Rebecca1 essays

Rebecca1 essays The novel written by Daphne Du Maurier entitled Rebecca is very unique and interesting. Most of the story takes place in England, at a marvelous mansion called Manderley. It is about a woman, whose name is never revealed, meeting and marrying a wealthy man, Max De Winter. The new couple moves to his house in England to begin their married life. Upon arrival Mrs. De Winter is introduced to the housekeepers, firstly the head housemaid, Mrs. Danvers. Right from the very beginning of the meeting of the new bride and head housemaid, things were hostile. Mrs. Danvers is still emotionally attached to the first wife of Mr. De Winter, the late Rebecca De Winter. Throughout the entire story the new Mrs. De Winter is trying to fulfill her shoes. She always feels that she has to live up to everything that Rebecca accomplished. In reality, Max never wanted his new wife to be anything less or more than what she was. In the end of the story Max and his wife are talking when some flares go off in the sky at a nearby cove. When they go to see what has happened, Max flees. Mrs. De Winter finds him in a cottage by the sea. She enters as he is quivering in a corner. He reveals to her that there was a boating accident and some divers found a boat, it was Rebeccas boat. The divers busted a window and found a skeleton inside of the locked cabin. When Rebeccas body was found several months ago, a grief-stricken Max went to identify the body and it was determined that she was traveling alone. Puzzled, his wife does not understand what this had to do with the body found in the cove. Then Max lays it on her that it was Rebecca. He said that she was very evil, and that she was not what everyone portrayed her to be. After he married her, he found out a number of awful things about his wife. Too embarrassed by divorce, the couple made an agreement to put on a facade for the world. One evening Rebecca came to him with a sheepish grin on h ...

Bajar Conjugation in Spanish, Translation, and Examples

Bajar Conjugation in Spanish, Translation, and Examples The Spanish verb bajar  means to take down or lower, but it can be used in several different ways.  Bajar  is a regular  -ar  verb like  parar  or  llamar.  If you know the  conjugation rules for regular -ar  verbs, then you can easily conjugate bajar.  In this article you can find tables with the present, preterit, imperfect, future, and conditional indicative tenses for bajar, as well as the present and past subjunctive, imperative, and other verb forms. Using the Verb Bajar The verb  bajar  has many different uses. It can be both a transitive and intransitive verb. When it is used as a transitive verb it can mean to lower or drop something, such as  Debes bajar el volumen de la mà ºsica  (You must lower the volume of the music), or Bajà ©Ã‚  el precio del carro  (I lowered the price of the car). It can also mean to take or bring something down, as in  Voy a bajar el florero del estante  (Im going to bring down the vase from the shelf), and it can even mean to download something from the internet, as in  Bajà © el archivo a mi computadora  (I downloaded the file to my computer).   The verb  bajar can also be  used as an intransitive verb to talk about something lowering or dropping, such as  El precio de la gasolina bajà ³Ã‚  (The price of gas dropped) or Esta noche bajar la temperatura  (Tonight the temperature will drop). It can also be used to talk about when a person comes down or descends, as in  Ella bajà ³ al primer piso  (She came down to the first floor). Finally, you can use  bajar  to talk about getting off a vehicle, as in El nià ±o bajà ³ del autobà ºs  (The boy got off the bus). Bajar Present Indicative Yo bajo I lower Yo bajo el volumen de la msica. T bajas You lower T bajas los libros del estante. Usted/l/ella baja You/he/she lowers Ella baja las persianas en la noche. Nosotros bajamos We lower Nosotros bajamos el precio de la ropa. Vosotros bajis You lower Vosotros bajis la velocidad del carro. Ustedes/ellos/ellas bajan You/they lower Ellos bajan la foto de la pared. Bajar Preterite  Indicative There are two forms of the past tense  in Spanish:  the preterite and the imperfect. The preterite is used to talk about completed actions in the past.   