibition. As an artist he was revolutionary in that he rarely executed his own works, simply because it was unnecessary. Sol LeWitts written instructions for his wall murals are specific about how they are to be produced. For LeWitt, the role of the artist is to create the concept not the object, or in other words, the concept is the art. Applying the idea of a conceptual art to architecture can be a significant challenge. The wellknown American architect and theorist Peter Eisenman explains the challenges succinctly: It is possible to say that while a conceptual art and a conceptual architecture could be similar in an idea state, there is an inherent difference when it comes to the realized object. Where a conceptual art object can remain in a more pure state, for example as a mathematical notation, built architecture takes on cultural, pragmatic, and semantic references. Thus the conceptual aspect of an architecture cannot be defined by what is conceptual in, say, painting and sculpture.11 These thoughts are mirrored by Sol LeWitt: Architecture and three-dimensional art are of completely opposite natures. The former is concerned with making an area with a specific function. Architecture, whether it is a work of art or not, must be utilitarian or else fail completely. Art is not utilitarian. When three-dimensional art starts to take on some of the characteristics, such as forming utilitarian areas, it weakens its function as art.12 Is it then inappropriate to create architecture based solely on concept? Especially when the utility of the space is compromised? If utilitarian concerns are allowed to alter or compromise a space, both Eisenman and LeWitt would agree that work is no longer conceptual. To avoid compromising the artistic concept both LeWitt and Eisenman have decided to make art instead of architecture. The difference being that Eisenman insists on using buildings as his medium; buildings which must to some extent lend themselves to the uses for which they were constructed. By turning his back conceptually on utility, and yet allowing it to happen, his concepts are polluted by the interference. Conceptual art is not necessarily logical. The logic of a piece or series of pieces is a device that is used at times, only to be ruined. Logic may be used to camouflage the real intent of the artist, to lull the viewer into the belief that he understands the work, or to infer a paradoxical situation (such as logic vs. illogic). Some ideas are logical in conception and illogical perceptually. The ideas need not be complex. Most ideas that are successful are ludicrously simple.16 The interesting thing is that this irony is really the only meaningful substance behind the work. When LeWitt talks about wanting the viewer to understand the concept behind the work, it appears that the concept is simply the set of rules that guided the actions. Discovering the rules is certainly mentally interesting, but only represents another layer of subjective decisions front loaded into the project. This superficial level of meaning can be seen in the work of several contemporary architects including Peter Eisenmans superimposed lines of influence. Conceptual arts focus on process during the 60s was an attempt to banish a number of conventions around the work of art: art as reified totem, art as static shape, aesthetic formalism, the manual contribution of the artist to the work, and so on. However, the invocation of art in architecture had a rather different series of concerns. For instance, Peter Eisenmans citation of process art practices in his early house projects, while invoking LeWitts ideas, was ultimately attempting to mimic his forms. Conceptual architecture during the 70s thus neatly overlapped the International Style, minimalist aesthetics, and conceptual art strategies. Borrowing from Sol LeWitts and Lawrence Weiners arguments on the primacy of the generating idea over its material properties, Eisenmans notion of an autonomous architecture privileging form over construction gained currency in critical and academic circles. Sol LeWitt here describes his distinction between art and architecture: Architecture and three-dimensional art are of completely opposite natures. The former is concerned with making an area with a specific function. Architecture, whether it is a work of art or not, must be utilitarian or else fail completely. Art is not utilitarian. When three-dimensional art starts to take on some of the characteristics of architecture such as forming utilitarian areas itweakens its function as art. When the viewer is dwarfed by the large size of a piece, this domination emphasizes the physical and emotive power of the form at the expense of losing the idea of the piece. In other words, art that becomes utilitarian does not make it architectural, only less convincing as art; similarly, architecture that denies its utilitarian, practical nature is weak architecture. In answering these questions I have sought to investigate and elaborate upon a previously recognised correlation between Eisenmans work and that of conceptual artists, Sol LeWitt in particular. The introduction of conceptual art raises issues of value in respect of the finished piece. That is it would seem that in work of a conceptual nature, the idea, can only be hindered by the existence of a final piece. The question that often arises is why, given