Executive Summary (Genetically Modifying Food). Imagine

Executive Summary (Genetically Modifying Food) Imagine a banana that receives immunizations for hepatitis B, a potato that provides an excellent French fries to eat, luscious strawberries or such an excess of food that universe hunger statistics drastically reduce. Many people are grieving from malnutrition, and they do not devour the essential vitamins to exist a wholesome lifestyle? In September, the year of 2010, Food and Agriculture Organization of the United Nations state that â€Å"FAO calculates that a total number of 925 million people of the world undernourished in 2010.† All across the earth, reliable people are languishing due to the shortage of nourishment and food stores. By using the benefit of advanced technology system and†¦show more content†¦By extricating genes from one organism and interpolating them into a new organism. The cultivation manufacturing would create a higher quality and capacity which means a maximization of potency. If the animal and agriculture commodity productions concentr ated on competence, such ability could be very advantageous to the producer, purchasers, and environment as a totality. Genetically altered foods enable biotech corporations to form a collaboration with tenants by utilizing the technology accessible on our support. If these businesses were to use genetically modified organisms (GMO s) efficiently, it would permit for them to embed vital nutritious vitamins for all. Much of the extensive deliberations on farming biotechnology have concentrated on the inherent risks of Genetically Modifying crops for human health. Some of the wellness risks related to unapproved Genetically Modifying Foods include allergenicity, antibiotic resistance, a formation of toxins and the nutritional changes. To discuss the potential shortcomings of biotechnology purpose in engineered meals, people tend out some of the problems arising out from genetic alteration methods. High-Level technology in the farmingShow MoreRelatedEssay on Silent Spring - Rachel Carson30092 Words   |  121 PagesBookRags, Inc. ALL RIGHTS RESERVED. The following sections of this BookRags Premium Study Guide is offprint from Gales For Students Series: Presenting Analysis, Context, and Criticism on Commonly Studied Works: Introduction, Author Biography, Plot Summary, Characters, Themes, Style, Historical Context, Critical Overview, Criticism and Critical Essays, Media Adaptations, Topics for Further Study, Compare Contrast, What Do I Read Next?, For Further Study, and Sources.  ©1998-2002;  ©2002 by Gale. GaleRead MoreInnovators Dna84615 Words   |  339 Pages It has dozens of simple tricks that any person and any team can use today to discover the new ideas that solve the important problems. Buy it now and read it tonight. 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From the beginning of a child’s life, he/she holds the key...

From the beginning of a child’s life, he/she holds the key to their own destiny. However, this is no longer the case when child sexual abuse is brought in as a factor. In surveys conducted, it was indicated that six percent to sixty-two percent of women and two percent to fifteen percent of men have been victims of sexual abuse as a child (Finkelhor 79). That was not their choice. Abuse is the result of force - not from a person’s willingness to fulfill an act. Victims also have to cope with the aftereffects brought onto them by their attackers. These decisions they had no choice over, but they ultimately set the basis for the rest of their lives. This is because adult survivors of sexual abuse generally have consequences created by†¦show more content†¦When children withdraw from the people surrounding them, they do it to avoid any threat of interpersonal relationships (Connelly 42). This eventually leads those to become seriously depressed resulting in many other consequences of violence (Connelly 42). Adding to the list of drugs, depression, and withdrawal is trauma. Both genders, male and female, suffer from this, but trauma is seen more dominantly in the female population. Studies have shown that women sexually abused as children have rates of mental health impairment almost twice as high as women not abused (Finkelhor 79). As said by Elizabeth Connelly, these health impairments include post-traumatic stress disorder, dissociative identity disorder, mood disorders, antisocial personality disorder, and anxiety disorder (39). As a result, sexual abuse may begin as a physical act, but ultimately affects a child mentally. On the other hand, when a child is sexually abused their mental impairments lead them to develop misinterpretations of sex. This causes the child to explore experiences far before a non-abused child would. 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Vbnm Free Essays

AMERICAN CULTURE Visual and performing arts 3. Arts and letters The arts, more than other features of culture, provide avenues for the expression of imagination and personal vision. They offer a range of emotional and intellectual pleasures to consumers of art and are an important way in which a culture represents itself. We will write a custom essay sample on Vbnm or any similar topic only for you Order Now There has long been a Western tradition distinguishing those arts that appeal to the multitude, such as popular music, from those—such as classical orchestral music—normally available to the elite of learning and taste. Popular art forms are usually seen as more representative American products. In the United States in the recent past, there has been a blending of popular and elite art forms, as all the arts experienced a period of remarkable cross-fertilization. Because popular art forms are so widely distributed, arts of all kinds have prospered. The arts in the United States express the many faces and the enormous creative range of the American people. Especially since World War II, American innovations and the immense energy displayed in literature, dance, and music have made American cultural works world famous. Arts in the United States have become internationally prominent in ways that are unparalleled in history. American art forms during the second half of the 20th century often defined the styles and qualities that the rest of the world emulated. At the end of the 20th century, American art was considered equal in quality and vitality to art produced in the rest of the world. Throughout the 20th century, American arts have grown to incorporate new visions and voices. Much of this new artistic energy came in the wake of America’s emergence as a superpower after World War II. But it was also due to the growth of New York City as an important center for publishing and the arts, and the immigration of artists and intellectuals fleeing fascism in Europe before and during the war. An outpouring of talent also followed the civil rights and protest movements of the 1960s, as cultural discrimination against blacks, women, and other groups diminished. American arts flourish in many places and receive support from private foundations, large corporations, local governments, federal agencies, museums, galleries, and individuals. What is considered worthy of support often depends on definitions of quality and of what constitutes art. This is a tricky subject when the popular arts are increasingly incorporated into the domain of the fine arts and new forms such as performance art and conceptual art appear. As a result, defining what is art affects what students are taught about past traditions (for example, Native American tent paintings, oral traditions, and slave narratives) and what is produced in the future. While some practitioners, such as studio artists, are more vulnerable to these definitions because they depend on financial support to exercise their talents, others, such as poets and photographers, are less immediately constrained. Artists operate in a world where those who theorize and critique their work have taken on an increasingly important role. Audiences are influenced by a variety of intermediaries—critics, the schools, foundations that offer grants, the National Endowment for the Arts, gallery owners, publishers, and theater producers. In some areas, such as the performing arts, popular audiences may ultimately define success. In other arts, such as painting and sculpture, success is far more dependent on critics and a few, often wealthy, art collectors. Writers depend on publishers and on the public for their success. Unlike their predecessors, who relied on formal criteria and appealed to aesthetic judgments, critics at the end of the 20th century leaned more toward popular tastes, taking into account groups previously ignored and valuing the merger of popular and elite forms. These critics often relied less on aesthetic judgments than on social measures and were eager to place artistic productions in the context of the time and social conditions in which they were created. Whereas earlier critics attempted to create an American tradition of high art, later critics used art as a means to give power and approval to nonelite groups who were previously not considered worthy of including in the nation’s artistic heritage. Not so long ago, culture and the arts were assumed to be an unalterable inheritance—the accumulated wisdom and highest forms of achievement that were established in the past. In the 20th century generally, and certainly since World War II, artists have been boldly destroying older traditions in sculpture, painting, dance, music, and literature. The arts have changed rapidly, with one movement replacing another in quick succession. a) Visual arts. The visual arts have traditionally included forms of expression that appeal to the eyes through painted surfaces, and to the sense of space through carved or molded materials. In the 19th century, photographs were added to the paintings, drawings, and sculpture that make up the visual arts. The visual arts were further augmented in the 20th century by the addition of other materials, such as found objects. These changes were accompanied by a profound alteration in tastes, as earlier emphasis on realistic representation of people, objects, and landscapes made way for a greater range of imaginative forms. During the late 19th and early 20th centuries, American art was considered inferior to European art. Despite noted American painters such as Thomas Eakins, Winslow Homer, Mary Cassatt, and John Marin, American visual arts barely had an international presence. American art began to flourish during the Great Depression of the 1930s as New Deal government programs provided support to artists along with other sectors of the population. Artists connected with each other and developed a sense of common purpose through programs of the Public Works Administration, such as the Federal Art Project, as well as programs sponsored by the Treasury Department. Most of the art of the period, including painting, photography, and mural work, focused on the plight of the American people during the depression, and most artists painted real people in difficult circumstances. Artists such as Thomas Hart Benton and Ben Shahn expressed the suffering of ordinary people through their representations of struggling farmers and workers. While artists such as Benton and Grant Wood focused on rural life, many painters of the 1930s and 1940s depicted the multicultural life of the American city. Jacob Lawrence, for example, re-created the history and lives of African Americans. Other artists, such as Andrew Wyeth and Edward Hopper, tried to use human figures to describe emotional states such as loneliness and despair. Abstract Expressionism. Shortly after World War II, American art began to garner worldwide attention and admiration. This change was due to the innovative fervor of abstract expressionism in the 1950s and to subsequent modern art movements and artists. The abstract expressionists of the mid-20th century broke from the realist and figurative tradition set in the 1930s. They emphasized their connection to international artistic visions rather than the particularities of people and place, and most abstract expressionists did not paint human figures (although artist Willem de Kooning did portrayals of women). Color, shape, and movement dominated the canvases of abstract expressionists. Some artists broke with the Western art tradition by adopting innovative painting styles—during the 1950s Jackson Pollock â€Å"painted† by dripping paint on canvases without the use of brushes, while the paintings of Mark Rothko often consisted of large patches of color that seem to vibrate. Abstract expressionists felt alienated from their surrounding culture and used art to challenge society’s conventions. The work of each artist was quite individual and distinctive, but all the artists identified with the radicalism of artistic creativity. The artists were eager to challenge conventions and limits on expression in order to redefine the nature of art. Their radicalism came from liberating themselves from the confining artistic traditions of the past. The most notable activity took place in New York City, which became one of the world’s most important art centers during the second half of the 20th century. The radical fervor and inventiveness of the abstract expressionists, their