Yo baj I lowered Yo baj el volumen de la msica. T bajaste You lowered T bajaste los libros del estante. Usted/l/ella baj You/he/she lowered Ella baj las persianas en la noche. Nosotros bajamos We lowered Nosotros bajamos el precio de la ropa. Vosotros bajasteis You lowered Vosotros bajasteis la velocidad del carro. Ustedes/ellos/ellas bajaron You/they lowered Ellos bajaron la foto de la pared. Bajar Imperfect  Indicative The imperfect tense is used to talk about ongoing or repeated actions in the past. With the verb bajar,  you can translate the imperfect as was lowering or used to lower.   Yo bajaba I used to lower Yo bajaba el volumen de la msica. T bajabas You used to lower T bajabas los libros del estante. Usted/l/ella bajaba You/he/she used to lower Ella bajaba las persianas en la noche. Nosotros bajbamos We used to lower Nosotros bajbamos el precio de la ropa. Vosotros bajabais You used to lower Vosotros bajabais la velocidad del carro. Ustedes/ellos/ellas bajaban You/they used to lower Ellos bajaban la foto de la pared. Bajar Future  Indicative Yo bajar I will lower Yo bajar el volumen de la msica. T bajars You will lower T bajars los libros del estante. Usted/l/ella bajar You/he/she will lower Ella bajar las persianas en la noche. Nosotros bajaremos We will lower Nosotros bajaremos el precio de la ropa. Vosotros bajaris You will lower Vosotros bajaris la velocidad del carro. Ustedes/ellos/ellas bajarn You/they will lower Ellos bajarn la foto de la pared. Bajar Periphrastic Future  Indicative The periphrastic future in Spanish is equivalent to the going to verb construction in English. Yo voy a bajar I am going to lower Yo voy a bajar el volumen de la msica. T vas a bajar You are going to lower T vas a bajar los libros del estante. Usted/l/ella va a bajar You/he/she is going to lower Ella va a bajar las persianas en la noche. Nosotros vamos a bajar We are going to lower Nosotros vamos a bajar el precio de la ropa. Vosotros vais a bajar You are going to lower Vosotros vais a bajar la velocidad del carro. Ustedes/ellos/ellas van a bajar You/they are going to lower Ellos van a bajar la foto de la pared. Bajar Conditional  Indicative When you want to talk about possibilities or about things that would happen,  you can use the conditional  tense. An example of a sentence using the conditional is Si vinieras a visitarme, bajarà ­a a abrirte la puerta  (If you came to visit me, I would come down to open the door for you). Yo bajara I would lower Yo bajara el volumen de la msica. T bajaras You would lower T bajaras los libros del estante. Usted/l/ella bajara You/he/she would lower Ella bajara las persianas en la noche. Nosotros bajaramos We would lower Nosotros bajaramos el precio de la ropa. Vosotros bajarais You would lower Vosotros bajarais la velocidad del carro. Ustedes/ellos/ellas bajaran You/they would lower Ellos bajaran la foto de la pared. Bajar Present Progressive/Gerund Form The present participle or gerund  of -ar  verbs is formed with the ending  -ando. You can use the present participle to form  progressive tenses, such as the present progressive. Present Progressive of Bajar   est bajando   She is lowering   Ella est bajando las persianas. Bajar Past Participle To form the past participle for  -ar  verbs, use the ending  -ado. The past participle  is used to form  compound tenses  like the present perfect.   Present Perfect of Bajar   ha bajado   She has lowered   Ella ha bajado las persianas.   Bajar Present Subjunctive Que yo baje That I lower Pedro pide que yo baje el volumen de la msica. Que t bajes That you lower Marisa quiere que t bajes los libros del estante. Que usted/l/ella baje That you/he/she lower Marco espera que ella baje las persianas en la noche. Que nosotros bajemos That we lower Carlos pide que nosotros bajemos el precio de la ropa. Que vosotros bajis That you lower Sara quiere que vosotros bajis la velocidad del carro. Que ustedes/ellos/ellas bajen That you/they lower Leo pide que ellos bajen la foto de la pared. Bajar Imperfect  Subjunctive The tables below show two options for conjugating the imperfect subjunctive. Both