the conflict it causes, bring the idea to a physical reality? If, as is usually the case, it is deemed necessary to realise the object what, if anything, should accompany the work to facilitate its understanding? During this period we find a particular fruitful exchange of ideas between artist and architects that is still relevant to current aesthetic thinking. The focus here is mainly on the architectural consequences and potentials of these exchanges (1). It is possible to argue that an unbroken lineage of architectural thinking and designing runs right up to today. A number of current architectural practices that explores digitally based working methods seems to face some of the same conceptual and aesthetic challenges that conceptual artist such as for instance Sol Lewitt was exploring. The article will attempt to point out some of the still active and relevant questions. The aim of this investigation is not only to give an accurate account of a historically situated set of ideas. It is just as much a starting point for an artistic development work that is fuelled by the investigations. This work is briefly presented at the end of the article. It is not to be seen as a solution or a concl usion to the questions that is raised during the article. The aim is rather to suggest an approach to architectural research that includes academic as well as design based research without one part being seen as a justification for the other, but hopefully rather instigates a productive gap between the two. What makes architecture conceptual is that unlike art, it demands not only the primacy of intention to take something from the sensual to the intellectual realm, but also that this intention be present in the conceptual structure; again, whether it is built or not, is not at issue. 1 Peter D. Eisenman Design Quarterly, No. 78/79, Conceptual Architecture (1970), pp. 1-5Published by: Walker Art Center This section explores three concepts integral to the work of Sol LeWitt: Concept, Series, and Reductivism. In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. Sol LeWitt Ulrik Schmidt has described the characteristics of minimal art as objectivity, non-illusionism and reality, an abstract-concrete appearance as well as non-expressionism and non-anthropomorphism using principles of unity and uniformity, non-relationalism, instrumentalisation and, more profoundly, repetition. (2) Schmidt traces a desubjectivation in minimalist art. he describes an approach to the work of art where the artist withdraws from directly influencing the work of art, creating, as Lewitt states it, a situation where all of the planning and decisions are made beforehand and the execution is a perfunctory affair. Through much modernist thinking runs an interest in objectivisation. Minimal art could be seen as the logicand extremeconclusion of some of modernisms basic assumptions, as well as an inherent criticism of these assumptions. (3) To a certain extent one might claim that this separation of conceptualisation and execution is how architects have been working at least since the academisation of architecture in the renaissance, when architects became detached from the directly involvement in the realisation of the works they designed. obviously the minimal arts movement investigates the consequences of this separation of conception and execution much further than the average architect, but it might still be one of the reasons for the prolific transfer of ideas from minimal art to architecture. Another reason could be that the formality and use of geometry that one find in the practices of artist such as Sol Lewitt or Robert Morris might have certain affinities to architecture. In any case there seems to be a parallel interest in conceptually articulated, systematic manipulations of form of these artists and the architectural designs of Peter Eisenman and likeminded architects such as John Hejduk, Michael Graves and Richard Meier during the late sixties and early seventies. There are for instance obvious common traits between Lewitts art and Eisenmans ar chitecture (Werner Petersen 1990: 19). Lewitts drawings and sculptures are generated through rule based, straightforward transformations of simple geometrical figures. The series of transformed figures are systematically organised in matrixes that conclusively describes all the possible combinations of the operations. In this way the works of Lewitt seems to explore a dilemma between the transparent logic of the formal operations and the apparent purposelessness of the result. Everything about the process is explained and understandable and yet the result seems to be without inherent meaning, at least if meaning is understood as a specific insight or sensibility expressed through the work. Something similar characterises Peter Eisenmans early projects. They are perhaps less abstract, as they are based on a recognisable modernistic vocabulary utilising the formal analyses Eisenman made of modernist architects such as Terragni (Eisenman 2003). But the complex decomposition of Eisenman basically explores a similar and deliberate lack of inherent meaning, even though the projects are at once paraphrasing, praising and mocking their modernist heritage. It seems to be an important point that the processes and transformational logic is readable in the work. In Sol Lewitts Variations of incomplete