frequent association with each other in New York City’s Greenwich Village, and the support of a group of gallery owners and dealers turned them into an artistic movement. Also known as the New York School, the participants included Barnett Newman, Robert Motherwell, Franz Kline, and Arshile Gorky, in addition to Rothko and Pollock. The members of the New York School came from diverse backgrounds such as the American Midwest and Northwest, Armenia, and Russia, bringing an international flavor to the group and its artistic visions. They hoped to appeal to art audiences everywhere, regardless of culture, and they felt connected to the radical innovations introduced earlier in the 20th century by European artists such as Pablo Picasso and Marcel Duchamp. Some of the artists—Hans Hofmann, Gorky, Rothko, and de Kooning—were not born in the United States, but all the artists saw themselves as part of an international creative movement and an aesthetic rebellion. As artists felt released from the boundaries and conventions of the past and free to emphasize expressiveness and innovation, the abstract expressionists gave way to other innovative styles in American art. Beginning in the 1930s Joseph Cornell created hundreds of boxed assemblages, usually from found objects, with each based on a single theme to create a mood of contemplation and sometimes of reverence. Cornell’s boxes exemplify the modern fascination with individual vision, art that breaks down boundaries between forms such as painting and sculpture, and the use of everyday objects toward a new end. Other artists, such as Robert Rauschenberg, combined disparate objects to create large, collage-like sculptures known as combines in the 1950s. Jasper Johns, a painter, sculptor, and printmaker, recreated countless familiar objects, most memorably the American flag. The most prominent American artistic style to follow abstract expressionism was the pop art movement that began in the 1950s. Pop art attempted to connect traditional art and popular culture by using images from mass culture. To shake viewers out of their preconceived notions about art, sculptor Claes Oldenburg used everyday objects such as pillows and beds to create witty, soft sculptures. Roy Lichtenstein took this a step further by elevating the techniques of commercial art, notably cartooning, into fine art worthy of galleries and museums. Lichtenstein’s large, blown-up cartoons fill the surface of his canvases with grainy black dots and question the existence of a distinct realm of high art. These artists tried to make their audiences see ordinary objects in a refreshing new way, thereby breaking down the conventions that formerly defined what was worthy of artistic representation. Probably the best-known pop artist, and a leader in the movement, was Andy Warhol, whose images of a Campbell’s soup can and of the actress Marilyn Monroe explicitly eroded the boundaries between the art world and mass culture. Warhol also cultivated his status as a celebrity. He worked in film as a director and producer to break down the boundaries between traditional and popular art. Unlike the abstract expressionists, whose conceptual works were often difficult to understand, Andy Warhol’s pictures, and his own face, were instantly recognizable. Conceptual art, as it came to be known in the 1960s, like its predecessors, sought to break free of traditional artistic associations. In conceptual art, as practiced by Sol LeWitt and Joseph Kosuth, concept takes precedent over actual object, by stimulating thought rather than following an art tradition based on conventional standards of beauty and artisanship. Modern artists changed the meaning of traditional visual arts and brought a new imaginative dimension to ordinary experience. Art was no longer viewed as separate and distinct, housed in museums as part of a historical inheritance, but as a continuous creative process. This emphasis on constant change, as well as on the ordinary and mundane, reflected a distinctly American democratizing perspective. Viewing art in this way removed the emphasis from technique and polished performance, and many modern artworks and experiences became more about expressing ideas than about perfecting finished products. Photography. Photography is probably the most democratic modern art form because it can be, and is, practiced by most Americans. Since 1888, when George Eastman developed the Kodak camera that allowed anyone to take pictures, photography has struggled to be recognized as a fine art form. In the early part of the 20th century, photographer, editor, and artistic impresario Alfred Stieglitz established 291, a gallery in New York City, with fellow photographer Edward Steichen, to showcase the works of photographers and painters. They also published a magazine called Camera Work to increase awareness about photographic art. In the United States, photographic art had to compete with the widely available commercial photography in news and fashion magazines. By the 1950s the tradition of photojournalism, which presented news stories primarily with photographs, had produced many outstanding works. In 1955 Steichen, who was director of photography at the Museum of Modern Art in New York, called attention to this work in an exhibition called The Family of Man. Throughout the 20th century, most professional photographers earned their living as portraitists or photojournalists, not as artists. One of the most important exceptions was Ansel Adams, who took majestic photographs of the Western American landscape. Adams used his art to stimulate social awareness and to support the conservation cause of the Sierra Club. He helped found the photography department at the Museum of Modern Art in 1940, and six years later helped establish the photography department at the California School of Fine Arts in San Francisco (now the San Francisco Art Institute). He also held annual photography workshops at Yosemite National Park from 1955 to 1981 and wrote a series of influential books on photographic technique. Adams’s elegant landscape photography was only one small stream in a growing current of interest in photography as an art form. Early in the 20th century, teacher-turned-photographer Lewis Hine established a documentary tradition in photography by capturing actual people, places, and events. Hine photographed urban conditions and workers, including child laborers. Along with their artistic value, the photographs often implicitly called for social reform. In the 1930s and 1940s, photographers joined with other depression-era artists supported by the federal government to create a hotographic record of rural America. Walker Evans, Dorothea Lange, and Arthur Rothstein, among others, produced memorable and widely reproduced portraits of rural poverty and American distress during the Great Depression and during the dust storms of the period. In 1959, after touring the United States for two years, Swiss-born photographer Robert Frank published The Americans, one of the landmarks of documentary photography. His photographs of everyday life in America introduced viewers to a depressing, and often depressed, America that existed in the midst of prosperity and world power. Photographers continued to search for new photographic viewpoints. This search was perhaps most disturbingly embodied in the work of Diane Arbus. Her photos of mental patients and her surreal depictions of Americans altered the viewer’s relationship to the photograph. Arbus emphasized artistic alienation and forced viewers to stare at images that often made them uncomfortable, thus changing the meaning of the ordinary reality that photographs are meant to capture. American photography continues to flourish. The many variants of art photography and socially conscious documentary photography are widely available in galleries, books, and magazines. A host of other visual arts thrive, although they are far less connected to traditional fine arts than photography. Decorative arts include, but are not limited to, art glass, furniture, jewelry, pottery, metalwork, and quilts. Often exhibited in craft galleries and studios, these decorative arts rely on ideals of beauty in shape and color as well as an appreciation of well-executed crafts. Some of these forms are also developed commercially. The decorative arts provide a wide range of opportunity for creative expression and have become a means for Americans to actively participate in art and to purchase art for their homes that is more affordable than works produced by many contemporary fine artists. 4. Performing arts As in other cultural spheres, the performing arts in the United States in the 20th century increasingly blended traditional and popular art forms. The classical performing arts—music, opera, dance, and theater—were not a widespread feature of American culture in the first half of the 20th century. These arts were generally imported from or strongly influenced by Europe and were mainly appreciated by the wealthy and well educated. Traditional art usually referred to classical forms in ballet and opera, orchestral or chamber music, and serious drama. The distinctions between traditional music and popular music were firmly drawn in most areas. During the 20th century, the American performing arts began to incorporate wider groups of people. The African American community produced great musicians who became widely known around the country. Jazz and blues singers such as Bessie Smith, Louis Armstrong, Duke Ellington, and Billie Holiday spread their sounds to black and white audiences. In the 1930s and 1940s, the swing music of Benny Goodman, Tommy Dorsey, and Glenn Miller adapted jazz to make a unique American music that was popular around the country. The American performing arts also blended Latin American influences beginning in the 20th century. Between 1900 and 1940, Latin American dances, such as the tango from Argentina and the rumba from Cuba, were introduced into the United States. In the 1940s a fusion of Latin and jazz elements was stimulated first by the Afro-Cuban mambo and later on by the Brazilian bossa nova. Throughout the 20th century, dynamic classical institutions in the United States attracted international talent. Noted Russian-born choreographer George Balanchine established the short-lived American Ballet Company in the 1930s; later he founded the company that in the 1940s would become the New York City Ballet. The American Ballet Theatre, also established during the 1940s, brought in non-American dancers as well. By the 1970s this company had attracted Soviet defector Mikhail Baryshnikov, an internationally acclaimed dancer who served as the company’s artistic director during the 1980s. In classical music, influential Russian composer Igor Stravinsky, who composed symphonies using innovative musical styles, moved to the United States in 1939. German-born pianist, composer, and conductor Andre Previn, who started out as a jazz pianist in the 1940s, went on to conduct a number of distinguished American symphony orchestras. Another Soviet, cellist Mstislav Rostropovich, became conductor of the National Symphony Orchestra in Washington, D. C. , in 1977. Some of the most innovative artists in the first half of the 20th century successfully incorporated new forms into classical traditions. Composers George Gershwin and Aaron Copland, and dancer Isadora Duncan were notable examples. Gershwin combined jazz and spiritual music with classical in popular works such as Rhapsody in Blue (1924) and the opera Porgy and Bess (1935). Copland developed a unique style that was influenced by jazz and American folk music. Early in the century, Duncan redefined dance along more expressive and free-form lines. Some artists in music and dance, such as composer John Cage and dancer and choreographer Merce Cunningham, were even more experimental. During the 1930s Cage worked with electronically produced sounds and sounds made with everyday objects such as pots and pans. He even invented a new kind of piano. During the late 1930s, avant-garde choreographer Cunningham began to collaborate with Cage on a number of projects. Perhaps the greatest, and certainly the most popular, American innovation was the Broadway musical, which also became a movie staple. Beginning in the 1920s, the Broadway musical combined music, dance, and dramatic performance in ways that surpassed the older vaudeville shows and musical revues but without being as complex as European grand opera. By the 1960s, this American musical tradition was well established and had produced extraordinary works by important musicians and lyricists such as George and Ira Gershwin, Irving Berlin, Cole Porter, Richard Rodgers, Lorenz Hart, Jerome Kern, and Oscar Hammerstein II. These productions required an immense effort to coordinate music, drama, and dance. Because of this, the musical became the incubator of an American modern dance tradition that produced some of America’s greatest choreographers, among them Jerome Robbins, Gene Kelly, and Bob Fosse. In the 1940s and 1950s the American musical tradition was so dynamic that it attracted outstanding classically trained musicians such as Leonard Bernstein. Bernstein composed the music for West Side Story, an updated version of Romeo and Juliet set in New York that became an instant classic