options are equally valid. Option 1 Que yo bajara That I lowered Pedro pidi que yo bajara el volumen de la msica. Que t bajaras That you lowered Marisa quera que t bajaras los libros del estante. Que usted/l/ella bajara That you/he/she lowered Marco esperaba que ella bajara las persianas en la noche. Que nosotros bajramos That we lowered Carlos pidi que nosotros bajramos el precio de la ropa. Que vosotros bajarais That you lowered Sara quera que vosotros bajarais la velocidad del carro. Que ustedes/ellos/ellas bajaran That you/they lowered Leo pidi que ellos bajaran la foto de la pared. Option 2 Que yo bajase That I lowered Pedro pidi que yo bajase el volumen de la msica. Que t bajases That you lowered Marisa quera que t bajases los libros del estante. Que usted/l/ella bajase That you/he/she lowered Marco esperaba que ella bajase las persianas en la noche. Que nosotros bajsemos That we lowered Carlos pidi que nosotros bajsemos el precio de la ropa. Que vosotros bajaseis That you lowered Sara quera que vosotros bajaseis la velocidad del carro. Que ustedes/ellos/ellas bajasen That you/they lowered Leo pidi que ellos bajasen la foto de la pared. Bajar Imperative   If you want to give a command or direct order, use the imperative mood. The tables below show the affirmative and negative commands, which are different in the tà ºÃ‚  and  vosotros  forms. Positive Commands T baja Lower! Baja los libros del estante! Usted baje Lower! Baje las persianas en la noche! Nosotros bajemos Lets lower! Bajemos el precio de la ropa! Vosotros bajad Lower! Bajad la velocidad del carro! Ustedes bajen Lower! Bajen la foto de la pared! Negative Commands T no bajes Dont lower! No bajes los libros del estante! Usted no baje Dont lower! No baje las persianas en la noche! Nosotros no bajemos Lets not lower! No bajemos el precio de la ropa! Vosotros no bajis Dont lower! No bajis la velocidad del carro! Ustedes no bajen Dont lower! No bajen la foto de la pared!

Cloud Computing Essay Example | Topics and Well Written Essays - 250 words - 4

Cloud Computing - Essay Example Balance in most cases remains the weight that is distributed in the design through placement of the industry’s elements. Alignment; - In most distribution industries, alignment as a design principle allows the creation of order and organization. It also allows the creation of visual connection within the organization (Morris, 2012). Contrast; - This design principle generally allows organizations to focus on its design elements and by doing this, it helps in improving processes within the organization. Lastly, the space allows free movement in organization especially during the organization processes (Morris, 2012). Adhering to the fundamental design principles is therefore important especially during the development of secure applications. Effective adherence of the design principles in most cases provides balance and a continuation during the development of secure applications. Adherence of the fundamental designs also provides improvement during the development of secure

Iraq War Coverage Essay Example | Topics and Well Written Essays - 1500 words

Iraq War Coverage - Essay Example The first article comes from the New York Times and it is has been written by Richard Oppel to describe how a buried bomb killed five American soldiers in Iraq. The second article is also from the New York Times, written by Steven Farrell and it discusses how American soldiers have been charged with the murder of Iraqi civilians. From the foreign news sources, Aljazeera.net provides us with two articles where the first shows how the president’s plan for Iraq is coming under fire and the second shows how deaths in Iraq have fallen in number. Finally we have an article from PBS.org that discusses how the military is handling the issue of homemade Iraqi bombs. The commonality between all articles is the fact that they are dealing with the Iraq war and all of them are trying to present both sides of the issue. However, for the American sources, there is a clear differentiation between the right and wrong side. Aljazeera also has offered its own clear distinction but it is quite different from the one given by the