Elements of DesignDuring the process of envisioning and design.docx
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Elements of Design During the process of envisioning and designing a film, the director, production designer, and art director (in collaboration with the cinematographer) are concerned with several major spatial and temporal elements. These design elements punctuate and underscore the movement of figures within the frame, including the following: setting, lighting, costuming, makeup, and hairstyles. Choose a scene from movieclips.com. In a three to five page paper, (excluding the cover and reference pages) analyze the mise-en-scène. Respond to the following prompts with at least one paragraph per bulleted topic: Identify the names of the artists involved in the film’s production: the director, the production designer, and the art director. Describe in separate paragraphs each artist’s role in the overall design process. Conduct additional research if necessary, citing your book, film, and other external sources correctly in APA format. Explain how the artists utilize lighting in the scene. How does the lighting affect our emotional understanding of certain characters? What sort of mood does the lighting evoke? How does lighting impact the overall story the filmmaker is attempting to tell? Describe the setting, including the time period, location, and culture in which the film takes place. Explain what costuming can tell us about a character. In what ways can costuming be used to reflect elements of the film's plot? Explain how hairstyle and makeup can help tell the story. What might hairstyle and makeup reveal about the characters? Discuss your opinion regarding the mise-en-scène. Do the elements appear to work together in a harmonious way? Does the scene seem discordant? Do you think the design elements are congruent with the filmmaker’s vision for the scene? .
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TitleABC123 Version X1How Films CommunicateHUM150 .docx
Title
ABC/123 Version X
1
How Films Communicate
HUM/150 Version 9
1How Films CommunicateInstructions
Complete and submit Part I in your first week of class. In Week Two, complete Parts II & III after viewing a film of your choice from the Film List located under your Week One materials. Submit your completed worksheet in Week Two.
Part I: Beginning to Analyze Film
To compete Part I, choose a movie you have viewed in the past (this does not have to be from the Film List ). Review the following example in the table and then complete your information by inserting the title of your movie and completing the entries for time and place, costume, and set design, writing in complete sentences. For your final entry, describe the atmosphere created by the combination of film elements discussed in Ch. 1 of Film and how they contributed to your liking or disliking of the movie. Submit Part I in Week One.
Movie
Time and Place
Costume
Set Design
Describe the atmosphere created by the combination of film elements and how they contributed to your liking or disliking of the movie.
Example Movie
Alien, 1979
Example Entry
The movie is set in the far-off future. The movie takes place in space on board a spaceship and some action occurs on the surface of a planet.
Example Entry
The characters often appear in grubby, casual clothing and what appear to be worn-out uniforms. Also, they appear in space suits when they journey to the planet.
Example Entry
The sets looks very high-tech and run-down at the same time. In some areas there are very streamlined and modern-looking set pieces, and in other areas pipes or tubing can be seen running along the walls.
Example Entry
The overall atmosphere is gritty and realistic creating the sense that this is a lived-in world. The atmosphere of the planet they visit is creepy because the shapes of the set seems alive. The characters are all acting realistically, especially the character of Lambert who is terrified. The characters fit into this world well, looking sweaty and with no visible make-up. The elements combined contributed to my enjoyment by making the action feel like it was really happening. Also, the alien design was nightmarish.
<Title of your movie viewed in the past and the year it was released>
Part II: The Technical Language of Film
Select a film from the Film Listand view itbefore completing Parts II & III. Complete the following entries in the space provided by answering each question as it pertains to the movie you selected from Film List. Each answer must be at least 50 words in length and written in complete sentences. Submit Parts I, II, & III in Week Two.
<Insert title of the film Films Communicate Film List>
Question
Your Response
Identify aspects of cinematography in your selected film. Discuss them in terms of how they affected your viewing experience; in other words, did the art of cinematography add value to your experience? If so, how? If not, why not?
Identify aspects of sound in y ...
FORMAL ELEMENTS of the CINEMAPRIMARY COMPONENTS.docx
FORMAL ELEMENTS
of the
CINEMA
PRIMARY COMPONENTS
Camera
Composition
Mise-en-Scene
Editing
Sound
camera
MOTION
stationary
movement: camera remains in place: tilt or pan
movement: camera moves from one place to another: track, dolly, or crane
ANGLE
high vs low
DISTANCE
close up, medium, long
composition
“The composition of a scene through the film image is what distinguishes
film from drama.”
single image = shot
series of shots = scene (unity of time + place)
series of scenes = sequence
series of sequences = film
composition
photographic properties of a shot (image)
tone: range and texture of color (including b/w)
film speed: slow motion, fast motion
perspective: spatial relations established between objects and figures
a. focus: deep, shallow, rack
b. camera position - position (POV) from which something is seen:
objective/subjective, psychological, cultural
mise-en-scene
literally: what is put before the camera (i.e. everything within the frame)
all properties of the cinematic image that exist independent of camera position and movement, as well as editing
INCLUDES: lighting, costumes, setting and sets, acting styles, arrangement of objects and figures
editing
the process by which two different shots are linked
different ways to join shots: cut, fade in/fade out, dissolve (wipe, iris in/out)
pace/rhythm: length of shots (TEMPORAL) in relation to other shots
for example, long takes, quick cuts
editing
continuity (or invisible) editing: Classical Hollywood narrative
=> establishing shot, shot/reverse shot, establishing shot
2. obtrusive editing:
=> jarring temporal and spatial shifts: disrupts sense of time and space
sound
ALIGNMENT WITH IMAGE
synchronous: sound and image match
direct: sound recorded when image is shot
dubbed: dialogue, sounds, noises, dialogue added in postproduction
asynchronous: sound and image do not match
RELATION TO NARRATIVE
diegetic: source of sound is within the world of the film
nondiegetic: source of sound is outside world of the film
sound
continuity: unified atmosphere
montage: disjunctions and unexpected relations
ambient: background noises, sounds, dialogue around main action
overlapping dialogue
voice off: voice of character off screen (out of frame)
voice over: voice not heard or seen by characters
narrative cuing: motif associated with a characters or action
Sex and the Cinema Dr. Carolyn Rebecca Chalker
Spring 2018 Dr. Beth Carol Roberts
LONG ESSAY I: Critical Analysis of a Film
Core Texts [select one]:
Blow Up (1966, Michelangelo, Antonioni)
Teorema (1968, Pier Paolo Pasolini)
Born in Flames (1983, Lizzie Borden)
She Must Be Seeing Things (Sheila McLaughlin)
In the Realm of the Senses (1976, Nagisa Oshima)
Crash (1996, David Cronenberg)
For this critical essay, you are to analyze ONE of the core texts. In order to do so, you will need
to view the film you select ...
A-Level Film Blade Runner booklet
Thanks for taking a look at my resource. This resource is a 69 page, 24,000+ word guide to the A-Level Film studies film BLADE RUNNER.
This guide is designed so that it can be printed out and students simply work straight onto it and therefore works brilliantly as a workbook for individual lessons, a whole half-term, for homework, revision, distance learning or for taking the material and turning into other formats such as creating your own PowerPoints.
There is so much in this guide that it’s almost impossible to list, but some key aspects include context, a detailed analysis of the film, examinations of the Production History of the film, including the adaptation process, a detailed exploration of Ridley Scott, sci-fi, auteur cinema, American New Wave cinema, a thorough exploration of ideology, details on the aesthetics of the Cyber Punk movement, plus analytical work and tasks , work on exam questions and much, much more.
This will save you not hours of work, but WEEKS worth of work and preparation and I guarantee will be worth the download. Your download includes both an editable Word version AND a high-quality PDF, ready for printing or sharing immediately.
Studying Silent Cinema Keaton booklet_compressed_watermark-3.pdf
Thanks for taking a look at my resource. This resource is a 53 page, 18,000 word guide to the A-Level Film Studies section on Silent Cinema and Buster Keaton as part of the Component 2 aspect of the course. This guide is designed so that it can be printed out and students simply work straight onto it and therefore works brilliantly as a workbook for individual lessons, a whole half-term, for homework, revision, distance learning or for taking the material and turning into other formats such as creating your own PowerPoints. There is so much in this guide that it’s almost impossible to list, but some key aspects include a variety of contextual information and tasks, from work on American silent cinema, the life of Keaton, a look at Soviet montage theory, German expressionism, a detailed analysis of the 4 short films Cops, One Week, The High Sign and The Scarecrow, plus explorations of critical debates and an introduction to expressionism, work on exam questions and much, much more. This will save you not hours of work, but WEEKS worth of work and preparation and I guarantee will be worth the download. Your download includes both an editable Word version AND a high quality PDF, ready for printing or sharing immediately.
Recommended
TitleABC123 Version X1How Films CommunicateHUM150 .docx
Title
ABC/123 Version X
1
How Films Communicate
HUM/150 Version 9
1How Films CommunicateInstructions
Complete and submit Part I in your first week of class. In Week Two, complete Parts II & III after viewing a film of your choice from the Film List located under your Week One materials. Submit your completed worksheet in Week Two.
Part I: Beginning to Analyze Film
To compete Part I, choose a movie you have viewed in the past (this does not have to be from the Film List ). Review the following example in the table and then complete your information by inserting the title of your movie and completing the entries for time and place, costume, and set design, writing in complete sentences. For your final entry, describe the atmosphere created by the combination of film elements discussed in Ch. 1 of Film and how they contributed to your liking or disliking of the movie. Submit Part I in Week One.
Movie
Time and Place
Costume
Set Design
Describe the atmosphere created by the combination of film elements and how they contributed to your liking or disliking of the movie.
Example Movie
Alien, 1979
Example Entry
The movie is set in the far-off future. The movie takes place in space on board a spaceship and some action occurs on the surface of a planet.
Example Entry
The characters often appear in grubby, casual clothing and what appear to be worn-out uniforms. Also, they appear in space suits when they journey to the planet.
Example Entry
The sets looks very high-tech and run-down at the same time. In some areas there are very streamlined and modern-looking set pieces, and in other areas pipes or tubing can be seen running along the walls.
Example Entry
The overall atmosphere is gritty and realistic creating the sense that this is a lived-in world. The atmosphere of the planet they visit is creepy because the shapes of the set seems alive. The characters are all acting realistically, especially the character of Lambert who is terrified. The characters fit into this world well, looking sweaty and with no visible make-up. The elements combined contributed to my enjoyment by making the action feel like it was really happening. Also, the alien design was nightmarish.