in 1957. The following year, Bernstein became the first American-born conductor to lead a major American orchestra, the New York Philharmonic. He was an international sensation who traveled the world as an ambassador of the American style of conducting. He brought the art of classical music to the public, especially through his â€Å"Young People’s Concerts,† television shows that were seen around the world. Bernstein used the many facets of the musical tradition as a force for change in the music world and as a way of bringing attention to American innovation. In many ways, Bernstein embodied a transformation of American music that began in the 1960s. The changes that took place during the 1960s and 1970s resulted from a significant increase in funding for the arts and their increased availability to larger audiences. New York City, the American center for art performances, experienced an artistic explosion in the 1960s and 1970s. Experimental off-Broadway theaters opened, new ballet companies were established that often emphasized modern forms or blended modern with classical (Martha Graham was an especially important influence), and an experimental music scene developed that included composers such as Philip Glass and performance groups such as the Guarneri String Quartet. Dramatic innovation also continued to expand with the works of playwrights such as Edward Albee, Tony Kushner, and David Mamet. As the variety of performances expanded, so did the serious crossover between traditional and popular music forms. Throughout the 1960s and 1970s, an expanded repertoire of traditional arts was being conveyed to new audiences. Popular music and jazz could be heard in formal settings such as Carnegie Hall, which had once been restricted to classical music, while the Brooklyn Academy of Music became a venue for experimental music, exotic and ethnic dance presentations, and traditional productions of grand opera. Innovative producer Joseph Papp had been staging Shakespeare in Central Park since the 1950s. Boston conductor Arthur Fiedler was playing a mixed repertoire of classical and popular favorites to large audiences, often outdoors, with the Boston Pops Orchestra. By the mid-1970s the United States had several world-class symphony orchestras, including those in Chicago; New York; Cleveland, Ohio; and Philadelphia, Pennsylvania. Even grand opera was affected. Once a specialized taste that often required extensive knowledge, opera in the United States increased in popularity as the roster of respected institutions grew to include companies in Seattle, Washington; Houston, Texas; and Santa Fe, New Mexico. American composers such as John Adams and Philip Glass began composing modern operas in a new minimalist style during the 1970s and 1980s. The crossover in tastes also influenced the Broadway musical, probably America’s most durable music form. Starting in the 1960s, rock music became an ingredient in musical productions such as Hair (1967). By the 1990s, it had become an even stronger presence in musicals such as Bring in Da Noise, Bring in Da Funk (1996), which used African American music and dance traditions, and Rent (1996) a modern, rock version of the classic opera La Boheme. This updating of the musical opened the theater to new ethnic audiences who had not previously attended Broadway shows, as well as to young audiences who had been raised on rock music. Performances of all kinds have become more available across the country. This is due to both the sheer increase in the number of performance groups as well as to advances in transportation. In the last quarter of the 20th century, the number of major American symphonies doubled, the number of resident theaters increased fourfold, and the number of dance companies increased tenfold. At the same time, planes made it easier for artists to travel. Artists and companies regularly tour, and they expand the audiences for individual artists such as performance artist Laurie Anderson and opera singer Jessye Norman, for musical groups such as the Juilliard Quartet, and for dance troupes such as the Alvin Ailey American Dance Theater. Full-scale theater productions and musicals first presented on Broadway now reach cities across the country. The United States, once a provincial outpost with a limited European tradition in performance, has become a flourishing center for the performing arts. . Arts and letters The arts, more than other features of culture, provide avenues for the expression of imagination and personal vision. They offer a range of emotional and intellectual pleasures to consumers of art and are an important way in which a culture represents itself. There has long been a Western tradition distinguishing those arts that appeal to the multitude, such as popul ar music, from those—such as classical orchestral music—normally available to the elite of learning and taste. Popular art forms are usually seen as more representative American products. In the United States in the recent past, there has been a blending of popular and elite art forms, as all the arts experienced a period of remarkable cross-fertilization. Because popular art forms are so widely distributed, arts of all kinds have prospered. The arts in the United States express the many faces and the enormous creative range of the American people. Especially since World War II, American innovations and the immense energy displayed in literature, dance, and music have made American cultural works world famous. Arts in the United States have become internationally prominent in ways that are unparalleled in history. American art forms during the second half of the 20th century often defined the styles and qualities that the rest of the world emulated. At the end of the 20th century, American art was considered equal in quality and vitality to art produced in the rest of the world. Throughout the 20th century, American arts have grown to incorporate new visions and voices. Much of this new artistic energy came in the wake of America’s emergence as a superpower after World War II. But it was also due to the growth of New York City as an important center for publishing and the arts, and the immigration of artists and intellectuals fleeing fascism in Europe before and during the war. An outpouring of talent also followed the civil rights and protest movements of the 1960s, as cultural discrimination against blacks, women, and other groups diminished. American arts flourish in many places and receive support from private foundations, large corporations, local governments, federal agencies, museums, galleries, and individuals. What is considered worthy of support often depends on definitions of quality and of what constitutes art. This is a tricky subject when the popular arts are increasingly incorporated into the domain of the fine arts and new forms such as performance art and conceptual art appear. As a result, defining what is art affects what students are taught about past traditions (for example, Native American tent paintings, oral traditions, and slave narratives) and what is produced in the future. While some practitioners, such as studio artists, are more vulnerable to these definitions because they depend on financial support to exercise their talents, others, such as poets and photographers, are less immediately constrained. Artists operate in a world where those who theorize and critique their work have taken on an increasingly important role. Audiences are influenced by a variety of intermediaries—critics, the schools, foundations that offer grants, the National Endowment for the Arts, gallery owners, publishers, and theater producers. In some areas, such as the performing arts, popular audiences may ultimately define success. In other arts, such as painting and sculpture, success is far more dependent on critics and a few, often wealthy, art collectors. Writers depend on publishers and on the public for their success. Unlike their predecessors, who relied on formal criteria and appealed to aesthetic judgments, critics at the end of the 20th century leaned more toward popular tastes, taking into account groups previously ignored and valuing the merger of popular and elite forms. These critics ften relied less on aesthetic judgments than on social measures and were eager to place artistic productions in the context of the time and social conditions in which they were created. Whereas earlier critics attempted to create an American tradition of high art, later critics used art as a means to give power and approval to nonelite groups who were previously not considered worthy of including in the nation’s artisti c heritage. Not so long ago, culture and the arts were assumed to be an unalterable inheritance—the accumulated wisdom and highest forms of achievement that were established in the past. In the 20th century generally, and certainly since World War II, artists have been boldly destroying older traditions in sculpture, painting, dance, music, and literature. The arts have changed rapidly, with one movement replacing another in quick succession. a) Visual arts. The visual arts have traditionally included forms of expression that appeal to the eyes through painted surfaces, and to the sense of space through carved or molded materials. In the 19th century, photographs were added to the paintings, drawings, and sculpture that make up the visual arts. The visual arts were further augmented in the 20th century by the addition of other materials, such as found objects. These changes were accompanied by a profound alteration in tastes, as earlier emphasis on realistic representation of people, objects, and landscapes made way for a greater range of imaginative forms. During the late 19th and early 20th centuries, American art was considered inferior to European art. Despite noted American painters such as Thomas Eakins, Winslow Homer, Mary Cassatt, and John Marin, American visual arts barely had an international presence. American art began to flourish during the Great Depression of the 1930s as New Deal government programs provided support to artists along with other sectors of the population. Artists connected with each other and developed a sense of common purpose through programs of the Public Works Administration, such as the Federal Art Project, as well as programs sponsored by the Treasury Department. Most of the art of the period, including painting, photography, and mural work, focused on the plight of the American people during the depression, and most artists painted real people in difficult circumstances. Artists such as Thomas Hart Benton and Ben Shahn expressed the suffering of ordinary people through their representations of struggling farmers and workers. While artists such as Benton and Grant Wood focused on rural life, many painters of the 1930s and 1940s depicted the multicultural life of the American city. Jacob Lawrence, for example, re-created the history and lives of African Americans. Other artists, such as Andrew Wyeth and Edward Hopper, tried to use human figures to describe emotional states such as loneliness and despair. Abstract Expressionism. Shortly after World War II, American art began to garner worldwide attention and admiration. This change was due to the innovative fervor of abstract expressionism in the 1950s and to subsequent modern art movements and artists. The abstract expressionists of the mid-20th century broke from the realist and figurative tradition set in the 1930s. They emphasized their connection to international artistic visions rather than the particularities of people and place, and most abstract expressionists did not paint human figures (although artist Willem de Kooning did portrayals of women). Color, shape, and movement dominated the canvases of abstract expressionists. Some artists broke with the Western art tradition by adopting innovative painting styles—during the 1950s Jackson Pollock â€Å"painted† by dripping paint on canvases without the use of brushes, while the paintings of Mark Rothko often consisted of large patches of color that seem to vibrate. Abstract expressionists felt alienated from their surrounding culture and used art to challenge society’s conventions. The work of each artist was quite individual and distinctive, but all the artists identified with the radicalism of artistic creativity. The artists were eager to challenge conventions and limits on expression in order to redefine the nature of art. Their radicalism came from liberating themselves from the confining artistic traditions of the past. The most notable activity took place in New York City, which became one of the world’s most important art centers during the second half of the 20th century. The radical fervor and inventiveness of the abstract expressionists, their frequent association with each other in New York City’s Greenwich Village, and the support of a group of gallery owners and dealers turned them into an artistic movement. Also known as the New York School, the participants included Barnett Newman, Robert Motherwell, Franz Kline, and Arshile Gorky, in addition to Rothko and Pollock. The members of the New York School came from diverse backgrounds such as the American Midwest and Northwest, Armenia, and Russia, bringing an international flavor to the group and its artistic visions. They hoped to appeal to art audiences