New York Times. The independent news source, i.e. PBS.org, presents the transcript of an interview with various individuals from different fields that have been to Iraq and can understand the situation on the ground. Another similarity between the all the news sources is their data gathering which seeks to get information from all possible sources. For example, the New York Times gets statements from American soldiers as well as American government officials regarding the situation in Iraq. They also got words from the anti-American clerics who are part of the leadership in the Mahdi Army that has been reportedly engaged in attacks on American interests in Iraq. Similarly, the foreign news source i.e. Aljazeera reports on what the American statesmen are saying about the war in Iraq and one would think that such statements

Chanels Exhibition Compared to Vermibus Essay Example for Free

Chanels Exhibition Compared to Vermibus Essay Two exhibitions, both held during October 2012, will form the bases of this comparative essay. Chanel’s fashion photography exhibition entitled ‘The Little Black Jacket: Chanel’s Classic Revisited’ held at the Saatchi Gallery 12th October 4th November 2012, and Vermibus’ display of appropriated adverts called ‘Unmasking Kate’ shown at the Moniker Arts Fair 11th -14th October 2012 will be used to explore the links each exhibition has to the themes of advertising and celebrity. ‘The Little Black Jacket: Chanel’s Classic Revisited’ is a celebration of the ‘timelessness’ (Saatchi, 2012) that is the Chanel jacket first introduced in 1953 (Armstrong, 2012), which Karl Lagerfeld, the creative director for Chanel, has revamped for the twenty-first century. ‘The Chanel jacket is a man’s jacket which has become a typical feminine piece’ (Lagerfeld cited Making of- The Video, 2012), co-writer and photographer for the exhibition Lagerfeld, articulates the versatility of the garment, which is a key theme expressed throughout the show. The exhibition consists of 113 photographs of celebrities modelling (Saatchi, 2012) the jacket to which the entire exhibition is a tribute to (Saatchi, 2012). In contention with the notion of product and brand celebration the Spanish-born artist Vermibus presented his ‘Unmasking Kate’ series at the Moniker Arts Fair, †¦now in its third year, the fair†¦[of] contemporary artists with urban roots†¦[is] an assembly united by a desire to rebel’ (Spence, 2012). Amongst the rebels is street artist and ex-branding photographer turned contemporary artist (lamono, 2012), Vermibus. The principle of his work is the appropriation of designer advertising posters found publically, as a statement against the image of our materialistic consumer driven society (Finucane, 2012). The title of Vermibus’ current series ‘Unmasking Kate’ refers to both his method of appropriating the posters and to his subject, namely the model Kate Moss. Vermibus argues that he uses Moss’s image ‘†¦because she has been the flagship of fashion for the last 20 years’ (Lamono, 2012) and is therefore an easily recognizable icon of modern fashion and consumer society Kate Moss had to construct thousands of masks to hide her fears [she] internalized those masks from the beginning and we bought them all†¦Ã¢â‚¬â„¢(Lamono, 2012) Vermibus reveals his ideas about masks fueled by the advertising industry. He further uses Moss’ image to show, simultaneously, the vulnerability of the human subject and the medias exploitation of the notion of celebrity. This theme parallels the way Andy Warhol used Marilyn Monroe’s image after her death (Modern Masters: Andy Warhol, 2010). Likewise, the Chanel exhibition echoes some Warhol themes, yet using the celebrity image to celebration its brand and product originally from the 1950’s (Modern Masters: Andy Warhol, 2010). The exhibitions work on Warhol themes differently either to criticize or celebrate advertising and product branding (Modern Masters: Andy Warhol, 2010). The title of the exhibition ‘The Little Black Jacket: Chanel’s classic revisited’ uses a play on the now clichà ©d notion of ‘the little black dress’ this seemingly playful reference to an item that Coco Chanel arguably made ubiquitous in 