<Title of your movie viewed in the past and the year it was released>
Part II: The Technical Language of Film
Select a film from the Film Listand view itbefore completing Parts II & III. Complete the following entries in the space provided by answering each question as it pertains to the movie you selected from Film List. Each answer must be at least 50 words in length and written in complete sentences. Submit Parts I, II, & III in Week Two.
<Insert title of the film Films Communicate Film List>
Question
Your Response
Identify aspects of cinematography in your selected film. Discuss them in terms of how they affected your viewing experience; in other words, did the art of cinematography add value to your experience? If so, how? If not, why not?
Identify aspects of sound in y ...
FORMAL ELEMENTS of the CINEMAPRIMARY COMPONENTS.docx
FORMAL ELEMENTS
of the
CINEMA
PRIMARY COMPONENTS
Camera
Composition
Mise-en-Scene
Editing
Sound
camera
MOTION
stationary
movement: camera remains in place: tilt or pan
movement: camera moves from one place to another: track, dolly, or crane
ANGLE
high vs low
DISTANCE
close up, medium, long
composition
“The composition of a scene through the film image is what distinguishes
film from drama.”
single image = shot
series of shots = scene (unity of time + place)
series of scenes = sequence
series of sequences = film
composition
photographic properties of a shot (image)
tone: range and texture of color (including b/w)
film speed: slow motion, fast motion
perspective: spatial relations established between objects and figures
a. focus: deep, shallow, rack
b. camera position - position (POV) from which something is seen:
objective/subjective, psychological, cultural
mise-en-scene
literally: what is put before the camera (i.e. everything within the frame)
all properties of the cinematic image that exist independent of camera position and movement, as well as editing
INCLUDES: lighting, costumes, setting and sets, acting styles, arrangement of objects and figures
editing
the process by which two different shots are linked
different ways to join shots: cut, fade in/fade out, dissolve (wipe, iris in/out)
pace/rhythm: length of shots (TEMPORAL) in relation to other shots
for example, long takes, quick cuts
editing
continuity (or invisible) editing: Classical Hollywood narrative
=> establishing shot, shot/reverse shot, establishing shot
2. obtrusive editing:
=> jarring temporal and spatial shifts: disrupts sense of time and space
sound
ALIGNMENT WITH IMAGE
synchronous: sound and image match
direct: sound recorded when image is shot
dubbed: dialogue, sounds, noises, dialogue added in postproduction
asynchronous: sound and image do not match
RELATION TO NARRATIVE
diegetic: source of sound is within the world of the film
nondiegetic: source of sound is outside world of the film
sound
continuity: unified atmosphere
montage: disjunctions and unexpected relations
ambient: background noises, sounds, dialogue around main action
overlapping dialogue
voice off: voice of character off screen (out of frame)
voice over: voice not heard or seen by characters
narrative cuing: motif associated with a characters or action
Sex and the Cinema Dr. Carolyn Rebecca Chalker
Spring 2018 Dr. Beth Carol Roberts
LONG ESSAY I: Critical Analysis of a Film
Core Texts [select one]:
Blow Up (1966, Michelangelo, Antonioni)
Teorema (1968, Pier Paolo Pasolini)
Born in Flames (1983, Lizzie Borden)
She Must Be Seeing Things (Sheila McLaughlin)
In the Realm of the Senses (1976, Nagisa Oshima)
Crash (1996, David Cronenberg)
For this critical essay, you are to analyze ONE of the core texts. In order to do so, you will need
to view the film you select ...
A-Level Film Blade Runner booklet
Thanks for taking a look at my resource. This resource is a 69 page, 24,000+ word guide to the A-Level Film studies film BLADE RUNNER.
This guide is designed so that it can be printed out and students simply work straight onto it and therefore works brilliantly as a workbook for individual lessons, a whole half-term, for homework, revision, distance learning or for taking the material and turning into other formats such as creating your own PowerPoints.
There is so much in this guide that it’s almost impossible to list, but some key aspects include context, a detailed analysis of the film, examinations of the Production History of the film, including the adaptation process, a detailed exploration of Ridley Scott, sci-fi, auteur cinema, American New Wave cinema, a thorough exploration of ideology, details on the aesthetics of the Cyber Punk movement, plus analytical work and tasks , work on exam questions and much, much more.
This will save you not hours of work, but WEEKS worth of work and preparation and I guarantee will be worth the download. Your download includes both an editable Word version AND a high-quality PDF, ready for printing or sharing immediately.
Studying Silent Cinema Keaton booklet_compressed_watermark-3.pdf
Thanks for taking a look at my resource. This resource is a 53 page, 18,000 word guide to the A-Level Film Studies section on Silent Cinema and Buster Keaton as part of the Component 2 aspect of the course. This guide is designed so that it can be printed out and students simply work straight onto it and therefore works brilliantly as a workbook for individual lessons, a whole half-term, for homework, revision, distance learning or for taking the material and turning into other formats such as creating your own PowerPoints. There is so much in this guide that it’s almost impossible to list, but some key aspects include a variety of contextual information and tasks, from work on American silent cinema, the life of Keaton, a look at Soviet montage theory, German expressionism, a detailed analysis of the 4 short films Cops, One Week, The High Sign and The Scarecrow, plus explorations of critical debates and an introduction to expressionism, work on exam questions and much, much more. This will save you not hours of work, but WEEKS worth of work and preparation and I guarantee will be worth the download. Your download includes both an editable Word version AND a high quality PDF, ready for printing or sharing immediately.
On adaptation adaptations can do more than just be faithful
On adaptation adaptations can do more than just be faithful
is a term meant to encompass the arrangement and use of a varie.docx
is a term meant to encompass the arrangement and use of a variety of design elements in creating the visual theme of a film. Please look through Chapter 5 (Mise en Scene and Actors) for more information on this term.
It can be easier to grasp the importance of the term mise en scène if we break it down into its component elements. This week, we’ll look at the impact of lighting choices on the creation of meaning in a film.
In any film, the intensity and direction of lighting will influence how an image is perceived by the viewer, and it can establish or enforce particular themes. Using specific examples from your chosen film, construct a blog post in which youIdentify the type of lighting used in the film (traditional three-point, high-key, or low-key) and assess the impact of the lighting used to establish the theme. What are the benefits of the style of lighting used?How did this technique contribute to the theme?How was the lighting technique suited to the genre of the film? For example, documentary films tend to rely on natural light as a way of creating an overall tone of authenticity.Compare how the scene would play if different choices had been made.
You must use at least two outside sources, in any combination of embedded video clips, still photos, or scholarly sources. All sources should be documented in APA style as outlined by the Ashford Writing Center. It is suggested that you approach this blog by focusing your attention on the same film you will write about in this week’s “Genres and Genre Film” assignment.
*Blog 2*
As we have been discussing, the mise en scène of a film is the use of a variety of design elements to create the visual theme. Please look through Chapter 5 (Mise en Scene and Actors) for more information on this term.
Last week, we examined how different lighting styles and choices affected the final impact of a film. This week, we will consider different types of sound at work in film and assess how they contribute to the overall sense of meaning in a film.
There are many types of sound in a film. Some are diegetic (sounds that are represented as coming from within the world of the film); others are non-diegetic (sounds that come from outside the world of the film). Using specific examples from your chosen film, construct a blog post in which youDescribe each of the three basic categories of sound (dialogue, sound effects, and music). Explain how the different categories of sound are being used in your chosen film. Assess the impact of sound in establishing the theme. How does the use of sound inform the mood of the scene, or the film overall? Can you identify specific sounds in your film that allow you to infer a particular genre? Since each category of sound may produce a range of effects, how might you characterize the effects in your film? For example, realistic and expected sound effects may have a different effect on a viewer than ...
After viewing City of Angels, prepare a two-three page refle.docx
After viewing
City of Angels
, prepare a two-three page reflection that discusses the production values and connection to the ideas we discussed in the Purpose and Meaning of Life Catechism exercise. Your reflection should be based on your observation of the production values, narrative content and our discussion and readings.
Identify the core message of the film. Discuss the ways the film does/does not reflect the catechism. Remember many films will do both – be sure to cite specific moments in the film, dialogue, camera angles, acting, production design, etc... and specifics from the catechism readings.
This assignment is designed to help you develop and integrate the ability to write in an articulate, complex, and clear manner. It should also demonstrate your understanding of how the content and message of a film (including symbolism) address Catholic concerns, whether intentionally or not, your ability to articulate film criticism by considering production techniques, history of production, message and content and a fuller appreciation of a film's production values by understanding how production techniques contribute to a film's message through symbolic manipulation of visual elements.
Submission Instructions:
The paper is to be clear and concise and students will lose points for improper grammar, punctuation, and misspelling.
The paper is to be 2-3 pages in length, excluding the title and references pages.
Chicago/Turabian style
.
Describe the relationship of story to plot in your chosen film. Be s.docx
Describe the relationship of story to plot in your chosen film. Be sure to:
Identify the title, writer, director, major actors, and the year.
Summarize the story and plot of your chosen movie.
THE LION KING
Discuss whether your film is presented chronologically or non-linearly. In your discussion, address the following:
How did this aesthetic choice contribute to the general effect on the audience?
How are elements like character development or foreshadowing impacted by the choice of storytelling methods?
If the film had followed a different presentation style, how would the general effect on the audience have been different?
You must use at least
two
outside sources, in any combination of embedded video clips, still photos, or scholarly sources. All sources should be documented in APA style as outlined by the
Ashford Center
.
.
Elementary CurriculaBoth articles highlight the fact that middle.docx
Elementary Curricula
Both articles highlight the fact that middle-class students seem to benefit more from summer reading programs than their lower-SES peers. While we would hope that summer reading programs would have the same positive impact on all students, this information did not totally surprise me. Differences in funding, materials, and ability to recruit enough high-quality teachers for summer programs could be more difficult in lower-socioeconomic areas. In addition, the articles did not dive into other factors in the students’ lives that may be contributing to their performance such as attendance, how well-rested they are, trauma they have experiences that impacts their ability to focus during instruction, and the impact of being taught by a teacher who the students may not know or have a relationship with. Additionally, there could be a mismatch between the instructional practices and the specific needs of the students. Even though summer reading programs are only for a short time, I would challenge teachers to put energy into getting to know the students and building trust with them. This is a key foundation that is needed for learning to take place.