everywhere, regardless of culture, and they felt connected to the radical innovations introduced earlier in the 20th century by European artists such as Pablo Picasso and Marcel Duchamp. Some of the artists—Hans Hofmann, Gorky, Rothko, and de Kooning—were not born in the United States, but all the artists saw themselves as part of an international creative movement and an aesthetic rebellion. As artists felt released from the boundaries and conventions of the past and free to emphasize expressiveness and innovation, the abstract expressionists gave way to other innovative styles in American art. Beginning in the 1930s Joseph Cornell created hundreds of boxed assemblages, usually from found objects, with each based on a single theme to create a mood of contemplation and sometimes of reverence. Cornell’s boxes exemplify the modern fascination with individual vision, art that breaks down boundaries between forms such as painting and sculpture, and the use of everyday objects toward a new end. Other artists, such as Robert Rauschenberg, combined disparate objects to create large, collage-like sculptures known as combines in the 1950s. Jasper Johns, a painter, sculptor, and printmaker, recreated countless familiar objects, most memorably the American flag. The most prominent American artistic style to follow abstract expressionism was the pop art movement that began in the 1950s. Pop art attempted to connect traditional art and popular culture by using images from mass culture. To shake viewers out of their preconceived notions about art, sculptor Claes Oldenburg used everyday objects such as pillows and beds to create witty, soft sculptures. Roy Lichtenstein took this a step further by elevating the techniques of commercial art, notably cartooning, into fine art worthy of galleries and museums. Lichtenstein’s large, blown-up cartoons fill the surface of his canvases with grainy black dots and question the existence of a distinct realm of high art. These artists tried to make their audiences see ordinary objects in a refreshing new way, thereby breaking down the conventions that formerly defined what was worthy of artistic representation. Probably the best-known pop artist, and a leader in the movement, was Andy Warhol, whose images of a Campbell’s soup can and of the actress Marilyn Monroe explicitly eroded the boundaries between the art world and mass culture. Warhol also cultivated his status as a celebrity. He worked in film as a director and producer to break down the boundaries between traditional and opular art. Unlike the abstract expressionists, whose conceptual works were often difficult to understand, Andy Warhol’s pictures, and his own face, were instantly recognizable. Conceptual art, as it came to be known in the 1960s, like its predecessors, sought to break free of traditional artistic associations. In conceptual art, as practiced by Sol LeWitt and Joseph Kosuth, concept takes precedent over actual object, by stimulating thought rather than following an art tradition based on conventional standards of beauty and artisanship. Modern artists changed the meaning of traditional visual arts and brought a new imaginative dimension to ordinary experience. Art was no longer viewed as separate and distinct, housed in museums as part of a historical inheritance, but as a continuous creative process. This emphasis on constant change, as well as on the ordinary and mundane, reflected a distinctly American democratizing perspective. Viewing art in this way removed the emphasis from technique and polished performance, and many modern artworks and experiences became more about expressing ideas than about perfecting finished products. Photography. Photography is probably the most democratic modern art form because it can be, and is, practiced by most Americans. Since 1888, when George Eastman developed the Kodak camera that allowed anyone to take pictures, photography has struggled to be recognized as a fine art form. In the early part of the 20th century, photographer, editor, and artistic impresario Alfred Stieglitz established 291, a gallery in New York City, with fellow photographer Edward Steichen, to showcase the works of photographers and painters. They also published a magazine called Camera Work to increase awareness about photographic art. In the United States, photographic art had to compete with the widely available commercial photography in news and fashion magazines. By the 1950s the tradition of photojournalism, which presented news stories primarily with photographs, had produced many outstanding works. In 1955 Steichen, who was director of photography at the Museum of Modern Art in New York, called attention to this work in an exhibition called The Family of Man. Throughout the 20th century, most professional photographers earned their living as portraitists or photojournalists, not as artists. One of the most important exceptions was Ansel Adams, who took majestic photographs of the Western American landscape. Adams used his art to stimulate social awareness and to support the conservation cause of the Sierra Club. He helped found the photography department at the Museum of Modern Art in 1940, and six years later helped establish the photography department at the California School of Fine Arts in San Francisco (now the San Francisco Art Institute). He also held annual photography workshops at Yosemite National Park from 1955 to 1981 and wrote a series of influential books on photographic technique. Adams’s elegant landscape photography was only one small stream in a growing current of interest in photography as an art form. Early in the 20th century, teacher-turned-photographer Lewis Hine established a documentary tradition in photography by capturing actual people, places, and events. Hine photographed urban conditions and workers, including child laborers. Along with their artistic value, the photographs often implicitly called for social reform. In the 1930s and 1940s, photographers joined with other depression-era artists supported by the federal government to create a photographic record of rural America. Walker Evans, Dorothea Lange, and Arthur Rothstein, among others, produced memorable and widely reproduced portraits of rural poverty and American distress during the Great Depression and during the dust storms of the period. In 1959, after touring the United States for two years, Swiss-born photographer Robert Frank published The Americans, one of the landmarks of documentary photography. His photographs of everyday life in America introduced viewers to a depressing, and often depressed, America that existed in the midst of prosperity and world power. Photographers continued to search for new photographic viewpoints. This search was perhaps most disturbingly embodied in the work of Diane Arbus. Her photos of mental patients and her surreal depictions of Americans altered the viewer’s relationship to the photograph. Arbus emphasized artistic alienation and forced viewers to stare at images that often made them uncomfortable, thus changing the meaning of the ordinary reality that photographs are meant to capture. American photography continues to flourish. The many variants of art photography and socially conscious documentary photography are widely available in galleries, books, and magazines. A host of other visual arts thrive, although they are far less connected to traditional fine arts than photography. Decorative arts include, but are not limited to, art glass, furniture, jewelry, pottery, metalwork, and quilts. Often exhibited in craft galleries and studios, these decorative arts rely on ideals of beauty in shape and color as well as an appreciation of well-executed crafts. Some of these forms are also developed commercially. The decorative arts provide a wide range of opportunity for creative expression and have become a means for Americans to actively participate in art and to purchase art for their homes that is more affordable than works produced by many contemporary fine artists. . Performing arts As in other cultural spheres, the performing arts in the United States in the 20th century increasingly blended traditional and popular art forms. The classical performing arts—music, opera, dance, and theater—were not a widespread feature of American culture in the first half of the 20th century. These arts were generally imported from or strongly influenced by Europe and were mainly appreciated by the wealthy and well educated. Traditional art usually referred to classical forms in ballet and opera, orchestral or chamber music, and serious drama. The distinctions between traditional music and popular music were firmly drawn in most areas. During the 20th century, the American performing arts began to incorporate wider groups of people. The African American community produced great musicians who became widely known around the country. Jazz and blues singers such as Bessie Smith, Louis Armstrong, Duke Ellington, and Billie Holiday spread their sounds to black and white audiences. In the 1930s and 1940s, the swing music of Benny Goodman, Tommy Dorsey, and Glenn Miller adapted jazz to make a unique American music that was popular around the country. The American performing arts also blended Latin American influences beginning in the 20th century. Between 1900 and 1940, Latin American dances, such as the tango from Argentina and the rumba from Cuba, were introduced into the United States. In the 1940s a fusion of Latin and jazz elements was stimulated first by the Afro-Cuban mambo and later on by the Brazilian bossa nova. Throughout the 20th century, dynamic classical institutions in the United States attracted international talent. Noted Russian-born choreographer George Balanchine established the short-lived American Ballet Company in the 1930s; later he founded the company that in the 1940s would become the New York City Ballet. The American Ballet Theatre, also established during the 1940s, brought in non-American dancers as well. By the 1970s this company had attracted Soviet defector Mikhail Baryshnikov, an internationally acclaimed dancer who served as the company’s artistic director during the 1980s. In classical music, influential Russian composer Igor Stravinsky, who composed symphonies using innovative musical styles, moved to the United States in 1939. German-born pianist, composer, and conductor Andre Previn, who started out as a jazz pianist in the 1940s, went on to conduct a number of distinguished American symphony orchestras. Another Soviet, cellist Mstislav Rostropovich, became conductor of the National Symphony Orchestra in Washington, D. C. , in 1977. Some of the most innovative artists in the first half of the 20th century successfully incorporated new forms into classical traditions. Composers George Gershwin and Aaron Copland, and dancer Isadora Duncan were notable examples. Gershwin combined jazz and spiritual music with classical in popular works such as Rhapsody in Blue (1924) and the opera Porgy and Bess (1935). Copland developed a unique style that was influenced by jazz and American folk music. Early in the century, Duncan redefined dance along more expressive and free-form lines. Some artists in music and dance, such as composer John Cage and dancer and choreographer Merce Cunningham, were even more experimental. During the 1930s Cage worked with electronically produced sounds and sounds made with everyday objects such as pots and pans. He even invented a new kind of piano. During the late 1930s, avant-garde choreographer Cunningham began to collaborate with Cage on a number of projects. Perhaps the greatest, and certainly the most popular, American innovation was the Broadway musical, which also became a movie staple. Beginning in the 1920s, the Broadway musical combined music, dance, and dramatic performance in ways that surpassed the older vaudeville shows and musical revues but without being as complex as European grand opera. By the 1960s, this American musical tradition was well established and had produced extraordinary works by important musicians and lyricists such as George and Ira Gershwin, Irving Berlin, Cole Porter, Richard Rodgers, Lorenz Hart, Jerome Kern, and Oscar Hammerstein II. These productions required an immense effort to coordinate music, drama, and dance. Because of this, the musical became the incubator of an American modern dance tradition that produced some of America’s greatest choreographers, among them Jerome Robbins, Gene Kelly, and Bob Fosse. In the 1940s and 1950s the American musical tradition was so dynamic that it attracted outstanding classically trained musicians such as Leonard Bernstein. Bernstein composed the music for West Side Story, an updated version of Romeo and Juliet set in New York that became an instant classic in 1957. The following year, Bernstein became the first American-born conductor to lead a major American orchestra, the New York Philharmonic. He was an international sensation who traveled the world as an ambassador of the American style of conducting. He brought the art of classical music to the public, especially through his â€Å"Young People’s Concerts,† television shows that were seen around the world. Bernstein used the many facets of the musical tradition as a force for change in the music world and as a way of bringing attention to American innovation. In many ways, Bernstein