open cubes from 1974, every possible combination of the open cube is constructed and presented in a comprehensive scheme that makes it possible for anyone who would care to check, that all variations are present. This inclusive logic, where every possible variation of a finite series of possibilities is present without differentiation, is a way to eliminate any form of subjective choice or design decision from the realised work. One finds a similar logic in Eisenmans early architecture. house II from 1969-70 uses a nine-square grid that allows for a highly systematised series of transformations and superimpositions of columns, walls and volumes within the grid. Eisenmans design process is obviously more complex than Lewitts. In Lewitts art pieces the ordering principle is mostly immediately readable. It points didactically to the logic that has constructed the piece. Eisenmans process is more convoluted and probably only directly traceable by referring to the laborious complex drawings that accompany the published project, even though the realised project displays obvious traces of the process. This complexity might be partly relating to the requirements of a habitable structure. But more importantly it is probably related to an exploration of the syntax of architectural space. For Eisenman geometry is not an abstract spatial system. It is already imbedded within an architectural tradition and Eisenman uses the systematic spatial transformations to break down preestablished notions of spatial organisation in architecture. (4) Sol Lewitt seems to employ a more innocent notion of geometry. In his work geometry seems to be perceived as an abstract system devoid of connotations. It mainly serves as a vehicle that allows general conceptual ideas to enter into physical form. The properties and rules of geometry make it possible to develop and translate general principles. Lewitts frequent use of cubes might be understood as part of this approach. The orthogonal angles and equal length of the sides of the cube does not refer to an idealised geometry, but is rather considered as a default option uninfluenced by specific conditions or contexts. The white colours and anonymous materials further support this idea, hinting at standardisation and industrialised production. But even if this idea is easily understandable one could question whether Lewitt is successful in completely breaking any connotations and relations. The cubes might after all still refer to previous notions of a relation between ideal geometries an d meaningful forma frequent belief throughout the history of architecture. Even if these connotations are unintended by Lewitt, the vague recognisability might still be an important part of the fascination of his work. (5) The project that accompanies this article is part of an ongoing research by design project by the author. It could be thought of as a conclusion to the text. In this case it would of course not be understood as a summation of the findings of the paper and putting these findings into perspective of already existing research. It would rather be a conclusion in terms of trying to establish a relation between an analysis of and reflection on an existing body of work and a new work that tries to explore and expand some of the findings of the analysis. In this way the accompanying project could be considered as a continuous exploration of some of the conceptual and formal questions raised in Lewitt and Eisenmans works. The work is based on a formal exploration of a nine-square grid. This exploration is structured on a combinatory series of objects based on an adapted menger spongeprinciple (Fig. 1)6. Instead of removing the central cube of each nine square grid in each step as in the origi nal menger sponge, the project removes a different number of cubes in every iteration. This logic can be explored in different ways. Fig. 2 describes a transformative series based on three iterations where the first iteration removes two cubes, the next four and the last one. In this case it is possible to remove four cubes in 12 different ways from the nine-square grid (with the precondition that the variations are limited to those that are symmetrical along a vertical axis). This produces a series of 12 different cubic objects (Fig. 3) that unfolds the possible variations. This series is then in turn one of a series of the six possible ways the three iterative levels can be combined (1-2-4, 1-4-2, 2-1-4, 2-4-1, 4-1-2 and 4-2-1) resulting in 72 different objects (see Figs. 4-6 for examples). It is using the didactic approach of Lewitt where the formative logic is immediately accessible and readable. Instead of Peter Eisenmans critical dissection of the formal syntax of modernist architecture or Lewitts exploration of the concept as artistic motor it attempts to explore the proliferation of formal organisations made possible by systematised processes. The resulting objects are just as purposeless as Lewitts sculptures. But at the same time the cubic shapes and hierarchically nested geometries hopefully hint at architectural or perhaps rather protoarchitectural potentials. - CASE STUDIES Peter Eisenman You would be better qualified to answer that question than I would. The energy of Terragni permeated my early work; House I is certainly Terragni, but House II is much more influenced by, say, Rosalind Krausss