In challenging teachers during summer program and the regular school year to ”break out of the mold” to create better outcomes for students classified with low SES, in addition to building relationships with students, I would encourage them to build connections with their families. This may involve thinking outside the box and leaving their comfort zone. It could entail holding a parent-teacher conference off campus, closer to their home or in their community. It could also include providing resources and instructional videos to parents so they can help support their children at home. There are many parents who want to support their children academically, but they do not know how and may be uncomfortable asking the teacher for assistance. In addition, I would urge teachers to capitalize on the strengths and interests of their students to engage them in learning activities and provide them with opportunities to shine. We do not have to, and should not, be satisfied with the idea that low SES students will automatically not be able to perform. These students are capable of learning and growth just as much as any other student. I think data from test scores that demonstrate a gap between the performance of students classified as economically disadvantaged and not economically disadvantaged has led some people to hold the belief that students classified as low SES will not perform well. I think the way that school “report card” grades are published also perpetuates this belief, as it shows the test scores, but does not provide an explanation of or include any solutions for the many larger societal factors that contribute to those scores including high teacher turn over, lack of resources, child trauma, lack of sleep, lack of nutrition, crime & safety, and education level of parents.
It w.
Elementary Statistics (MATH220)Assignment Statistic.docx
Elementary Statistics (MATH220)
Assignment:
Statistical Project & Presentation
Purpose:
The purpose of this project is to supplement lecture material by having the students to do a case study on collecting, analyzing, and interpreting data.
***The best way to understand something is to experience it for yourself.
Guideline for Analyzing Data and Writing a Report
Below is a general outline of the topics that should be included in your report.
1.
Introduction.
State the topic of your study.
2.
Define Population.
Define the population that you intend for your study to represent.
3.
Define Variable.
Define clearly the variable that you obtained during your data collection; this should include information on how the variable is measured and what possible values this variable has.
4.
Data Collection.
Describe your data collection process, including your data source, your sampling strategy, and what steps you took to avoid bias.
5.
Study Design.
Describe the procedures you followed to analyze your data.
6.
Results: Descriptive Statistics.
Give the relevant descriptive statistics for the sample you collected.
7.
Results: Statistical Analysis.
Describe the results of your statistical analysis.
8.
Findings.
Interpret the results of your analysis in the context of your original research question. Was your hypothesis supported by your statistical analyses? Explain.
9.
Discussion.
What conclusions, if any, do you believe you can draw as a result of your study? If the results were not what you expected, what factors might explain your results? What did you learn from the project about the population you studied? What did you learn about the research variable? What did you learn about the specific statistical test you conducted?
.
Elements of Religious Traditions PaperWritea 700- to 1,050-word .docx
Elements of Religious Traditions Paper
Write
a 700- to 1,050-word paper that does the following:
Describes these basic components of religious traditions and their relationship to the sacred
:
What a religious tradition says—its teachings, texts, doctrine, stories, myths, and others
What a religious tradition does—worship, prayer, pilgrimage, ritual, and so forth
How a religious tradition organizes—leadership, relationships among members, and so forth
Identifies key critical issues in the study of religion.
Includes specific examples from the various religious traditions described in the Week One readings that honor the sacred—such as rituals of the Igbo to mark life events, the vision quest as a common ritual in many Native American societies, or the influence of the shaman as a leader. You may also include examples from your own religious tradition or another religious tradition with which you are familiar.
Format
your paper consistent with APA guidelines
.
Elements of MusicPitch- relative highness or lowness that we .docx
Elements of Music
Pitch- relative highness or lowness that we hear in a sound.
Tone- sound that has a definite pitch.
(For example striking a bat against a ball does not produce a D# but striking a D#
on a piano does)
Dynamics- the degree of loudness or softness in music
pp pianissimo /very soft
p piano /soft
mp mezzo-piano /medium-soft
mf mezzo-forte /medium-loud
f forte /loud
ff fortissimo /very loud
When dynamics are altered in a piece of music, they are termed as follows:
decrescendo/ diminuendo gradually softer
crescendo gradually louder
Timbre/Tone Color- the character or quality of a sound.
dark, bright, mellow, cool, metallic, rich, brilliant, thin, etc.
Rhythm- a) the flow (or pattern) of music through time. b) the particular arrangement of
note lengths in a piece of music.
Syncopation- An accent placed on a beat where it is not normally expected.
Beat- the steady pulse in a piece of music.
Downbeat- the first or stressed beat of a measure.
Meter- the pattern in which beats are organized within a piece of music.
Examples:
3/4= three beats per measure
4/4= four beats per measure
6/8= six beats per measure
*In some musics, meter is not present- this is termed non-metric.
(Ex: Chant, some 20th century genres, world musics).
Melody- a series of single notes that add up to a recognizable whole.
*A melodic line has a shape -it ascends and descends in a series of continuous pitches.
Sequence- a repetition of a pattern at a higher or lower pitch.
Phrase- A short unit of music within a melodic line.
Cadence- The rest at the end of a musical phrase. Think of this as a musical period at the
end of a sentence.
Harmony- A) How chords are constructed and how they follow each other. B) The
relationship of tones when sounded in a group.
Chord- a combination of three or more tones sounded at once.
Consonance- a stable tone combination in a chord
Dissonance- and unstable tone combination in a chord; usually, an expected
and stable resolution will follow.
Tonic- a) the main key of a piece of music. b) the first note of a scale
Key- the central tone or scale in a piece of music.
(example: A major, b minor)
Modulation- a shift from one key to another within the same piece of music.
Texture- layering of musical sounds or instruments within a piece of music.
Monophonic- single, unaccompanied melodic line.
Homophonic- a melody with an accompaniment of chords.
Polyphonic- th.
Elevated Blood Lead Levels in Children AssociatedWith the Fl.docx
Elevated Blood Lead Levels in Children Associated
With the Flint Drinking Water Crisis: A Spatial
Analysis of Risk and Public Health Response
Mona Hanna-Attisha, MD, MPH, Jenny LaChance, MS, Richard Casey Sadler, PhD, and Allison Champney Schnepp, MD
Objectives. We analyzed differences in pediatric elevated blood lead level incidence
before and after Flint, Michigan, introduced a more corrosive water source into an aging
water system without adequate corrosion control.
Methods. We reviewed blood lead levels for children younger than 5 years before
(2013) and after (2015) water source change in Greater Flint, Michigan. We assessed the
percentage of elevated blood lead levels in both time periods, and identified geo-
graphical locations through spatial analysis.
Results. Incidence of elevated blood lead levels increased from 2.4% to 4.9% (P < .05)
after water source change, and neighborhoods with the highest water lead levels ex-
perienced a 6.6% increase. No significant change was seen outside the city. Geospatial
analysis identified disadvantaged neighborhoods as having the greatest elevated blood
lead level increases and informed response prioritization during the now-declared public
health emergency.
Conclusions. The percentage of children with elevated blood lead levels increased
after water source change, particularly in socioeconomically disadvantaged neighbor-
hoods. Water is a growing source of childhood lead exposure because of aging infra-
structure. (Am J Public Health. 2016;106:283–290. doi:10.2105/AJPH.2015.303003)
See also Rosner, p. 200.
In April 2014, the postindustrial city ofFlint, Michigan, under state-appointed
emergency management, changed its water
supply from Detroit-supplied Lake Huron
water to the Flint River as a temporary
measure, awaiting a new pipeline to Lake
Huron in 2016. Intended to save money, the
change in source water severed a half-
century relationship with the Detroit Water
and Sewage Department. Shortly after the
switch to Flint River water, residents voiced
concerns regarding water color, taste, and
odor, and various health complaints in-
cluding skin rashes.1 Bacteria, including
Escherichia coli, were detected in the distri-
bution system, resulting in Safe Drinking
Water Act violations.2 Additional disinfec-
tion to control bacteria spurred formation of
disinfection byproducts including total tri-
halomethanes, resulting in Safe Drinking
Water Act violations for trihalomethane
levels.2
Water from the Detroit Water and
Sewage Department had very low corrosivity
for lead as indicated by low chloride, low
chloride-to-sulfate mass ratio, and presence
of an orthophosphate corrosion inhibitor.3,4
By contrast, Flint River water had high
chloride, high chloride-to-sulfate mass ratio,
and no corrosion inhibitor.5 Switching
from Detroit’s Lake Huron to Flint River
water created a perfect storm for lead leach-
ing into drinking water.6 The aging Flint
water distribution system contains a hig.
Elev ent h EDIT IONREAL ESTATE PRINCIPLESCHARLES F. .docx
Elev ent h EDIT ION
REAL ESTATE
PRINCIPLES
CHARLES F. FLOYD and MARCUS T. ALLEN
00RePrinciples_BOOK.indb 1 11/25/2014 8:03:22 AM
This publication is designed to provide accurate and authoritative information
in regard to the subject matter covered. It is sold with the understanding that the
publisher is not engaged in rendering legal, accounting, or other professional
advice. If legal advice or other expert assistance is required, the services of a
competent professional should be sought.
President: Dr. Andrew Temte
Chief Learning Officer: Dr. Tim Smaby
Executive Director, Real Estate Education: Melissa Kleeman-Moy
Development Editor: Julia Marti
REAL ESTATE PRINCIPLES ELEVENTH EDITION
©2014 Kaplan, Inc.
Published by DF Institute, Inc., d/b/a Dearborn Real Estate Education
332 Front St. S., Suite 501
La Crosse, WI 54601
All rights reserved. The text of this publication, or any part thereof, may not be
reproduced in any manner whatsoever without written permission from the
publisher.
Printed in the United States of America
ISBN: 978-1-4754-2173-6 / 1-4754-2173-7
PPN: 1515-0111
00RePrinciples_BOOK.indb 2 11/25/2014 8:03:22 AM
DEDICATION
This book is dedicated to
R. W. Barber
a man of the land
and
C. O. Floyd
a man of business.