embodied a transformation of American music that began in the 1960s. The changes that took place during the 1960s and 1970s resulted from a significant increase in funding for the arts and their increased availability to larger audiences. New York City, the American center for art performances, experienced an artistic explosion in the 1960s and 1970s. Experimental off-Broadway theaters opened, new ballet companies were established that often emphasized modern forms or blended modern with classical (Martha Graham was an especially important influence), and an experimental music scene developed that included composers such as Philip Glass and performance groups such as the Guarneri String Quartet. Dramatic innovation also continued to expand with the works of playwrights such as Edward Albee, Tony Kushner, and David Mamet. As the variety of performances expanded, so did the serious crossover between traditional and popular music forms. Throughout the 1960s and 1970s, an expanded repertoire of traditional arts was being conveyed to new audiences. Popular music and jazz could be heard in formal settings such as Carnegie Hall, which had once been restricted to classical music, while the Brooklyn Academy of Music became a venue for experimental music, exotic and ethnic dance presentations, and traditional productions of grand opera. Innovative producer Joseph Papp had been staging Shakespeare in Central Park since the 1950s. Boston conductor Arthur Fiedler was playing a mixed repertoire of classical and popular favorites to large audiences, often outdoors, with the Boston Pops Orchestra. By the mid-1970s the United States had several world-class symphony orchestras, including those in Chicago; New York; Cleveland, Ohio; and Philadelphia, Pennsylvania. Even grand opera was affected. Once a specialized taste that often required extensive knowledge, opera in the United States increased in popularity as the roster of respected institutions grew to include companies in Seattle, Washington; Houston, Texas; and Santa Fe, New Mexico. American composers such as John Adams and Philip Glass began composing modern operas in a new minimalist style during the 1970s and 1980s. The crossover in tastes also influenced the Broadway musical, probably America’s most durable music form. Starting in the 1960s, rock music became an ingredient in musical productions such as Hair (1967). By the 1990s, it had become an even stronger presence in musicals such as Bring in Da Noise, Bring in Da Funk (1996), which used African American music and dance traditions, and Rent (1996) a modern, rock version of the classic opera La Boheme. This updating of the musical opened the theater to new ethnic audiences who had not previously attended Broadway shows, as well as to young audiences who had been raised on rock music. Performances of all kinds have become more available across the country. This is due to both the sheer increase in the number of performance groups as well as to advances in transportation. In the last quarter of the 20th century, the number of major American symphonies doubled, the number of resident theaters increased fourfold, and the number of dance companies increased tenfold. At the same time, planes made it easier for artists to travel. Artists and companies regularly tour, and they expand the audiences for individual artists such as performance artist Laurie Anderson and opera singer Jessye Norman, for musical groups such as the Juilliard Quartet, and for dance troupes such as the Alvin Ailey American Dance Theater. Full-scale theater productions and musicals first presented on Broadway now reach cities across the country. The United States, once a provincial outpost with a limited European tradition in performance, has become a flourishing center for the performing arts. How to cite Vbnm, Essay examples

Reviews Essay Example For Students

Reviews Essay In the 1830’s, when the study of mediaeval architecture was just beginning, the Romanesque style was described as offering â€Å"all of the characteristics of Roman architecture, in an advanced state of degeneracy.†1 Within the last few years a Cistercian monastery — Le Thoronet — equally Romanesque in all of its characteristics has been hailed as the â€Å"architecture of truth.†2 Yet, in spite of this enthusiastic reversal in taste, the interested student or amateur could find no compendium in the English language to assist him in his studies or to satisfy his curiosity about Romanesque building until Kenneth Conant’s Carolingian and Romanesque ArchUecture, 800-1200, appeared in the Pelican series in 19.59. Within a few months of its appearance, Professor Conant’s volume was awarded the Alice David Hitchcock Medal by the Society of Architectural Historians â€Å"for the most distinguished work of scholarship in the history of archit ecture published by an American scholar for the year 1959.† The citation reads: In this work of brilliant scholarship, adorned with many of his lucid restorations, the author presents the complex picture of Early Medieval architecture. His balanced judgment and vast erudition have produced Ð ° of major importance, giving clarity and order to this often obscure phase in the development of Western Architecture. The reader shares with delight the author’s enthusiasm for his subject and follows with ad miration the exciting spatial adventures of these four centuries of expanding spiritual fervor. Years of devoted study and an unrivalled acquaintance with the monuments themselves give a cachet of irreproachable authority to this work of scholarship. Kenneth John Conant, professor of architecture, emeritus, Harvard University, needs no introduction to the readers of Speculum, or indeed, to any student of mediaeval civilization. In these pages he has reviewed most of the books on mediaeval architecture that have appeared in the past two decades; but, of course, it is also in Spfxjulum that he reported on his magnificent excavations and reconstructions of the Abbey of Clunv. Cluny may not have been his first love,for he wrote his doctoral dissertation on Santiago de Compostela, published as a   monograph in 1926. The following year, though, Cluny claimed his attention and this hold has not as yet been relinquished. During these more than thirty years, his eye and pencil, and those of his students, have also roamed widely over the problems of early Christian and early mediaeval architecture, with particular delight in the lost or greatly altered monuments that seem to mark the achieve ments of those complex times. His enquiring mind has included problems in American archaeology and in the development of modern architecture; indeed there arc few aspects in the history of architecture that he has not investigated or lectured upon. But perhaps more significant than anything else in his training and career was his early experience in the practice of architecture. He always has approached each monument as a specific architectural entity and has tried to understand the way in which each building solved its own particular problem. The number of styles and the degree of their variety that must be considered in a survey of western European architecture between 800 and 1200 A.D. presents a formidable problem in and of itself. Although the title of Mr Conant’s volume is Carolingian and Romanesque Architecture, the chapter headings prove that he considers the entire period essentially as Romanesque, or as preparatory for it. Chapter 2, Part One, for instance, is called â€Å"The Carolingian Romanesque.† There is nothing very unusual about such a treatment. Arcisse de Caumont pro posed essentially the same approach in the nineteenth century,* and as recently as 1950 Pierre Lavcdan, in his concise survey of the history of art, treats Caro lingian art in his chapter entitled â€Å"L’Art Roman.†4 I do not wish to argue the point, as there are certainly two sides to the question, but my experience as a teacher would indicate that the truly confusing sequence of dynasties and artistic styles i n the different countries of western Europe during this period can best be made intelligible to a student by identifying their historical environment and the distinguishing characteristics of their different artistic styles, rather than by grouping them together under one rubric, such as Romanesque. Be that as it may, Mr Conant’s primary interest in this volume is with Romanesque archi tecture. The text is divided into seven parts. Part One, â€Å"The Pre-Romanesque and Proto-Romanesque Styles,† begins with a brief discussion of the backgrounds, both institutional and architectural, of mediaeval building and in three following chapters treats the architecture of western Europe from the late eighth through the tenth centuries. Native Son: Reviews EssayWe even have proof of this in regard to Cluny III as can be seen in a twelfth-century miniature showing Gunzo, the architect of Cluny, dreaming about the plan of his church, which is being laid out by means of heavy ropes.6 In fact, it is amazing that sucli seemingly crude methods could have produced such harmonious results, but we must remember that the builders of the twelfth century, whether Romanesque or Early Gothic, were masons, not architects in our sense of the word. And as masons they had an instinct for stone construction unparalleled at any other moment in history. It is also in relation to Cluny III that the term â€Å"half-gothic† first appears (p. 125). In discussing the work on the great church carried forward under Abbot Peter the Venerable, Mr Conant first says that it is â€Å"interesting as showing early premonitions of the Gothic style† (p. 122) — a perfectly reasonable phrase, as is the author’s admission tha t it is difficult to decide precisely what role Cluny played in the creation of Gothic. The invention, though, of the term half- gothic† is not, in my opinion, a very happy one; and its use elsewhere in the text tends to obscure the issue rather than clarify it. For many years historians have stopped using such terms as â€Å"transitional style,† which once referred to the Early Gothic of the twelfth century, because styles are always in the process of transi tion. In the same degree one style may contain elements of another one, but there are no â€Å"half-styles† since there are always dominating characteristics which identify whether a building, or work of art, belongs to one style or another. In Mr Conant’s text, the use of â€Å"half-gothic† seems uncomplimentary to Romanes que, as though the intrinsic qualities of Romanesque architecture were less significant than those of Gothic. I don’t believe that he would admit to such a proposition. Perhaps my reaction is a personal one. In the light of Mr Conant’s interest in modular and proportional systems, it is surprising to find no mention of Cistercian proportions in the chapter on   â€Å"The Cistercians and Their Architecture.† Otto von Simson discusses these proportions in some detail in his The Gothic Cathedral,7 which Mr Conant refers to in his long footnote on the proportions of Cluny 1 (note 24, p. 116). but fails to mention in regard to Cistercian building. Similar proportions are mentioned by Francois Bucher in his Notre-Dame de Bonmont,8 which also provides a careful study of early Cistercian building in Switzerland and is a valuable addition to the bibliography of Cistercian architecture. Parts Four, Five, Six, and Seven treat the â€Å"Mature Romanesque† as it ap peared throughout western Europe, in the Holy Land, and in Scandinavia. No area of Romanesque building is overlooked, but these different areas do not al ways receive equal, or proportionate, treatment. This again is inevitable in a sur vey of this type, where the author’s predilections and direct experience must necessarily be reflected. The discussion of Norman and Anglo-Norman architec ture is very properly delayed until the last chapter, so that the contributions of these regions to the development of Early Gothic are recognized. The fact that Geoffrey Webb’s book, Architecture in Britain: The Middle Ages, had already ap peared in the same series unquestionably curtailed the discussion of English Romanesque. This is unfortunate in a general survey, for among all the variations of Romanesque style, these northern buildings certainly present some of the most challenging and inventive structural forms, as well as an almost sculptural treat ment of the forms themselves. At the beginning of the volume there are twelve extremely useful maps, and following the bibliography, just before the plates of excellent photographs, are fifteen restoration studies from the almost ma gical pen and pencil of the author. Two additional restoration studies in the form of retouched photographs (St- Etienne, Nevers, and the interior of Autun cathedral) are included among the plates. These are so convincing that it is regrettable that notes of some sort were not appended to provide the scholar and student with the bases for the reconstructions. Carolingian and Romanesque Architecture should be on every shelf of mediaeval handbooks. The descriptive text is presented through the eyes of an architect and enthusiastic sholar. It is stimulating, because the student or reader is not told exactly what the Romanesque style was. He is given all of the ingredients and invited to formulate his own definition.