1926 (Fritz, 2012) as ‘a uniform for all women of taste’ (Crystal, 2007) carries the suggestion that the redesigning of the Chanel jacket has caused the garment to become as revolutionary and versatile as the little black dress and thus deserves the same universal appeal and fashionable credibility. This is further reflected in the exhibition’s promotional use of words such as ‘classic’ (Armstrong, 2012), ‘iconic’ (Saatchi, 2012) and ‘timeless’ (The Exhibition Opening The Film, 2012), phrases often made in reference to the little black dress, conveying the item as an essential part of both a man and woman’s collection, in this way almost surpassing t he success of the little black dress. Despite their difference, the most prominent connection between both exhibitions is the use of fashion photography. While Vermibus appropriates already publish photographic based adverts, Lagerfeld endeavours to create a series of fashion photographs, seemingly ready for an advertising campaigns (fig:1) sans the alluring taglines and buyer information. However, perhaps text is not necessary in conveying advertising messages: ‘As advertising has become so subject to the influence of photography that in some cases it is nothing other than fashion photography in its pure form.’ (Zahm, 2003 p.267) Lagerfeld’s photography could, therefore, be read as adverts for the Chanel jacket. This is illustrated in the use of a shallow depth of field added to the blank studio backdrop, uniform in all of Lagerfeld’s shots and reminiscent of many advertising campaigns. The technique seems to encourage the viewer to read the model as the main focus of the shot. The positioning of the models, strictly following the rule of thirds in all displayed images, seems actively styled to further accentuate the Chanel jacket as it is after all the subject of the photographic exhibition and perhaps the product to be endorsed. Looking at the images from this angle makes the work seems more sinister; putting the gallery viewer in the position of a consumer. Vermibus’ acquired advertising posters are often comparable in style and content to those featured in the Chanel exhibition. The Vermibus technique involves the systematic removal of layers of gloss and colour from the face of the models (fig:2) using solvents such as white spirit ‘in a unique painting counter-action’ (Open Walls Gallery, 2012) creating gestural, painterly brush marks reminiscent of Lucian Freud ‘s ‘naked’ series (fig:3). This method of working directly on to the photographic image creates an interesting juxtaposition between the flat, glossy, original photographic elements left untouched in the clothe and hair of the advert compared to the textured, painterly brush marks and colours crated by the solvents application on the glossy flesh of the models image (Finucane, 2012). This all helps to convert the adverts ‘flawless and sanitized icons†¦into harrowing and contorted figures evocative of ‘Francis Bacon’s seminal works’ (Finucane, 2012) (fig:4). Through this treatment Vermibus is trying to uncover the essence of the figures by ‘dehumanizes those figures †¦ trying to find the aura of the individual, the personality that was lost†¦Ã¢â‚¬â„¢(Moniker Art Fair, 2012) in the world of advertisement, which seems in direct contention with the image and brand driven concept of the Chanel exhibition. Nonetheless, a form of distortion is also evident in the instillation part of the Chanel exhibition (fig:5), large glass etched version of selected prints create intertextual connections to the work of pop artist Roy Lichtenstein (fig:6) namely in the use of the pixelated bendy dots and primary colours. Through pixelating the benday dots Lagerfeld seems to marry a nostalgic past of image reproduction with modern-day digital innovations. This mirrors the merging of past and present in fashion exhibition. The link to Pop Art is further contextualised as the original Chanel jacket would have debuted around the time that the pop art movement was emerging (Gersh-Nesic, 2012). Unlike many Pop artists and Lagerfeld’s work, Vermibus eradicates branding from his work. Then returns the adverts to their original places in the advertising