—Charles F. Floyd
This book is dedicated to
Rhonda, Melanie, and Issabella.
—Marcus T. Allen
00RePrinciples_BOOK.indb 3 11/25/2014 8:03:23 AM
00RePrinciples_BOOK.indb 4 11/25/2014 8:03:23 AM
v
c o n t e n t s
p r e f a c e x i i i
r e a l e s tat e t o d ay f e at u r e s x v i i
c h a p t e r 1
Why Study Real Estate? xx
Chapter Preview 1
The Role of Real Estate Studies in Business Education 2
Personal and Business-Related Real Estate Decisions 2
Organization of This Book 3
Special Characteristics of Real Estate 4
The Economic Importance of Real Estate 9
The Real Estate Industry: Career Opportunities 10
Chapter Review 13
Key Terms 14
p a r t o n e
Real Estate Legal Analysis 15
c h a p t e r 2
Property Rights and Legal Descriptions 16
Chapter Preview 17
Real versus Personal Property 18
Fixtures 18
Mineral and Air Rights 20
Water Rights 20
Estates in Land 23
Concurrent Estates 29
00RePrinciples_BOOK.indb 5 11/25/2014 8:03:23 AM
vi Contents
Condominium Ownership 31
Cooperative Ownership 32
Time-Shares 32
Legal Descriptions 32
Chapter Review 43
Key Terms 45
Study Exercises 46
Further Reading 47
c h a p t e r 3
Private Restrictions on Ownership 48
Chapter Preview 49
Covenants, Conditions, and Restrictions 50
Liens 54
Easements 58
A Relatively New Type of Easement 64
Profit a Prendre 64
Encroachments 64
Adverse Possession 66
Chapter Review 67
Key Terms 68
Study Exercises 68
c h a p t e r 4
Public Restrictions on Ownership 70
Chapter Preview 71
The Property Tax 72
Power of Eminent Domain 74
Police Power 75
The Comprehensive General Plan 76
Zoning 76
Chapter Review 94
Key Terms 96
Study Exercises 9.
Elements of the Communication ProcessIn Chapter One, we learne.docx
Elements of the Communication Process
In Chapter One, we learned communication is the process of creating or sharing meaning in informal conversation, group interaction, or public speaking. To understand how the process works, we described the essential elements in the process.
For the following interaction, identify the contexts, participants, channels. message, interference (noise), and feedback.
"Maria and Damien are meandering through the park, talking and drinking bottled water. Damien finishes his bottle, replaces the lid, and tosses the bottle into the bushes at the side of the path. Maria, who has been listening to Damien talk, comes to a stop, puts her hand on her hips, stares at Damien, and says angrily, " I can't believe what you just did! Damien blushes, averts his gaze, and mumbles, "Sorry, I'll get it- I just wasn't thinking." As the tension drains from Maria's face. she gives her head a playful toss, smiles, and says, Well, just see that it doesn't happen again.
1. Contexts
a. Physical
b. Social
c. Historical
d. Psychological
2. Participants
3. Channels
4. Message
5. Interference (Noise)
6. Feedback
.
Elements of Music #1 Handout1. Rhythm the flow of music in te.docx
Elements of Music #1 Handout
1. Rhythm
the flow of music in terms of time
2. Beat
the pulse that recurs regularly in music
3. Meter
the regular pattern of stressed and unstressed beats
4. Tempo
the speed of the beats in a piece of music
5. Polyrhythm
two or more rhythm patterns occurring simultaneously
6. Pitch
the perceived highness or lowness of a musical sound
7. Melody
a series of consecutive pitches that form a cohesive musical entity
8. Counterpoint
two or more independent lines with melodic character occurring at the same time
9. Harmony
the simultaneous sounds of several pitches, usually in accompanying a melody
10. Dynamics
the amount of loudness in music
11. Timbre
tone quality or tone color in music
12. Form
the pattern or plan of a musical work
Framework for Improving
Critical Infrastructure Cybersecurity
Version 1.1
National Institute of Standards and Technology
April 16, 2018
April 16, 2018 Cybersecurity Framework Version 1.1
This publication is available free of charge from: https://doi.org/10.6028/NIST.CSWP.04162018 ii
No t e t o Rea d er s o n t h e U p d a t e
Version 1.1 of this Cybersecurity Framework refines, clarifies, and enhances Version 1.0, which
was issued in February 2014. It incorporates comments received on the two drafts of Version 1.1.
Version 1.1 is intended to be implemented by first-time and current Framework users. Current
users should be able to implement Version 1.1 with minimal or no disruption; compatibility with
Version 1.0 has been an explicit objective.
The following table summarizes the changes made between Version 1.0 and Version 1.1.
Table NTR-1 - Summary of changes between Framework Version 1.0 and Version 1.1.
Update Description of Update
Clarified that terms like
“compliance” can be
confusing and mean
something very different
to various Framework
stakeholders
Added clarity that the Framework has utility as a structure and
language for organizing and expressing compliance with an
organization’s own cybersecurity requirements. However, the
variety of ways in which the Framework can be used by an
organization means that phrases like “compliance with the
Framework” can be confusing.
A new section on self-
assessment
Added Section 4.0 Self-Assessing Cybersecurity Risk with the
Framework to explain how the Framework can be used by
organizations to understand and assess their cybersecurity risk,
including the use of measurements.
Greatly expanded
explanation of using
Framework for Cyber
Supply Chain Risk
Management purposes
An expanded Section 3.3 Communicating Cybersecurity
Requirements with Stakeholders helps users better understand
Cyber Supply Chain Risk Management (SCRM), while a new
Section 3.4 Buying Decisions highlights use of the Framework
in understanding risk associated with commercial off-the-shelf
products and services. Additional Cyber SCRM criteria we.
Elements of Music Report InstrumentsFor the assignment on the el.docx
Elements of Music Report Instruments
For the assignment on the elements of music, students will write a report with a minimum of 300 words.
Students must select one element of music that they consider to be the most important element:
Melody
Rhythm
Harmony
Form
When writing the report, be sure you address the following questions:
Why did you select this element from among all the rest?
Do you think that all kinds of music could exist without your selected element? Elaborate on your view.
Describe a piece of music that highlights the use of your selected element.
I encourage students do research on their element of music in order to get ideas for their reports. All reports must be original works!
Do not quote any source or anybody’s thoughts. Quotes are not permitted in this Instruments Report. I am interested in your own personal thoughts, opinions, and the material you have learned from your research.
.
Elements of GenreAfter watching three of the five .docx
Elements of Genre
After watching three of the five movie clips listed in the
Multimedia
section, above, describe how they fit into a specific genre (or subgenre) as explained in the text. What elements of the film are characteristic of that genre? How does it fulfill the expectations of that genre? How does it play against these expectations?
Your initial post should be at least 150 words in length. Support your claims with examples from required material(s) and/or other scholarly resources, and properly cite any references.
.
Elements of DesignDuring the process of envisioning and designing .docx
Elements of Design
During the process of envisioning and designing a film, the director, production designer, and art director (in collaboration with the cinematographer) are concerned with several major spatial and temporal elements. These design elements punctuate and underscore the movement of figures within the frame, including the following: setting, lighting, costuming, makeup, and hairstyles. Choose a scene from movieclips.com. In a three to five page paper, (excluding the cover and reference pages) analyze the mise-en-scène.
Respond to the following prompts with at least one paragraph per bulleted topic:
Identify the names of the artists involved in the film’s production: the director, the production designer, and the art director. Describe in separate paragraphs each artist’s role in the overall design process. Conduct additional research if necessary, citing your book, film, and other external sources correctly in APA format.
Explain how the artists utilize lighting in the scene. How does the lighting affect our emotional understanding of certain characters? What sort of mood does the lighting evoke? How does lighting impact the overall story the filmmaker is attempting to tell?
Describe the setting, including the time period, location, and culture in which the film takes place.
Explain what costuming can tell us about a character. In what ways can costuming be used to reflect elements of the film's plot?
Explain how hairstyle and makeup can help tell the story. What might hairstyle and makeup reveal about the characters?
Discuss your opinion regarding the mise-en-scène. Do the elements appear to work together in a harmonious way? Does the scene seem discordant? Do you think the design elements are congruent with the filmmaker’s vision for the scene?
.
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is a term meant to encompass the arrangement and use of a varie.docx
is a term meant to encompass the arrangement and use of a variety of design elements in creating the visual theme of a film. Please look through Chapter 5 (Mise en Scene and Actors) for more information on this term.
It can be easier to grasp the importance of the term mise en scène if we break it down into its component elements. This week, we’ll look at the impact of lighting choices on the creation of meaning in a film.
In any film, the intensity and direction of lighting will influence how an image is perceived by the viewer, and it can establish or enforce particular themes. Using specific examples from your chosen film, construct a blog post in which youIdentify the type of lighting used in the film (traditional three-point, high-key, or low-key) and assess the impact of the lighting used to establish the theme. What are the benefits of the style of lighting used?How did this technique contribute to the theme?How was the lighting technique suited to the genre of the film? For example, documentary films tend to rely on natural light as a way of creating an overall tone of authenticity.Compare how the scene would play if different choices had been made.
You must use at least two outside sources, in any combination of embedded video clips, still photos, or scholarly sources. All sources should be documented in APA style as outlined by the Ashford Writing Center. It is suggested that you approach this blog by focusing your attention on the same film you will write about in this week’s “Genres and Genre Film” assignment.
*Blog 2*
As we have been discussing, the mise en scène of a film is the use of a variety of design elements to create the visual theme. Please look through Chapter 5 (Mise en Scene and Actors) for more information on this term.
Last week, we examined how different lighting styles and choices affected the final impact of a film. This week, we will consider different types of sound at work in film and assess how they contribute to the overall sense of meaning in a film.
There are many types of sound in a film. Some are diegetic (sounds that are represented as coming from within the world of the film); others are non-diegetic (sounds that come from outside the world of the film). Using specific examples from your chosen film, construct a blog post in which youDescribe each of the three basic categories of sound (dialogue, sound effects, and music). Explain how the different categories of sound are being used in your chosen film. Assess the impact of sound in establishing the theme. How does the use of sound inform the mood of the scene, or the film overall? Can you identify specific sounds in your film that allow you to infer a particular genre? Since each category of sound may produce a range of effects, how might you characterize the effects in your film? For example, realistic and expected sound effects may have a different effect on a viewer than ...