Light Waves Essays - Electromagnetic Spectrum,

Light Waves In this universe there are many thing that we cannot explain. Among these many things is light. Light, as far as we know, come in different wavelengths and the size of the wavelength determine what type of light it is. The middle wavelength lights are what gives us the seven basic colors of red, orange, yellow, green, blue, indigo and violet. Beside these visible lights there are the lights that cannot be seen by the human eye. These invisible lights can be grouped into two other groups the long waves and short waves. The first group of waves is the longer wavelength of light including infrared and radio waves. Radio waves, the longest wavelengths, alternate and can be volatile. Arthur C. Clarke said in the essay "The Light of Common Day" that since radio waves fluctuate so much no animal has ever been able to sense them. He goes on to say that if you had an eye big enough to see radio waves your eyes would be millions of times larger than a normal eye. The next longest wave is the infrared light waves. Infrared light is used nowadays to see in the night. Special goggles are designed to pick up infrared light making it possible to see at night. The next group of light waves are the shorter waves of ultraviolet and x-rays. Ultraviolet light, sometimes referred to as UV, is right next to violet and is just beyond sight. UV light is what causes sunburns and can be very painful. In Arthur C. Clarks essay it states that even though UV light is not visible the retina of the human eye reacts powerfully to it. He compare the human eye to a camera and says that a good camera need may types of lenses made out of different types of glass to take a good picture. The human eye has only one lens and cannot possible see UV light. The last type of light is the x-ray. The x-ray is the smallest wave and is used in the medical field greatly to take pictures through flesh of bones. Even though x-rays are very useful they can be very dangerous. They have been know to disrupt radio waves and can poison a human body to the point of death. In summary, the invisible lights can be broken down into large wavelength and short wavelength groups. The large wavelength group consists of radio waves and infrared light. Radio waves are sometimes volatile and infrared light is use to see at night among other things. The other set of invisible light, the short wavelength, include ultraviolet light and x-rays. Ultraviolet light is not visible but affects the retina in the human eye. X-rays are helpful in hospitals but are lethal in large quantities.

Science Fair Reflection Paper Essays

Science Fair Reflection Paper Essays Science Fair Reflection Paper Essay Science Fair Reflection Paper Essay Cramming was the only the word that entered in my mind the night before the Science Fair in BAN Clara Elementary School. It was a stressful night yet everybody is doing their tasks for the success of the said event. I was assigned in doing the sashes for the Mr.. And Ms. Science Fair. We, the Program and Events Committee, successfully made it and everybody else. I worried because I will have a sleepless night before the Science Fair. But the next day, my energy didnt go down. It was the day of the Science Fair, October 28 2013. I didnt care about sleep and al I wanted was Just to get this event successful. There were many children in the school and every one of them was so happy to see their Dates and Kayaks. They were so energetic and competitive that I forget the words sleepless and tired. The mentors were also competitive that it also made you want to cheer those little kids. The event was surely full of smiles and excitement. A long day but we were ahead of our time schedule. I was so happy that it will end earlier than what we had scheduled. The most awaited event, Mr.. And Ms. Science 2013, was the main event for the Science Fair. Teams chose their representatives and I didnt expect that those kids would be so competitive and confident to participate in the pageant. Their teammates were shouting their team color to cheer their representatives. Winners were announced after the pageant and we finished the programs, activities and games. Overall, the BAN Clara Science Fair 2013 was a successful event. We surely had learned something in this event and hopefully, the kids also had earned more knowledge about the subject Science and enjoyed the event even though it was a tiring one. Kudos to all students

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The unconventional and powerful women of uncle tom's cabin - Research Paper Example The behaviors that are described are used specifically to create a different understanding of the women in the book and to provide a different sense of insight to the women of the time period and the roles which were carried out with the responses to slavery. The main ideologies which are seen in â€Å"Uncle Tom’s Cabin† are based on showing the conventional women as a main identity juxtaposed against those that don’t have the same ideals. The concept of the conventional woman is based on those who are submissive in society and which have a demeanor that is below men and is known for beauty. The unconventional women reject this ideal and move against this to create an outlook that is tough, rigid and which doesn’t conform to the submission that is a part of the social acceptance of gender. A point that shows this is when Marie becomes angry with her cousin. â€Å" ‘Delicacy! Said Marie, with a scornful laugh – ‘a fine word for such as s he! I’ll teach her, with all her airs, that she’s no better than the raggedest black wench that walks the streets! She’ll take no more airs with me!’† (Stowe, 366). This is an important line in the story as it shows the difference between the women. The identity of one is based on beauty, delicacy and the ‘lady-like airs.’ However, Stowe sides with the Marie who is interested in making the woman into a ‘wench’ and to teach her a lesson about the realities of life. The identity of gender leads from the conventional to one who rebels against this because of the values that are learned with gender. The unconventional ways in which Stowe focuses on the women in the book leads to one of the main controversies, specifically because of the time frame in which this was written in. The sentimental value doesn’t come from the lady like airs, but rather the toughness of the women. The value which is created among male scholars is one which would be associated with the lack of gender identity among the women. However, for women, there is a sense of identity, feminine power and value to the women which creates a type of sentiment and understanding to those that are in this condition. The representation of the women is then able to speak to an audience that moves beyond male scholars and instead speaks to the women who have the same conflicts with the belief that they are inferior because of their gender (Tompkins, 123). The concept of speaking to women, creating sentimental value and going against the convention all work together with several examples through â€Å"Uncle Tom’s Cabin.† Stowe is able to show how the idea of being unconventional is the only thing which allows the women to overcome their condition that is noted throughout the book. It also gives a sense of acceptance to those that don’t stay in the normal identity and which are able to create their own power by remaining ou tside of this. For instance, when Miss Ophelia and Marie are speaking, there is reference to Marie’s past life and her children. Marie states â€Å"Well, of course, I couldn’t bring them. They were little dirty things – I couldn’t have them about; and, besides, they took up too much of her time; but I believe that Mammy has always kept up a sort of sulkiness about this† (Stowe, 192). Marie then refers to her children as selfish and her need to take care of herself. The unconvention

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Who Are the Spellbinders Identifying Personal Attributes of Charismatic Leaders - Assignment Example ll need much more; they must put in more effort and have a better understanding of the organizational behavior, which, in the long run, increases the company’s performance. The thing that inspired me about the article is the fact that the author refers charismatic leaders to spellbinders, meaning that such leaders have a magnetic personality and vibrant speaking and communication skills, which inspire the people following them to attain greater levels of success and better performance. This is a powerful article that researches more about leadership, and especially so charismatic leaders. Jung and Sosik (2006), suggest that although numerous researches have been done about leadership, not much has been done to understand fully the difference between a regular leader and a charismatic one. The research revealed that charismatic leaders are more respected. This is because they possess a kind of drive that is not found in just any leader. Such a leader is outstanding, and their performance outdoes that of many other leaders. This is true even in an organizational setting, whereby a company that enjoys the leadership of a charismatic leader attains its goals and succeeds in their endeavors. The main conclusions of this research were as follows; a comparison was made between managers who have high against those who have lower ratings of charisma in leadership. The outcome was outstanding. The results showed that the popular thought that charismatic leaders tend to work harder are self-motivated, and self-monitors are true. Jung and Sosik (2006) concluded that managers who keenly participate in impression management and had more motivation about self-actualization was regarded as a charismatic leader. On the other hand, the two groups showed a common interest in their attitude towards change. It was surprising to note that even leaders who are not termed as charismatic were seen as agents of change, because it is an attribute that has been widely associated with

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Steve Jobs - Term Paper Example This paper would unfold the secret of his business success on the grounds of leadership tactics, management strategies, and business outlook. Steven Paul (Steve Jobs) was born in February 24, 1955 in San Francisco. After his schooling he started working with his friend Steve Wozniak. It was in 1976 Jobs co-founded Apple which soon became the leading firm in the computer technology world. In addition to Apple, he also co-founded Pixar Animation Studios which was later in 2006 merged with Walt Disney Company. Jobs still continues to be a member of Disney’s Board of Directors. Although Jobs had resigned from Apple due to some managerial problems with the board of directors, later in 1997 he rejoined the Apple Computer Inc, as its CEO. His contribution to the business world brought him admiration and awards like National Technology Medal (1985), Jefferson Award for Public Service (1987), and Entrepreneur of the Decade by Inc.magazine (1989) (all about Steve Jobs). Jobs’ major achievements include the products like ‘Apple II’ and ‘Macintosh’-the personal computer models of high commercial value. Other innovations like iPod, iMac, iPhone and App Store also caught the attention of the business world (www.apple.com). Steve Jobs initiated computer revolution and introduced special effects in entertainment industries. For instance, the new product ‘icon’ was highly cherished for its special features like mavericks, oddballs, and iconoclasts. The iPhone combines video iPod, camera, e-mail and text messenger, Web browser, alarm clock, and daily organizer. The aesthetic appeal of the product was of his high concern because he believed that beauty is an important factor that motivates consumers to buy a particular product. What made him a successful business entrepreneur is his outstanding vision and tactical leadership. If critics are to relied, his aggressive and demanding nature was a barrier to employee relation. However, Jobs’ innovative and