writing on contemporary art at the time and the idea of sculpture in the expanded field and the work of minimalist sculptors Robert Morris and Sol LeWitt. By House II, Krauss and I were working closely-she eventually wrote Notes on the Index in October 3 and 4, which became key to House IV. The Wexner Center at Ohio StateUniversity by Peter Eisenman is an exam-ple of a building that exhibits characteris-tics motivated by the framework of thekit-of-parts problem. It is a spatially com-plex building that discounts the materialfacts of the architecture except as they serve as signs. The richly overlappingspaces, whether implied by frames orplanes, are all defined by painted gypsumboard and off-the-shelf acoustic ceilingsystems. Brick is selectively deployed to al-lude to pre-existing buildings on the site(in a series of faux ruins), but not for itsmaterial qualities and uses. The programcontent of the building is not the driver of design development; the form of thebuilding is instead a result of the selectivemapping of physical forces on the site,resulting in an itinerary that is choreo-graphed both outside and inside the build-ing. The overlap of competing spatialsystems is generated by two axes that existon the campus; the program/content andthe constructional logic pla y relatively mi-nor roles in the design. Perhaps it is therelative disregard for the quality of thebuilding materials and details that makesthe Wexner Center so decidedly postmod-ern in character today.Whether the underlying moti Series Serial compositions are multipart pieces with regulated changes. The differences between the parts are the subject of the composition. If some parts remain constant it is to punctuate the changes.22 Sol LeWitt The primary method of communicating the concept in Sol LeWitts work is the use of series. By presenting objects in series, any difference between the objects immediately becomes the focus of the piece. If three forms are equal in all aspects, with the exception of height, the viewer automatically assumes that the height is the focus. Works in series can really only be appreciated when viewed together as a series. A direct application within architecture therefore would most naturally happen with a group of buildings in close proximity. This may be on the scale of a college campus, a business park, or several small structures on a residential lot. The difficulty is that most architecture is developed on the basis of a single building at a time. Where more than one building is employed the scale of projects may make it difficult to discern the variations. It may be necessary to introduce smaller scale elements, such a building details, which provide clues about the larger moves within the grouping.

The Ethics of Conjoined Twin Separation Essay -- Moral Science Biology

The Ethics of Conjoined Twin Separation Conjoined twins are a rare phenomenon. In the even that a set should appear where one twin is dependant upon the other, I believe that they should be separated, at minimum, to save the life of one. At the same time, I believe that every set of conjoined twins is its own special case. In this study, I will present the background information on conjoined twinning, give a few case studies, and give the pros and cons of conjoined twin separation. I will end with my own views on the subject. How do these mutations arise? A.A. Zimmerman hypothesizes that, â€Å"[Conjoined twins arise from] an error in blastogenesis due to incomplete fission of a single zygote, resulting in the development of two centers of axial growth instead of one† (Juretschke, 9). Within the first two weeks of embryo development, there is an error in the embryonic development of the blastocyst, composed of about 100 cells. The single, fertilized egg fails to separate properly, as it would to form identical twins (a fertilized egg divides completely during the initial stages of cell differentiation). This failure of division results in two identical, same sex twins, conjoined in some manner. No one is clear on why the cell fails to divide completely. Statistically, the chances of failed egg division resulting in conjoined twins is about one in 250,000, as compared to the one in 200 chance of giving birth to identical twins. Of those conjoined, 40-60% are stillborn, and 35% of those twins that survive birth die within the first 24 hours. Of those one in 250,000 births, there is a 5-25% chance of existing in the world for more than a day. Interestingly, about 70% of those who beat the odds were female, and t... .... 62, pp. 525 – 529. Veenker, Jody. "One Conjoined Twin Dies After Surgical Separation." Christianity Today. http://www.chrisianitytoday.com/ct/2000/145/430.html updated Nov. 6, 2000. http://www.ama-assn.org/sci-pubs/amnews/pick_01/prca0305.htm http://www7.cnn.com/2000/WORLD/europe.UK/11/03/twins.court/index.html. updated: Nov.3, 2000. http://www7.cnn.com/2000/HEALTH/10/31/conjoined .twins/index.html. updated: Oct.31, 2000. http://www7.cnn.com/2000/WORLD/europe/UK/11/06/twins.conjoined/. updated: Nov. 7, 2000. http://europe.cnn.com/2000/ASIANOW/australasia/10/25/health.australia.simese.reut/index. updated: Oct.26, 2000. http://straitstimes.asia1.com.sg/mnt/html/webspecial/siamese/siamese.html http://talk.guardian.co.uk/WebX?13@@.ee7a95d. updated: Nov. 18, 2000. http://www.twinstuff.com http://.zygote.swarthmore.edu/cleave4.html