After viewing City of Angels, prepare a two-three page refle.docx
After viewing
City of Angels
, prepare a two-three page reflection that discusses the production values and connection to the ideas we discussed in the Purpose and Meaning of Life Catechism exercise. Your reflection should be based on your observation of the production values, narrative content and our discussion and readings.
Identify the core message of the film. Discuss the ways the film does/does not reflect the catechism. Remember many films will do both – be sure to cite specific moments in the film, dialogue, camera angles, acting, production design, etc... and specifics from the catechism readings.
This assignment is designed to help you develop and integrate the ability to write in an articulate, complex, and clear manner. It should also demonstrate your understanding of how the content and message of a film (including symbolism) address Catholic concerns, whether intentionally or not, your ability to articulate film criticism by considering production techniques, history of production, message and content and a fuller appreciation of a film's production values by understanding how production techniques contribute to a film's message through symbolic manipulation of visual elements.
Submission Instructions:
The paper is to be clear and concise and students will lose points for improper grammar, punctuation, and misspelling.
The paper is to be 2-3 pages in length, excluding the title and references pages.
Chicago/Turabian style
.
Describe the relationship of story to plot in your chosen film. Be s.docx
Describe the relationship of story to plot in your chosen film. Be sure to:
Identify the title, writer, director, major actors, and the year.
Summarize the story and plot of your chosen movie.
THE LION KING
Discuss whether your film is presented chronologically or non-linearly. In your discussion, address the following:
How did this aesthetic choice contribute to the general effect on the audience?
How are elements like character development or foreshadowing impacted by the choice of storytelling methods?
If the film had followed a different presentation style, how would the general effect on the audience have been different?
You must use at least
two
outside sources, in any combination of embedded video clips, still photos, or scholarly sources. All sources should be documented in APA style as outlined by the
Ashford Center
.
.
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After viewing City of Angels, prepare a two-three page refle.docx
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More from toltonkendal
Elementary CurriculaBoth articles highlight the fact that middle.docx
Elementary Curricula
Both articles highlight the fact that middle-class students seem to benefit more from summer reading programs than their lower-SES peers. While we would hope that summer reading programs would have the same positive impact on all students, this information did not totally surprise me. Differences in funding, materials, and ability to recruit enough high-quality teachers for summer programs could be more difficult in lower-socioeconomic areas. In addition, the articles did not dive into other factors in the students’ lives that may be contributing to their performance such as attendance, how well-rested they are, trauma they have experiences that impacts their ability to focus during instruction, and the impact of being taught by a teacher who the students may not know or have a relationship with. Additionally, there could be a mismatch between the instructional practices and the specific needs of the students. Even though summer reading programs are only for a short time, I would challenge teachers to put energy into getting to know the students and building trust with them. This is a key foundation that is needed for learning to take place.
In challenging teachers during summer program and the regular school year to ”break out of the mold” to create better outcomes for students classified with low SES, in addition to building relationships with students, I would encourage them to build connections with their families. This may involve thinking outside the box and leaving their comfort zone. It could entail holding a parent-teacher conference off campus, closer to their home or in their community. It could also include providing resources and instructional videos to parents so they can help support their children at home. There are many parents who want to support their children academically, but they do not know how and may be uncomfortable asking the teacher for assistance. In addition, I would urge teachers to capitalize on the strengths and interests of their students to engage them in learning activities and provide them with opportunities to shine. We do not have to, and should not, be satisfied with the idea that low SES students will automatically not be able to perform. These students are capable of learning and growth just as much as any other student. I think data from test scores that demonstrate a gap between the performance of students classified as economically disadvantaged and not economically disadvantaged has led some people to hold the belief that students classified as low SES will not perform well. I think the way that school “report card” grades are published also perpetuates this belief, as it shows the test scores, but does not provide an explanation of or include any solutions for the many larger societal factors that contribute to those scores including high teacher turn over, lack of resources, child trauma, lack of sleep, lack of nutrition, crime & safety, and education level of parents.
It w.
Elementary Statistics (MATH220)Assignment Statistic.docx
Elementary Statistics (MATH220)
Assignment:
Statistical Project & Presentation
Purpose:
The purpose of this project is to supplement lecture material by having the students to do a case study on collecting, analyzing, and interpreting data.
***The best way to understand something is to experience it for yourself.
Guideline for Analyzing Data and Writing a Report
Below is a general outline of the topics that should be included in your report.
1.
Introduction.
State the topic of your study.
2.
Define Population.
Define the population that you intend for your study to represent.
3.
Define Variable.
Define clearly the variable that you obtained during your data collection; this should include information on how the variable is measured and what possible values this variable has.
4.
Data Collection.
Describe your data collection process, including your data source, your sampling strategy, and what steps you took to avoid bias.
5.
Study Design.
Describe the procedures you followed to analyze your data.
6.
Results: Descriptive Statistics.
Give the relevant descriptive statistics for the sample you collected.
7.
Results: Statistical Analysis.
Describe the results of your statistical analysis.
8.
Findings.
Interpret the results of your analysis in the context of your original research question. Was your hypothesis supported by your statistical analyses? Explain.
9.
Discussion.
What conclusions, if any, do you believe you can draw as a result of your study? If the results were not what you expected, what factors might explain your results? What did you learn from the project about the population you studied? What did you learn about the research variable? What did you learn about the specific statistical test you conducted?
.
Elements of Religious Traditions PaperWritea 700- to 1,050-word .docx
Elements of Religious Traditions Paper
Write
a 700- to 1,050-word paper that does the following:
Describes these basic components of religious traditions and their relationship to the sacred
:
What a religious tradition says—its teachings, texts, doctrine, stories, myths, and others
What a religious tradition does—worship, prayer, pilgrimage, ritual, and so forth
How a religious tradition organizes—leadership, relationships among members, and so forth
Identifies key critical issues in the study of religion.
Includes specific examples from the various religious traditions described in the Week One readings that honor the sacred—such as rituals of the Igbo to mark life events, the vision quest as a common ritual in many Native American societies, or the influence of the shaman as a leader. You may also include examples from your own religious tradition or another religious tradition with which you are familiar.
Format
your paper consistent with APA guidelines
.
Elements of MusicPitch- relative highness or lowness that we .docx
Elements of Music
Pitch- relative highness or lowness that we hear in a sound.
Tone- sound that has a definite pitch.
(For example striking a bat against a ball does not produce a D# but striking a D#
on a piano does)
Dynamics- the degree of loudness or softness in music
pp pianissimo /very soft
p piano /soft
mp mezzo-piano /medium-soft
mf mezzo-forte /medium-loud
f forte /loud
ff fortissimo /very loud
When dynamics are altered in a piece of music, they are termed as follows:
decrescendo/ diminuendo gradually softer
crescendo gradually louder
Timbre/Tone Color- the character or quality of a sound.
dark, bright, mellow, cool, metallic, rich, brilliant, thin, etc.
Rhythm- a) the flow (or pattern) of music through time. b) the particular arrangement of
note lengths in a piece of music.
Syncopation- An accent placed on a beat where it is not normally expected.
Beat- the steady pulse in a piece of music.
Downbeat- the first or stressed beat of a measure.
Meter- the pattern in which beats are organized within a piece of music.
Examples:
3/4= three beats per measure
4/4= four beats per measure
6/8= six beats per measure
*In some musics, meter is not present- this is termed non-metric.
(Ex: Chant, some 20th century genres, world musics).
Melody- a series of single notes that add up to a recognizable whole.
*A melodic line has a shape -it ascends and descends in a series of continuous pitches.
Sequence- a repetition of a pattern at a higher or lower pitch.
Phrase- A short unit of music within a melodic line.
Cadence- The rest at the end of a musical phrase. Think of this as a musical period at the
end of a sentence.
Harmony- A) How chords are constructed and how they follow each other. B) The
relationship of tones when sounded in a group.
Chord- a combination of three or more tones sounded at once.
Consonance- a stable tone combination in a chord
Dissonance- and unstable tone combination in a chord; usually, an expected
and stable resolution will follow.
Tonic- a) the main key of a piece of music. b) the first note of a scale
Key- the central tone or scale in a piece of music.
(example: A major, b minor)
Modulation- a shift from one key to another within the same piece of music.
Texture- layering of musical sounds or instruments within a piece of music.
Monophonic- single, unaccompanied melodic line.
Homophonic- a melody with an accompaniment of chords.
Polyphonic- th.
Elevated Blood Lead Levels in Children AssociatedWith the Fl.docx
Elevated Blood Lead Levels in Children Associated
With the Flint Drinking Water Crisis: A Spatial
Analysis of Risk and Public Health Response
Mona Hanna-Attisha, MD, MPH, Jenny LaChance, MS, Richard Casey Sadler, PhD, and Allison Champney Schnepp, MD
Objectives. We analyzed differences in pediatric elevated blood lead level incidence
before and after Flint, Michigan, introduced a more corrosive water source into an aging
water system without adequate corrosion control.
Methods. We reviewed blood lead levels for children younger than 5 years before
(2013) and after (2015) water source change in Greater Flint, Michigan. We assessed the
percentage of elevated blood lead levels in both time periods, and identified geo-
graphical locations through spatial analysis.
Results. Incidence of elevated blood lead levels increased from 2.4% to 4.9% (P < .05)
after water source change, and neighborhoods with the highest water lead levels ex-
perienced a 6.6% increase. No significant change was seen outside the city. Geospatial
analysis identified disadvantaged neighborhoods as having the greatest elevated blood
lead level increases and informed response prioritization during the now-declared public
health emergency.
Conclusions. The percentage of children with elevated blood lead levels increased
after water source change, particularly in socioeconomically disadvantaged neighbor-
hoods. Water is a growing source of childhood lead exposure because of aging infra-
structure. (Am J Public Health. 2016;106:283–290. doi:10.2105/AJPH.2015.303003)
See also Rosner, p. 200.