Non Cooperative Target Recognition Information Technology Essay

Non Cooperative Target Recognition Information Technology Essay One of the most important aspects of any combat situation is target identification or recognition. In aerial combat, the problem is compounded because of large ranges and similar looking fighter aircraft. Unless a threat is ascertained, counter offensive action cannot be initiated. The problem of target identification in the present air combat scenario has been further complicated due to the large range of the new generation Beyond Visual Range (BVR) missiles  [1]  . While in the yesteryears, procedural control and systems like Identify Friend or Foe (IFF) were in place, they did not guarantee positive identification, since they were not stand alone in nature  [2]  . Therefore there was need to develop a stand alone system capable of identifying airborne threats. 2. Thereafter Non Cooperative Target Recognition (NCTR) techniques were developed, which did not depend on any direct participation from the target for identification purposes. With the emergence of this technology, a big hope was created that this technique would be resolve all the identification issues. The NCTR technology started gaining momentum in the mid eighties and is yet to prove its capability, almost 25 years on  [3]  . Despite technological advances in computers, NCTR is yet to see the light of the day. Though many modern day Airborne Interception (AI) radars feature NCTR, it is still not being used as the primary means of target identification. NCTR at present is being used in conjunction with IFF and other procedural methods primarily due to its reduced reliability. 3. Incorporation of NCTR technology in the older AI radars may involve change of the radar itself. Considering this and the fact that NCTR technology has not fully matured, is NCTR really the most economically viable solution for airborne target identification at present? Or is there a better system available for this purpose? Methodology 4. Statement of Problem. Modern day air combat environment is dense with both friendly as well as hostile aircraft. Identification is a serious problem and this has been further compounded by significantly large ranges of new generation air to air missiles. Erstwhile methods of target identification like IFF have failed in many situations, leading to fratricides. Would employment Non Cooperative Target Recognition techniques alone resolve this issue? 5. Hypothesis. NCTR as a technology is very demanding on the computer hardware as well as software. So at present NCTR may not be the best solution for problems related to aircraft identification in a dense air combat environment. It is possible to get inputs from all available sensors like AI radars, AWACS, aerostats etc and integrate them to form an intelligent composite picture and identify friends from foes. However NCTR as a concept is still very lucrative. 6. Justification of Study. The requirement and importance of target identification is fairly obvious and history will bear testimony to the fact that most of the fratricides have been due to incorrect identification. Earlier systems have failed primarily because the onus of identification was with the target. Inability to prove himself for whatever reason, resulted in a friendly target being declared hostile. While NCTR as a concept seemed to be a good solution, the technological implementation of the concept has still not emerged fail proof. Also, integration of various other existing sensors in a networked environment to form an intelligent composite picture seems to be a more viable solution. 7. Scope. The scope of this paper is to examine as to whether NCTR is really the path ahead, as far as target identification goes. The paper will look into the complexities associated with database required for airborne target identification (3 dimensional space, multiple aircraft configurations etc.) and also the technical limitations associated with implementation of NCTR. The paper would also examine the feasibility of implementing other techniques of identification. The scope would be limited to logical analysis based on available information on the subject and would not involve any scientific experiment or mathematical computations. 8. Methods of data collection. NCTR as a subject has gained momentum only in the past few years and hence has very few publications giving basic insight. Most of the data has been collected on the internet including soft copies of the books and validated thesis by others. The sources are mentioned in the bibliography at the end of the paper. 9. Organisation of the Dissertation. It is proposed to study the subject in the following manner:- (a) Chapter I Introduction and Methodology. In this chapter the subject is introduced. This chapter also defines the statement of problem, the justification for the research and the methodology involved. (b) Chapter II Need for Airborne Target Identification systems. This chapter brings out the requirement and complexities involved in airborne target identification. (c) Chapter III History of NCTR. This chapter gives a brief insight into the history of NCTR (d) Chapter IV How exactly NCTR Works. To appreciate the complexity involved in the airborne identification process, it is important to understand how exactly NCTR functions. This chapter brings out the complexities involved in the working of NCTR. (e) Chapter V Various Types of NCTR Techniques. This chapter brings out the types of NCTR techniques available for use. Though the chapter is technical in nature, it is important to assimilate the various techniques in order to understand the complexity and short comings of the system. (f) Chapter VI Database Generation. The efficiency of entire process involved in NCTR depends on an accurate and exhaustive database. This chapter brings out the methods available and the limitations in generating adequate database. Again this chapter like the previous chapter is slightly technical in nature despite best efforts of keeping it as simple as possible. (g) Chapter VII Technical Limitations of the System. While so far the paper dealt with the software aspects, this chapter would bring out the technical limitations of the hardware required by the radar for functioning of NCTR. (h) Chapter VIII Alternatives to NCTR. This chapter looks at the alternatives to NCTR for target identification. (j) Chapter IX Conclusion. This chapter concludes the topic. CHAPTER II NEED FOR AIRBORNE TARGET IDENTIFICATION SYSTEMS If you know the enemy and know yourself, you need not fear the results of a hundred battles. SUN TZU Introduction 1. In any hostile situation it is important to identify the adversary. Without knowing who the enemy is, how can one fight? Same is true for aerial combat, only with added degree of difficulty. While in the earlier years, aircraft identification was mostly restricted to visual identification, with improvement in technology this was no longer possible. The increasing weapon ranges post World War II made it difficult to visually identify aircraft in air during combat. 2. And also, any given airspace may contain friendly, neutral as well as hostile aircraft. How can one fire at an aircraft without ascertaining its nature / intent. Therefore aircraft identification forms a vital part prior to weapon launch. Tragic Incidents. 3. History is full of tragic incident of misidentification in air. There are numerous examples of neutrals having been shot from the sky. There also many cases of fratricides even in the recent conflicts. Some of them have been enumerated below  [4]  :- (a) On 5 October 2001, a Russian Sibir Tu-154 Airliner flying from Israel to Russia was thought to have been shot down by a missile fired by Ukrainian troops in a military exercise. (b) In April 1994, 02 USAF F-15 aircraft under positive control, accidently shot down their own Army Black Hawk Helicopters in Northern Iraq  [5]  . Visual Identification of Aircraft 4. World War Era. In both the first and second world war, aircraft recognition did not pose any major problem. In this era, the kill solution was attained by use of guns and hence the weapon ranges were much closer as compared to the distances at which the targets were discernable. The aircraft were slow moving and it was possible to spot and identify the type of aircraft before commencing offensive action. The combat was largely within the so called Visual Bubble of the pilot/s. As can be seen from Fig 2.1, the aircraft can be visually recognized by identifying the distinct shape, colour and characteristic visual features of the aircraft. Due training was imparted for this. In fact, in United Kingdom, The Royal Observer Corps (ROC) was formed, which had civilian personnel specially trained for identifying aircraft  [6]  . Fig 2.1 : Aircraft of World War Ihttp://www.military-aircraft.org.uk/ww1-fighter-planes/nieuport-17.jpgRoyal Aircraft Factory SE5A World War One Aircraft 5. Post World War II. However post World War II, there was a rapid improvement in the fighters and weapon technology. With the advent of close combat air to air missiles and increase in weapon ranges, the hostile aircraft had to be identified by at least 2-3 km to initiate evasive action. Also the newer jets were similar looking in terms of shape and size. In the Fig 2.2, photos of F-15 and MiG-29 aircraft are placed side by side for comparison. While F-15 is an American fighter, MiG-29 is from erstwhile Russia. One can easily appreciate the similarity of features which may result in one being mistaken for the other. If this is the case at close ranges (20 30m), it would be reasonable to assume that visual identification would be almost impossible at ranges of 2 km and beyond. Fig 2.2 : Visual Comparison of F-15 and MiG-29 Fightershttp://www.atfx.org/photos/f15a.jpghttp://www.aerospaceweb.org/aircraft/fighter/mig29/mig29_12.jpg 6. Post World War II, there also has been a significant increase in the speed of fighters engaged in aerial combat. This fact together with earlier mentioned aspects makes visual identification a passà ©. The use of radars did give some respite to the aerial fighters. However the weapon solution was still based on visual identification. With the advent of BVRs, the need for alternate means of identification gained importance. Without this, the full capability of BVR cannot be exploited  [7]  . 7. To tackle this problem of target identification, some techniques like the IFF (Identify Friend or Foe) have been developed so far. IFF systems are based on challenge response system. The system consists of a transponder fitted on the aircraft which replies in the form of suitable codes to any other IFF system. If the codes match, the aircraft is declared friendly. However should the code be incorrect or in case of no response, the aircraft is declared hostile. It should be kept in mind that response would not be possible in case of battle damage, loss of encryption keys, wrong encryption keys, or equipment failure. Therefore the major drawback of this system was that it was imperative on the part of the friendly aircraft to prove that he is friendly. In the event of faulty transponder, there are chances of fratricide. 