In April 2014, the postindustrial city ofFlint, Michigan, under state-appointed
emergency management, changed its water
supply from Detroit-supplied Lake Huron
water to the Flint River as a temporary
measure, awaiting a new pipeline to Lake
Huron in 2016. Intended to save money, the
change in source water severed a half-
century relationship with the Detroit Water
and Sewage Department. Shortly after the
switch to Flint River water, residents voiced
concerns regarding water color, taste, and
odor, and various health complaints in-
cluding skin rashes.1 Bacteria, including
Escherichia coli, were detected in the distri-
bution system, resulting in Safe Drinking
Water Act violations.2 Additional disinfec-
tion to control bacteria spurred formation of
disinfection byproducts including total tri-
halomethanes, resulting in Safe Drinking
Water Act violations for trihalomethane
levels.2
Water from the Detroit Water and
Sewage Department had very low corrosivity
for lead as indicated by low chloride, low
chloride-to-sulfate mass ratio, and presence
of an orthophosphate corrosion inhibitor.3,4
By contrast, Flint River water had high
chloride, high chloride-to-sulfate mass ratio,
and no corrosion inhibitor.5 Switching
from Detroit’s Lake Huron to Flint River
water created a perfect storm for lead leach-
ing into drinking water.6 The aging Flint
water distribution system contains a hig.
Elev ent h EDIT IONREAL ESTATE PRINCIPLESCHARLES F. .docx
Elev ent h EDIT ION
REAL ESTATE
PRINCIPLES
CHARLES F. FLOYD and MARCUS T. ALLEN
00RePrinciples_BOOK.indb 1 11/25/2014 8:03:22 AM
This publication is designed to provide accurate and authoritative information
in regard to the subject matter covered. It is sold with the understanding that the
publisher is not engaged in rendering legal, accounting, or other professional
advice. If legal advice or other expert assistance is required, the services of a
competent professional should be sought.
President: Dr. Andrew Temte
Chief Learning Officer: Dr. Tim Smaby
Executive Director, Real Estate Education: Melissa Kleeman-Moy
Development Editor: Julia Marti
REAL ESTATE PRINCIPLES ELEVENTH EDITION
©2014 Kaplan, Inc.
Published by DF Institute, Inc., d/b/a Dearborn Real Estate Education
332 Front St. S., Suite 501
La Crosse, WI 54601
All rights reserved. The text of this publication, or any part thereof, may not be
reproduced in any manner whatsoever without written permission from the
publisher.
Printed in the United States of America
ISBN: 978-1-4754-2173-6 / 1-4754-2173-7
PPN: 1515-0111
00RePrinciples_BOOK.indb 2 11/25/2014 8:03:22 AM
DEDICATION
This book is dedicated to
R. W. Barber
a man of the land
and
C. O. Floyd
a man of business.
—Charles F. Floyd
This book is dedicated to
Rhonda, Melanie, and Issabella.
—Marcus T. Allen
00RePrinciples_BOOK.indb 3 11/25/2014 8:03:23 AM
00RePrinciples_BOOK.indb 4 11/25/2014 8:03:23 AM
v
c o n t e n t s
p r e f a c e x i i i
r e a l e s tat e t o d ay f e at u r e s x v i i
c h a p t e r 1
Why Study Real Estate? xx
Chapter Preview 1
The Role of Real Estate Studies in Business Education 2
Personal and Business-Related Real Estate Decisions 2
Organization of This Book 3
Special Characteristics of Real Estate 4
The Economic Importance of Real Estate 9
The Real Estate Industry: Career Opportunities 10
Chapter Review 13
Key Terms 14
p a r t o n e
Real Estate Legal Analysis 15
c h a p t e r 2
Property Rights and Legal Descriptions 16
Chapter Preview 17
Real versus Personal Property 18
Fixtures 18
Mineral and Air Rights 20
Water Rights 20
Estates in Land 23
Concurrent Estates 29
00RePrinciples_BOOK.indb 5 11/25/2014 8:03:23 AM
vi Contents
Condominium Ownership 31
Cooperative Ownership 32
Time-Shares 32
Legal Descriptions 32
Chapter Review 43
Key Terms 45
Study Exercises 46
Further Reading 47
c h a p t e r 3
Private Restrictions on Ownership 48
Chapter Preview 49
Covenants, Conditions, and Restrictions 50
Liens 54
Easements 58
A Relatively New Type of Easement 64
Profit a Prendre 64
Encroachments 64
Adverse Possession 66
Chapter Review 67
Key Terms 68
Study Exercises 68
c h a p t e r 4
Public Restrictions on Ownership 70
Chapter Preview 71
The Property Tax 72
Power of Eminent Domain 74
Police Power 75
The Comprehensive General Plan 76
Zoning 76
Chapter Review 94
Key Terms 96
Study Exercises 9.
Elements of the Communication ProcessIn Chapter One, we learne.docx
Elements of the Communication Process
In Chapter One, we learned communication is the process of creating or sharing meaning in informal conversation, group interaction, or public speaking. To understand how the process works, we described the essential elements in the process.
For the following interaction, identify the contexts, participants, channels. message, interference (noise), and feedback.
"Maria and Damien are meandering through the park, talking and drinking bottled water. Damien finishes his bottle, replaces the lid, and tosses the bottle into the bushes at the side of the path. Maria, who has been listening to Damien talk, comes to a stop, puts her hand on her hips, stares at Damien, and says angrily, " I can't believe what you just did! Damien blushes, averts his gaze, and mumbles, "Sorry, I'll get it- I just wasn't thinking." As the tension drains from Maria's face. she gives her head a playful toss, smiles, and says, Well, just see that it doesn't happen again.
1. Contexts
a. Physical
b. Social
c. Historical
d. Psychological
2. Participants
3. Channels
4. Message
5. Interference (Noise)
6. Feedback
.
Elements of Music #1 Handout1. Rhythm the flow of music in te.docx
Elements of Music #1 Handout
1. Rhythm
the flow of music in terms of time
2. Beat
the pulse that recurs regularly in music
3. Meter
the regular pattern of stressed and unstressed beats
4. Tempo
the speed of the beats in a piece of music
5. Polyrhythm
two or more rhythm patterns occurring simultaneously
6. Pitch
the perceived highness or lowness of a musical sound
7. Melody
a series of consecutive pitches that form a cohesive musical entity
8. Counterpoint
two or more independent lines with melodic character occurring at the same time
9. Harmony
the simultaneous sounds of several pitches, usually in accompanying a melody
10. Dynamics
the amount of loudness in music
11. Timbre
tone quality or tone color in music
12. Form
the pattern or plan of a musical work
Framework for Improving
Critical Infrastructure Cybersecurity
Version 1.1
National Institute of Standards and Technology
April 16, 2018
April 16, 2018 Cybersecurity Framework Version 1.1
This publication is available free of charge from: https://doi.org/10.6028/NIST.CSWP.04162018 ii
No t e t o Rea d er s o n t h e U p d a t e
Version 1.1 of this Cybersecurity Framework refines, clarifies, and enhances Version 1.0, which
was issued in February 2014. It incorporates comments received on the two drafts of Version 1.1.
Version 1.1 is intended to be implemented by first-time and current Framework users. Current
users should be able to implement Version 1.1 with minimal or no disruption; compatibility with
Version 1.0 has been an explicit objective.
The following table summarizes the changes made between Version 1.0 and Version 1.1.
Table NTR-1 - Summary of changes between Framework Version 1.0 and Version 1.1.
Update Description of Update
Clarified that terms like
“compliance” can be
confusing and mean
something very different
to various Framework
stakeholders
Added clarity that the Framework has utility as a structure and
language for organizing and expressing compliance with an
organization’s own cybersecurity requirements. However, the
variety of ways in which the Framework can be used by an
organization means that phrases like “compliance with the
Framework” can be confusing.
A new section on self-
assessment
Added Section 4.0 Self-Assessing Cybersecurity Risk with the
Framework to explain how the Framework can be used by
organizations to understand and assess their cybersecurity risk,
including the use of measurements.
Greatly expanded
explanation of using
Framework for Cyber
Supply Chain Risk
Management purposes
An expanded Section 3.3 Communicating Cybersecurity
Requirements with Stakeholders helps users better understand
Cyber Supply Chain Risk Management (SCRM), while a new
Section 3.4 Buying Decisions highlights use of the Framework
in understanding risk associated with commercial off-the-shelf
products and services. Additional Cyber SCRM criteria we.
Elements of Music Report InstrumentsFor the assignment on the el.docx
Elements of Music Report Instruments
For the assignment on the elements of music, students will write a report with a minimum of 300 words.
Students must select one element of music that they consider to be the most important element:
Melody
Rhythm
Harmony
Form
When writing the report, be sure you address the following questions:
Why did you select this element from among all the rest?
Do you think that all kinds of music could exist without your selected element? Elaborate on your view.
Describe a piece of music that highlights the use of your selected element.
I encourage students do research on their element of music in order to get ideas for their reports. All reports must be original works!
Do not quote any source or anybody’s thoughts. Quotes are not permitted in this Instruments Report. I am interested in your own personal thoughts, opinions, and the material you have learned from your research.
.
Elements of GenreAfter watching three of the five .docx
Elements of Genre
After watching three of the five movie clips listed in the
Multimedia
section, above, describe how they fit into a specific genre (or subgenre) as explained in the text. What elements of the film are characteristic of that genre? How does it fulfill the expectations of that genre? How does it play against these expectations?
Your initial post should be at least 150 words in length. Support your claims with examples from required material(s) and/or other scholarly resources, and properly cite any references.
.
Elements of DesignDuring the process of envisioning and designing .docx
Elements of Design
During the process of envisioning and designing a film, the director, production designer, and art director (in collaboration with the cinematographer) are concerned with several major spatial and temporal elements. These design elements punctuate and underscore the movement of figures within the frame, including the following: setting, lighting, costuming, makeup, and hairstyles. Choose a scene from movieclips.com. In a three to five page paper, (excluding the cover and reference pages) analyze the mise-en-scène.
Respond to the following prompts with at least one paragraph per bulleted topic:
Identify the names of the artists involved in the film’s production: the director, the production designer, and the art director. Describe in separate paragraphs each artist’s role in the overall design process. Conduct additional research if necessary, citing your book, film, and other external sources correctly in APA format.
Explain how the artists utilize lighting in the scene. How does the lighting affect our emotional understanding of certain characters? What sort of mood does the lighting evoke? How does lighting impact the overall story the filmmaker is attempting to tell?
Describe the setting, including the time period, location, and culture in which the film takes place.
Explain what costuming can tell us about a character. In what ways can costuming be used to reflect elements of the film's plot?
Explain how hairstyle and makeup can help tell the story. What might hairstyle and makeup reveal about the characters?
Discuss your opinion regarding the mise-en-scène. Do the elements appear to work together in a harmonious way? Does the scene seem discordant? Do you think the design elements are congruent with the filmmaker’s vision for the scene?
.
Elements of Critical Thinking [WLOs 2, 3, 4] [CLOs 2, 3, 4]P.docx
Elements of Critical Thinking [WLOs: 2, 3, 4] [CLOs: 2, 3, 4]
Prepare:
Prior to beginning work on this discussion forum, in preparation for discussing the importance of critical thinking skills,
Read the articles
Common Misconceptions of Critical Thinking
Combating Fake News in the Digital Age
6 Critical Thinking Skills You Need to Master Now (Links to an external site.)
Teaching and Learning in a Post-Truth world: It’s Time for Schools to Upgrade and Reinvest in Media Literacy Lessons
Critical Thinking and the Challenges of Internet (Links to an external site.)
Watch the videos
Fake News: Part 1 (Links to an external site.)
Critical Thinking
(Links to an external site.)
Review the resources
Critical Thinking Skills (Links to an external site.)
Valuable Intellectual Traits (Links to an external site.)
Critical Thinking Web (Links to an external site.)
Reflect:
Reflect on the characteristics of a critical thinker. Critical thinking gets you involved in a dialogue with the ideas you read from others in this class. To be a critical thinker, you need to be able to summarize, analyze, hypothesize, and evaluate new information that you encounter.
Write:
For this discussion, you will address the following prompts. Keep in mind that the article or video you’ve chosen should not be about critical thinking, but should be about someone making a statement, claim, or argument related to your Final Paper topic. One source should demonstrate good critical thinking skills and the other source should demonstrate the lack or absence of critical thinking skills. Personal examples should not be used.
Explain at least five elements of critical thinking that you found in the reading material.
Search the Internet, media, or the Ashford University Library, and find an example in which good critical thinking skills are being demonstrated by the author or speaker. Summarize the content and explain why you think it demonstrates good critical thinking skills.
Search the Internet, media, or the Ashford University Library, and find an example in which the author or speaker lacks good critical thinking skills. Summarize the content and explain why you think it demonstrates the absence of good, critical thinking skills.
Your initial post should be at least 250 words in length, which should include a thorough response to each prompt. You are required to provide in-text citations of applicable required reading materials and/or any other outside sources you use to support your claims. Provide full reference entries of all sources cited at the end of your response. Please use correct APA format when writing in-text citations (see
In-Text Citation Helper (Links to an external site.)
) and references (see
Formatting Your References List (Links to an external site.)
).
Reflecting on General Education and Career [WLOs: 2, 3, 4] [CLOs: 2, 3, 4]
Prepare:
Prior to beginning work on this discussion forum, read the articles
Teaching Writing S.
Elements of a contact due 16 OctRead the Case Campbell Soup Co. v..docx
Elements of a contact due 16 Oct
Read the Case Campbell Soup Co. v. Wentz in the text. Answer the following questions:
1. What were the terms of the contract between Campbell and the Wentzes?
2. Did the Wentzes perform under the contract?
3. Did the court find specific performance to be an adequate legal remedy in this case?
4. Why did the court refuse to help Campbell in enforcing its legal contract?
5. How could Campbell change its contract in the future so as to avoid the unconsionability problem?
Facts:
Per
a
written
contract
between
Campbell
Soup
Company
(a
New
Jersey
company)
and
the
Wentzes
(carrot
farmers
in
Pennsylvania),
the
Wentzes
would
deliver
to
Campbell
all
the
Chantenay
red
cored
carrots
to
be
grown
on
the
Wentz
farm
during
the
1947
season.
The
contract
price
for
the
carrots
was
$30
per
ton.
The
contract
between
Campbell
Soup
and
all
sellers
of
carrots
was
drafted
by
Campbell
and
it
had
a
provision
that
prohibited
farmers/sellers
from
selling
their
carrots
to
anyone
else,
except
those
carrots
that
were
rejected
by
Campbell.
The
contract
also
had
a
liquidated
damages
provision
of
$50
per
ton
if
the
seller
breached,
but
it
had
no
similar
provision
in
the
event
Campbell
breached.
The
contract
not
only
allowed
Campbell
to
reject
nonconforming
carrots,
but
gave
Campbell
the
right
to
determine
who
could
buy
the
carrots
it
had
rejected.
The
Wentzes
harvested
100
tons
of
carrots,
but
because
the
market
price
at
the
time
of
harvesting
was
$90
per
ton
for
these
rare
carrots,
the
Wentzes
refused
to
deliver
them
to
Campbell
and
sold
62
tons
of
their
carrots
to
a
farmer
who
sold
some
of
those
carrots
to
Campbell.
Campbell
sued
the
Wentzes,
asking
for
the
court's
order
to
stop
further
sale
of
the
contracted
carrots
to
others
and
to
compel
specific
performance
of
the
contract.
The
trial
court
ruled
for
the
Wentzes
and
Campbell
appealed.
Issues:
Is
specific
performance
an
appropriate
legal
remedy
in
this
case
or
is
the
contract
unconscionable?
Discussion:
In
January
1948,
it
was
virtually
impossible
to
obtain
Chantenay
carrots
in
the
open
market.
Campbell
used
Chantenay
carrots
(which
are
easier
to
process
for
soup
making
than
other
carrots)
in
large
quantities
and
furnishes
the
seeds
to
farmers
with
whom
it
contracts.
Campbell
contracted
for
carrots
long
ahead,
and
farmers
entered
into
the
contract
willingly.
If
the
facts
of
this
case
were
this
simple,
specific
performance
should
have
been
granted.
However,
the
problem
is
with
the
contract
itself,
which
was
one-sided.
According
to
the
appellate
court,
the
most
direct
example
of
unconscionability
was
the
provision
that,
under
certain
.
Elements for analyzing mise en sceneIdentify the components of.docx
Elements for analyzing mise en scene
Identify the components of the shot, but explaining the meaning or significance behind those components and connecting the shot to the themes of the film
1. Dominant: Where is the eye attracted first? Why?
2. Lighting key: High key? Low key? High contrast? Some combination of these?
3. Shot and camera proxemics: What type of shot? How far away is the camera from the action?
4. Angle: Is the viewer (through the eye of the camera) looking up or down on the subject? Or is the camera neutral (eye level)?
5. Color values: What is the dominant color? Are there contrasting foils? Is there color symbolism?
6. Lens/filter/stock: How do these distort or comment on the
photographed materials?
7. Subsidiary contrasts: What are the main eye-stops after taking in the dominant?
8. Density: How much visual information is packed into the image? Is the texture stark, moderate, or highly detailed?
9. Composition: How is the two-dimensional space segmented and organized? What is the underlying design?
10. Form: Open or closed? Does the image suggest a window that arbitrarily isolates a fragment of the scene? Or a proscenium arch, in which the visual elements are carefully arranged and held in balance?
11. Framing: Tight or loose? Do characters have little to no room to move, or can they move freely without impediments?
12. Depth: On how many planes is the image composed? Does the background or foreground comment in any way on the midground?
13. Character placement: What part of the framed space do the characters occupy? Center? Top? Bottom? Edges? Why?
14. Staging positions: Which way do the characters look vis-à-vis the camera?
15. Character proxemics: How much space is between the
characters?
What are the 4 distinct formal elements that make up a film's mise en scene?
• staging of the action
• physical setting and decor
• the manner in which these materials are framed
• the manner in which they are photographed
.
Elements in the same row have the same number of () levelsWhi.docx
Elements in the same row have the same number of (*) levels
Which elements in B O U L A N would be in the same family? Which would have the same number of energy levels? Highest mass? Lowest mass?
Which is more reactive? Uranium or Lithium
Will elements B and U lose electrons in a chemical reactor?
Will elements B and U form positive or negative ions?
Thanks so much (:
.
ELEG 421 Control Systems Transient and Steady State .docx
ELEG 421
Control Systems
Transient and Steady State
Response Analyses
Dr. Ashraf A. Zaher
American University of Kuwait
College of Arts and Science
Department of Electrical and Computer Engineering
Layout
2
Objectives
This chapter introduces the analysis of the time response of different
control systems under different scenarios. Only first and second order
systems will be considered in details using analytical and numerical
methods. Extension to higher order systems will be developed. Both
transient and steady state responses will be evaluated. Stability analysis
will be analyzed for different kinds of feedback, while investigating the
effect of both proportional and derivative control actions on the
performance of the closed-loop system. Finally systems types and
steady state errors will be calculated for unity feedback.
Outcomes
By the end of this chapter, students will be able to:
evaluate both transient/steady state responses for control systems,
analyze the stability of closed-loop LTI systems,
investigate the effect of P and I control actions on performance, and
understand dominant dynamics of higher order systems.
Dr. Ashraf Zaher
Introduction
3
Test signals
Transient response
Steady state response
Analytical techniques, and
Numerical (simulation) techniques.
Stability (definition and analysis methods),
Relative stability, and
Effect of P/I control actions on stability and performance.
Summary of the used systems:
First order systems,
Second order systems, and
Higher order systems.
Dr. Ashraf Zaher
Test Signals
4 Dr. Ashraf Zaher
Impulse function:
Used to simulate shock inputs,
Laplace transform: 1.
Step function:
Used to simulate sudden disturbances,
Laplace transform: 1/s.
Ramp function:
Used to simulate gradually changing inputs,
Laplace transform: 1/s2.
Sinusoidal function(s):
Used to test response to a certain frequency,
Laplace transform: s/(s2+ω2) for cos(ωt) and ω/(s2+ω2) for sin(ωt).
White noise function:
Used to simulate random noise,
It is a stochastic signal that is easier to deal with in the time domain.