8. Therefore there is a need to have a stand alone system capable of identifying and recognizing aircraft to take timely responsive action and also to prevent fratricide / shooting down of neutrals. CHAPTER III HISTORY OF NCTR Know thy self, know thy enemy. A thousand battles, a thousand victories. SUN TZU 1. Need for a Stand Alone System. As can be seen from the last chapter, the IFF systems had a major drawback, that of requiring participation from the other aircraft. Inability to participate in the challenge response loop by other aircraft due to whatever reason was construed as Hostile by the system. This has resulted in many fratricides in the past. A number of such fratricides due to faulty IFF resulted in the need for a stand alone system. Some more cases of disasters due to faulty IFF are enumerated below:- (a) 1980. An Italian DC-9 passenger plane was shot down with a missile near Sicily. The missile was aimed by mistake because of incorrect IFF and discrimination of the type of plane. 81 passengers died.  [8]   (b) 1988. In the Persian Gulf, an Iranian Airbus was shot down by an SM-2 standard missile. The aircraft was erroneously recognized as an F-14 fighter aircraft. 298 people died.  [9]   (c) 2003. A glaring example of fratricide due to faulty IFF is that of two Royal Air Force Tornados returning after a mission in Iraq , which were shot down by US Patriot missiles on 22 Mar 03, in which both the crew were killed instantly. The investigating board attributed one of the causes as faulty IFF probably broken down due to power failure  [10]  . 2. These kind of mishaps led to the requirement of having a system which could identify aircraft without the active involvement of the unidentified aircraft. The concept of NCTR dates back from the mid seventies. A program started by the USAF code named Musketeer, introduced the idea of NCTR for the first time. In this program, the aircraft radar was used to count the fan blades in the engine  [11]  . This technology was later named as Jet Engine Modulation which would explained in detail in the subsequent chapter. The radar signature was unique to each engine. Since most aircraft had different engines, this technique was exploited for identifying the type of aircraft. 3. Though the concept was introduced in the mid seventies, the computational technology then was not adequate. The radar per se only gathers data and the extraction of useful information has to be done by the radar computers. Hence NCTR technology had to wait till mid eighties for the computer technology to catch up.  [12]  Thereafter the USAF had incorporated NCTR modes in the An/APG 63 radar of F-15 C aircraft. During the Gulf war in 1990- 91, use of this technique was made in conjunction with Airborne Warning And Control System (AWACS) for identifying hostile aircraft  [13]  . 4. Post Gulf war some progress was made in Automatic Target Recognition (ATR) systems. These systems did not restrict themselves to aircraft radars and were mostly ground based systems using millimetric wave radars  [14]  . The ranges of these radars were significantly lesser than airborne interception radars. While these radars were completely different in terms of technology and operating ranges, the basic concepts were similar. However the computations involved in aerial target recognition was much higher than ground targets. Though many experiments were conducted on ATR systems, the progress in NCTR was not at the same pace. 5. Post 1985, NCTR was tried and fitted on the USAF F-14, F-16 and F-18 aircraft. In addition, NCTR was also fitted on selected foreign F-15s (Israeli), British Tornados and French Mirage 2000-5s  [15]  . Today, in 2010, the technology has still not fully matured and still cannot be used in isolation for aerial target identification. CHAPTER IV PRINCIPLE OF OPERATION AND COMPONENTS OF NCTR Principle of Operation 1. Now before proceeding further, it would be prudent to understand how NCTR principles work. NCTR fundamentally relies on the returns from the target aircraft. Hence no active participation (as in IFF) is required from the target aircraft. Non Cooperative Target Recognition like any other identification process would in simple terms consist of first sensing the target. Then the relevant features of the target are extricated and compared with a database. Thus any NCTR system should essentially contain a Sensor, a Feature Extractor and a Classifier. 2. The principle of operation of NCTR is very similar to Optical Character Recognition (OCR) as in computers. The data from the target is collected by a suitable sensor and relevant data extracted. This is compared to the data existing in the library and then classified based on the results of the comparison. And for the success of this technique, a huge library of various aircraft profiles is required as database for comparison. The steps involved in identifying the target aircraft has been depicted in Fig 4.1. The flow chart of target recognition shows that the Recognition Algorithm takes two inputs namely measured target signature and signatures stored in the library and gives target identity as the output. Recognition Algorithms have been briefly explained subsequently. Fig 4.1 : Flowchart of Target Recognition SENSOR 3. Choice of Sensor. Choice of sensor is a very important part of this identification process. Without proper or adequate returns from the target, it would be nearly impossible to accurately classify the aircraft. For NCTR per se, a number of sensors are available Optical, Infra red, laser, acoustic and radar. However the optical, IR and laser sensors are prone to adverse weather conditions like moisture, dust etc. Also the detection ranges of these sensors are significantly lesser as compared to air to air weapon ranges especially in a BVR environment. Radar as a sensor has significant advantages as compared to the other sensors for the following reasons  [16]  :- (a) Aircraft are generally constructed by radar reflective material (even those with carbon composite have metal parts that reflect radar). (b) Radar can be used by day or night and is not affected by haze, fog, snow and rain. (c) Radar ranges are much higher than other sensors due to reduced atmospheric propagation attenuation.. (d) Radar has been one of the most extensively used sensors for aerial surveillance and the technology to generate, receive and process radar signals has been continuously refined for nearly 100 years. Hence radar is the optimum choice of sensor for NCTR on fighter aircraft. Moreover radars are already in place in all the modern generation fighters. Hence there would be no requirement to add a separate sub system on the aircraft. 4. Sensor Requirements. The radar capability required for the NCTR is specific. It is misnomer that any radar can be made NCTR capable. Suitable radar software is not the only thing that required for NCTR process. It is important that the radar design is appropriate to the type of measurement that has to be performed and to provide the type of target signature required. In order to obtain signatures of high integrity, the waveform must be carefully designed and the radar must support the transmission and reception of the signal without distortion  [17]  . The radar must be designed to minimize the effects of multiple reflections and clutter. The radar must also possess sufficient energy so that the returns from the target contain adequate data, required for the recognition process. Therefore it may not be possible to upgrade the existing radars with NCTR capability. Should it be possible, it may entail change of major components, which may not be the most economical solution for preventing fratricides. FEATURE EXTRACTOR 5. Function. The returns from the radar are simply electromagnetic pulses. It is of no use unless, relevant data is extracted from them. This is done by the Feature Extractor. Feature extraction is a process which happens inside the radar computer by means of suitable algorithms. These algorithms look for a specific attribute and isolate them for comparison. The algorithm for feature extraction would depend on the type of NCTR technique being employed for target recognition. Types of NCTR techniques are explained in detail in the next chapter. 6. Constraints. Feature extraction is a highly complex problem due to highly dynamic nature of fighter aircraft  [18]  . The radar returns from the aircraft are highly aspect dependent. More the aspect, more and stronger the radar returns, hence better feature extraction Aspect angle in simple terms is a measure of how much of the target aircraft is visible. When viewed from front / rear minimum area is visible and this is Zero aspect. When viewed from broad side, maximum area of the aircraft is visible. Now the aspect angles in 3D space are both in terms of elevation as well as azimuth. Due to highly aspect dependent nature of the scattered signature, the process of feature extraction becomes even more difficult. Also due to movement of the target, the radar signatures get distorted and this poses problems not only in feature extraction but also classification. These aspects are discussed in detail in Chapter 5. 7. After the radar has transmitted the pulses, detected and processed the return from the target of interest, the target signature is now ready for the recognition process. In order to perform correct target recognition, a lot of information needs to be known about the target. These information are contained in the form of a library in the radar computer. The details of database and database generation are discussed in detail in Chapter 6. CLASSIFIER 8. Classifier. The classifier in an NCTR system compares the extracted features of the target signature with the already existing library of aircraft signatures. The comparison is made with the help of recognition algorithms  [19]  . Recognition algorithms are mathematical techniques or formulae that compare the signatures which have been measured with the mathematical models of aircraft existing in the radar library. The algorithms are designed to analyse and assess how close a match a particular signature is to reference signature contained in the library. With the help of these algorithms, the classifier now assigns the most appropriate and closest identity to the target. Shown in the fig 4.2 is a target signature being compared with the three reference signatures. On close analysis though the target signature does not perfectly match any of the reference signatures, it is closest to Target C. Therefore the classifier would it assign the measured signature as Target C. Fig 4.2 : Target Signature Comparison with Reference Signatures 9. Target signatures have to be measured, modelled and analysed, to enable the attributes used for recognition to be identified. The techniques for reliably extracting these attributes from the target have to be determined. Libraries of target data have to be assembled, ordered, managed and updated as new targets emerge and more target signature data becomes available. The development of reliable recognition algorithms is clearly critical for developing a high-performance target recognition capability. 10. While a computer can easily identify various objects based on the size, shape, colour etcetera, it would still lack the ability to identify objects logically as the human brain does. Till the neural and genetic algorithms are not fully developed, it would be difficult to optimize NCTR for aerial identification.