Total response:
C(s) = R(s)*TF(s) = Ctr(s) + Css(s) → c(t) = ctr(t) + css(t)
Fundamentals
5 Dr. Ashraf Zaher
Definitions:
Zeros (Z) of the TF
Poles (P) of the TF
Transient Response (Natural)
Steady State Response (Forced)
Total Response
Limits:
Initial values
Final values
Systems (?Zs):
First order (one P)
Second order (two Ps)
Higher order!
More:
Stability and relative stability
Steady state errors (unity feedback)
First Order Systems
6 Dr. Ashraf Zaher
TF:
T: time constant
Unit Step Response:
1
1
)(
)(
+
=
TssR
sC
)/1(
11
1
1
1
11
)(
TssTs
T
sTss
sC
+
−=
+
−=
+
=
Ttetc /1)( −−=
632.01)( 1 =−== −eTtc
T
e
Tdt
tdc Tt
t
11)( /
0
== −
=
01)0( 0 =−== etc
11)( =−=∞= −∞etc
First Order Systems.
Element 010 ASSIGNMENT 3000 WORDS (100)Task Individual assign.docx
Element 010 ASSIGNMENT: 3000 WORDS (100%)
Task: Individual assignment (3000 words)
Weighting: 100%
Assessment Case Study:
Greenland Garden Centre
[1]
Jon Smith spread his arms widely as he surveyed his garden centre.
‘Of course the whole market for leisure products and services, especially garden-related products, has been expanding over the last few years. Even so, we have been particularly successful. Partly this is because we are conveniently located, but it is also because we have developed a reputation for excellent service. Customers like coming to us for advice. We have also been successful in attracting some of the ‘personality gardeners’ from television to make special appearances. My main ambition now is to fully develop all of our twelve hectares to make the centre a place people will want to visit in its own right. I envisage the centre developing into almost a mini gardening theme park with special gardens, beautiful grounds and special events.’
Greenland is a large village situated in the Cotswolds, a popular tourist area of the UK. It has an interesting range of shops and restaurants, mainly catering for the tourist trade. About half a mile outside the village is the Greenland Garden Centre. The garden centre is served by a good network of main roads but is inaccessible by public transport.
Growth over the last five years has been dramatic and the garden centre now sells many other goods as well as gardening requisites. It also has a restaurant. It is open seven days a week, only closing on Christmas Day. Its opening hours are Monday– Saturday 9 a.m. to 6 p.m. and Sunday 10 a.m. to 5 p.m. all year round.
Outside the centre
The centre has a large car park which can accommodate about 350 cars. Outside the entrance a map indicates the various areas in the garden centre. Most customers walk round the grounds before making their purchases. The length of time people spend in the centre varies but, according to a recent study, averages 53 minutes during the week and 73 minutes at weekends.
The same study shows the extent to which the number of customers arriving at the garden centre varies depending on the time of year, day of the week, and time of day. There are two peaks in customer numbers, one during the late spring/early summer period and another in the build up to Christmas, as Greenland puts on particularly good Christmas displays.
Indoor sales area
The range of goods has increased dramatically over the past few years and now includes items such as:
pets and aquatics
seeds
fertilisers
indoor pots and plants
gardening equipment
garden lighting
conservatory-style furniture
outdoor clothing
picture gallery
books and toys
delicatessen
wine
kitchen equipment
soft furnishing
outdoor eating equipment
gifts, stationery, cards, aromatherapy products
freshly cut flowers
dried flowers.
Outside sales area
In the open air and in large glasshouses there is a complete range of plants, shrubs and trees. Gre.
ELEG 320L – Signals & Systems Laboratory Dr. Jibran Khan Yous.docx
ELEG 320L – Signals & Systems Laboratory /Dr. Jibran Khan Yousafzai Lab 4
1
LAB 4: CONVOLUTION
Background & Concepts
Convolution is denoted by:
𝑦[𝑛] = 𝑥[𝑛] ∗ ℎ[𝑛]
Your book has described the "flip and shift" method for performing convolution. First, we
set up two signals 𝑥[𝑘] and ℎ[𝑘]:
Flip one of the signals, say ℎ[𝑘], to form ℎ[−𝑘]:
ELEG 320L – Signals & Systems Laboratory /Dr. Jibran Khan Yousafzai Lab 4
2
Shift ℎ[−𝑘] by n to form ℎ[𝑛 − 𝑘]. For each value of 𝑛, form 𝑦[𝑛] by multiplying and
summing all the element of the product of𝑥[𝑘]ℎ[𝑛 − 𝑘], −∞ < 𝑘 < ∞. The figure
below shows an example of the calculation of𝑦[1]. The top panel shows𝑥[𝑘]. The
middle panel showsℎ[1 − 𝑘]. The lower panel shows𝑥[𝑘]𝑦[1 − 𝑘]. Note that this is a
sequence on a 𝑘 axis. The sum of the lower sequence over all k gives 𝑦[1] = 2.
We repeat this shifting, multiplication and summing for all values of 𝑛 to get the
complete sequence 𝑦[𝑛]:
ELEG 320L – Signals & Systems Laboratory /Dr. Jibran Khan Yousafzai Lab 4
3
The conv Command
conv(x,h) performs a 1-D convolution of vectors 𝑥 and ℎ. The resulting vector 𝑦
has length length(𝑦) = length(𝑥) + length(ℎ) − 1. Imagine vector 𝑥 as being
stationary and the flipped version of ℎ is slid from left to right. Note that conv(x,h) =
conv(h,x). An example of the convolution of two signals and plotting the result is
below:
>> x = [0.5 0.5 0.5]; %define input signal x[n]
>> h = [3.0 2.0 1.0]; %unit-pulse response h[n]
>> y = conv(x,h); %compute output y[n] via convolution
>> n = 0:(length(y)-1); %for plotting y[n]
>> stem(n,y) % plot y[n]
>> grid;
>> xlabel('n');
>> ylabel('y[n]');
>> title('Output of System via Convolution');
ELEG 320L – Signals & Systems Laboratory /Dr. Jibran Khan Yousafzai Lab 4
4
Deconvolution
The command [q,r] = deconv(v,u), deconvolves vector u out of vector v, using long
division. The quotient is returned in vector q and the remainder in vector r such that
v = conv(u,q)+r. If u and v are vectors of polynomial coefficients, convolving them is
equivalent to multiplying the two polynomials, and deconvolution is polynomial
division. The result of dividing v by u is quotient q and remainder r. An examples is
below:
If
>> u = [1 2 3 4];
>> v = [10 20 30];
The convolution is:
>> c = conv(u,v)
c =
10 40 100 160 170 120
Use deconvolution to recover v.
>> [q,r] = deconv(c,u)
q =
10 20 30
r =
0 0 0 0 0 0
This gives a quotient equal to v and a zero remainder.
Structures
Structures in Matlab are just like structures in C. They are basically containers that
allow one
Electronic Media PresentationChoose two of the following.docx
Electronic Media Presentation
Choose
two of the following types of electronic media:
Radio
Sound recording
Motion pictures
Broadcast television
Research
the history of the media types your team selected. Include the following information in your presentation:
Introduction
Notable founders and parent organizations of your electronic media types
Notable historical dates
Dates of mergers with other radio stations, record production companies, motion picture companies, or television networks to form a large media conglomerate
Date the media types launched their websites, became active on the Internet, or became active in social media integration
Identify past, present, and future challenges confronting these types of media. How has the digital era affected them? Which types are best suited to adapt to the future? Explain why
How do these challenges affect advertising in these organizations--outside companies advertising--and advertising for these media--companies promoting themselves to others? What are innovative advertising strategies these media have engaged in?
What are two similarities and two differences between the two media types?
Conclusion
Present your Electronic Media Presentation.
These are 10- to 12-slideMicrosoft
®
PowerPoint
®
presentations with notes.
.
Electronic copy available at httpssrn.comabstract=2161742.docx
Electronic copy available at: http://ssrn.com/abstract=2161742
Electronic Commerce Business Models:
A Conceptual Framework
By
Utkarsh Majmudar
Ganesh N. Prabhu
July 2000
Please address all correspondence to:
Prof. Utkarsh Majmudar
Visiting Faculty (Finance & Control Area)
Indian Institute of Management
Bannerghatta Road
Bangalore - 560 076
India
Fax: (080) 6584050
E m a i l ! utkarsh&qimbxmeUn
Copies of the Working Papers may be obtained from the FPM & Research Office
Electronic copy available at: http://ssrn.com/abstract=2161742
Electronic Commerce Business Models: A Conceptual Framework
Utkarsh Majmudar and Ganesh N. Prabhu
Abstract
The recent boom in the new economy of internet based commerce has created a large
number of firms with a variety of business models that aim to leverage the power of the
internet to further their business goals. In this paper we attempt to provide a
conceptual framework for understanding e-commerce business models on a number of
important dimensions - nature of consumer activity, nature of e-commerce activity,
target customers, targeting strategy, revenue generating modes, procfactfcerwce
delivery modes, payment collection modes, operating modes, market places,
advantage mechanisms and domination characteristics. We also examine means of
improving value proposition and net-friendliness for e-commerce activities and identify
areas where e-commerce models have not been explored or fully exploited so far.
Since the range of economic activities on the internet is vast and growing, newer
models and opportunities are likely to emerge through improvements in internet
technologies as well as innovations in their application to business contexts. Hence
any conceptual framework on e-commerce business models, including our own, can
never be comprehensive.
Electronic Commerce Business Models: A Conceptual Framework - 1 -
Electronic copy available at: http://ssrn.com/abstract=2161742
Electronic Commerce Business Models: A Conceptual Framework
Introduction
The recent boom in the new economy of internet based commerce has spawned a large
number of firms with a variety of business models that aim to leverage the power of the internet to
further their business goals. This paper provides a conceptual framework for understanding these
business models and their characteristics. The conceptual framework is shown in Figure 1.
Locating Electronic Commerce in the Internet Economy
We define electronic commerce as use of the internet medium for conducting economic
transactions. Electronic commerce is a part of a larger internet economy. Conceptually, the internet
economy can be divided into four layers (Barua etal., 1999). Each layer of the internet economy is
listed below with descriptions of the types of companies and names of some of the actual companies in
each category.
(a) Layer One: The Internet Infrastructure Layer. This layer includes companies with products and
services that help cr.
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