shelters as ‘gifts for the passers-by’ (Moniker Art Fair, 2012 p.19). As he stats that private companies have taken over these spaces and what I want to do is return them to the public (Lamono, 2012). Chanel’s exhibition in this way also stands in contrast to the notion that a luxury brand ‘buys its way into our public spaces [and it] must be passively accepted as a one-way information flow. (Klein, 2002). This is an argument held and expressed within the work of Vermibus. Instead of following this traditional model of advertising which relies heavily and spend vast amounts of money on limited single-way communication advertising (Jackson, 2009), Chanel arguably used a credible gallery to advertise under the guise of culture enrichment; a ‘more interactive, experiential and customised communication’ (Jackson, 2009, p. 273). However, Anderson (2000) argues that shows like this ‘illustrates [the] approaches taken by those in the commercial sphere, who are completely unfettered by museological traditions’ (Anderson, 2000, p.386). However, the Saatchi gallery; was set up by Charles Saatchi like many ‘high net worth individuals who operate their collections like museums for the public’ (picassomio.com) thus needs not to uphold traditions of the museum and is not duty bound to provide advertisement-free exhibitions. This may seem like devious undercover advertising however visitors will construct their own coherence.which may or may not comply with that of the curator'(Hooper-Greenhill, 2000, p.7) thus the advertising undertones of the exhibition may be passively accepted or rejected by viewers. In this way Chanel opens the flow of communication, although, arguably ‘even the best fashion photography is still an industry in service of industry’ (Zahm, 2003, p.265). Therefore, in blurring the lines between free cultural experiences and marketing gimmicks Chanel is clearly attempting to increase their revenue, as Lagerfeld affirms ‘I am not a commercial person †¦ but the final complement is†¦when you buy [the product]’ (The World of Karl Lagerfeld, c.2010). The fact that Lagerfeld’s creative and corporate elements merge in the exhibition is sinisterly convenient ‘†¦it is undeniable that the motivations of designers to co-operate with curators in having their work displayed in museums are largely about prestige, self-promotion and profit’ (Anderson, 2000, p. 375) marring the impression of such exhibitions as nothing more than an oblique advertising campaign. The ‘anti-publicist’ (Lamono, 2012) Vermibus’ illustrates his distain for the advertising industry which Lagerfelds work seems to represent, the brands goal is to remove the model’s identity†¦the model is not a person any more but an image whose only value is for selling (Finucane, J. 2012). Vermibus’ ideas are reminiscent of the Situationist International’s concepts of the spectacle (Debord, 1957-61) equally, Vermibus’ appropriated posters carry strong connections to their notion of detournement ‘reusing preexisting†¦elements in a new ensemble’ (Debord, 1957-61). Thus Vermibus’ symbolic use of white sprit on adverts, can act as an allegory for reestablishing identity from the spectacle. This notion of brands taking over ones identity is also suggested in the Chanel exhibition video ‘†¦and with each person’s personality the jacket lives through them †¦Ã¢â‚¬â„¢ (Chloe Moretz cited in ‘The Exhibition Opening -The Film’ 2012) presenting the consumer product as a sort of symbiotic parasite using and replacing the identity of the wearer. This relates further to Williamson’s (1995) argument that ‘people are made to identify themselves with what they consume’ (Williamsons 1995 p.13). People become use brands and styles to project their identity through non-verbal communication thus: ‘Advertisements are selling us something else besides consumer goods†¦in providing us with a structure in which we and those goods are interchangeable, they are selling us ourselves.’ (Williamson, 1995 p13) This would explain why so many of the videos produced by Chanel surrounding the Black Jacket exhibition continuously stress the versatility of the jacket ‘†¦ You can do a lot with it†¦it suits everyone’ (Carine Roitfeld cited in Making of The Video, 2012) conveying almost subliminally that people need to have this item that can fit their already established style; ‘the bohemian look, the Victorian look, the more kinda [sic] fun Kate Moss look†¦Ã¢â‚¬â„¢ (Chloe Moretz cited in The Exhibition opening -the film’ 2012) further promoting its value and illustrating the ‘cannibalistic’ nature of fashion (Zahm, 2003 p. 266), which feed into the spectacle (Debord,1957-61) by assimilating and reproducing the same items and feeling of desire within society. The Chanel exhibitions use of celebrity images differs to that a Vermibus, as it seems to reflect the wider marketing idea that using celebrity endorsements is a ‘strong marketing plus†¦Ã¢â‚¬â„¢ (Jackson, 2009 p191). Along side the photographers the behind the scenes film presents testimonials from celebrities ‘I consider it [the Chanel jacket] a prized possession. I feel very lucky’ (Sarah Jessica Parker cited in Making of- The Video, 2012) enticing the viewer to desire the item. Atkin (2010) contend that this is because humans are prehistorically ‘hardwired’ to want to glean information about how to become successful survivors by watching and copying the most successful in our society, i.e. the celebrities (Star Suckers, 2010). advertisers like Chanel are manipulating this evolutionary flaw to give ‘[a] product which initially has no meaning †¦.value by a person†¦who has a value to us†¦Ã¢â‚¬â„¢ (Williamson, 1995, p.31). In contrast, celebrities are utilized by Vermibus to liberate the human being from the celebrity ‘mask’ evoking sympathy from the audience however, it is not clear how much the celebrity image entices the viewer’s prehistoric urge and interest in Vermibus’ work. In conclusion the two exhibitions on the surface have very different and opposing motivations. However, on inspection both deal with similar themes of fashion photography, advertising and celebrity in different ways. Although it falls beyond the scope of this essay compare every element of the exhibitions it has attempted to demonstrate that Lagerfeld’s approach has strong advertising undertone, while Vermibus’ work is anti-publicist in nature. Therefore, despite displaying work at arts fair, with the purpose of promoting and selling his work, the artist maintains his anti-establishment ethos ‘Being at [an art fair] is another way to attack from within (Lamono, 2012) which conveys the fundamental difference between the two exhibitions; they both exploit the image of celebrities to draw attention to their work but while Vermibus’ ideology remains paramount it would seem that for Lagerfeld the financial gain is the principal purpose of the exhibition. References: Anderson, F (2000) ‘Museum as Fashion Media’, in Bruzzi, S. and Gibson, C. (eds.) Fashion Cultures: Theories, Exploration and Analysis. London : Routledge pp. 371-389. Armstrong, L. (2012) ‘Chanels Little Black Jacket: How Chanel split the fashion atom’, Telegraph [Online] Available at: http://fashion.telegraph.co.uk/news-features/TMG9602510/Chanels-Little-Black-Jacket-How-Chanel-split-the-fashion-atom.html (Accessed 3/12/2012 Crystal, (2007) Little Black Dress Quotes. Available at: http://no-white-marks.blogspot.com/2007/10/little-black-dress-quotes.html (Accessed: 3/12/2012) Debord, G. (1957-61) ‘Writings from the Situationist International’ in Harrison,C and Wood, P.J. (eds.) (2002) Art Theory 1900-2000. Oxford:Blackwell. pp.701-707 Finucane, J. (2012) New art New Ideas London: Moniker Arts Fair Fritz, M. (2012) A Short History of the Little Black Dress. [Online]. Available at: http://www.realsimple.com/beauty-fashion/clothing/dresses-skirts/little-black-dress-00000000046948/index.html (Accessed: 29/11/12) Gersh-Nesic, B. (2012) About.com. Available at: http://arthistory.about.com/od/modernarthistory/a/Pop-Art-Art-History-101-Basics.htm (Accessed: 08/11/12) Hooper-Greenhill, E (2000) Museums and Interpretation of Visual Culture London: Routledge Jackson, T. and Shaw, D. (2009), Fashion Marketing Hampshire: Palgrave Klein, N. (2002) No Logos. New York:Picador Lamono (2012) Vermibus, Attack From Within [Online]. Available at: http://lamonomagazine.com/hunter/vermibus-ataque-desde-dentro/ (Accessed 28/11/2012) Making of the video,’ 2012, by Chanel [online] available at: http://thelittleblackjacket.chanel.com/en_GB/makingof (Accessed 16/11/12) Modern Masters: Andy Warhol Documentary Artist, (2010) by Alastair Sooke, UK [Online] available at: http://www.youtube.com/watch?v=sWU7I6fGpMIfeature=sharelist=LLU15G_d3N4Dd14H85X-eCCg (Accessed: 08/11/12) Moniker Art Fair, (2012) Moniker Art Fair About. [Online] Available at: http://www.monikerartfair.com/2012/ (Accessed: 18/10/12) Open Walls Gallery (2012) Vermibus [Online] Available at: http://www.openwallsgallery.com/artist/vermibus (Accessed 15/11/12) Picassomio, General Art Articles[online]. Available at: http://www.picassomio.com/art-articles/what-is-the-difference-between-a-museum-and-a-gallery.html (Accessed: 28/11/12) Saatchi gallery (2012) The Little Black Jacket. [Online] Available at: http://www.saatchi-gallery.co.uk/current/the_little_black_jacket.php (Accessed: 15/11/12) Spence, R. (2012) ‘Go forth and multiply’, The Financial Times [Online] Avalible at: http://www.ft.com/cms/s/2/0a062f4c-1486-11e2-8cf2-00144feabdc0.html#axzz2EEPdaatD (Accessed: 14/11/12) Star Suckers, (2010) by Chris Atkins UK [DVD] The Exhibition Opening The Film, (2012) by Chanel [Online] Available at: http://thelittleblackjacket.chanel.com/en_GB/exhibition/london (Accessed: 16/11/12) The World of Karl Lagerfeld, (c. 2010) by Anjali Rao China [Online] Avalible at: http://youtu.be/m0ljhBgy0Hc (Accessed 20/11/12) Williamsons, J (1995) Decoding Advertisements: Ideology and Meaning in Advertising. London: Marion Boyars Zahm, O. (2003) ‘On the Marked Change in Fashion Photography’, in Welters, L. and Lillethon, A. (eds.) (2007) The Fashion Reader. Oxford: Berg, pp. 263-269.

Jean-Paul Sartre and Louis Althusser as Responses to Vichy France Essay

Jean-Paul Sartre and Louis Althusser as Responses to Vichy France The Second World War seems to have had an enormous impact on theorists writing on literary theory. While their arguments are usually confined to a structure that at first blush seems to only apply to theory, a closer examination finds that they contain an inherently political aspect. Driven by the psychological trauma of the war, theorists, particularly French theorists, find themselves questioning the structures that led to the particular events and situations of the war. Many of these writers found themselves driven to engage the lackluster resistance against the Vichy regime in France and sought critical models that explain or lay to rest the guilt of a complacent citizenry. In particular, Jean-Paul Sartre and Louis Althusser reshaped the notion of the author and the subject to encompass the existence of a complacent citizenry. Sartre primarily concerned himself with the role of the author while Althusser addressed the role of the subject. It must be remembered, however, that Sartre’s model of the committed author has implications that modify the notion of the subject to some extent, just as Althusser’s model of ideology modifies the concept of the author. In accordance to their focus (the author or the subject), the two writers come to contradictory conclusions regarding the role of personal responsibility. Addressing the issue of a complacent citizenry in â€Å"What is Literature?†, Sartre’s abstract notions of the writer reveal a certain preoccupation with the failed resistance in World War II. Specifically, he chooses to directly address the Resistance poets: How can one hope to provoke the indignation or the political enthusiasm of the rea... ... the complexity and the guilt of a complacent citizenry, both writers re-evaluated the idea of the author and the subject. In spite of being largely contradictory, they both leave room for some agreement. One could argue that the choice presented by the author to the subject in Sartre fits within Althusser’s ideology of ideologies. Insofar as it is the author’s responsibility to reveal the ideology, the world, to the subject and it is the subject’s responsibility to interpret the ideology or the text. However, this common ground is both narrow and unstable and would be difficult, at best, to support. References Althusser, Louis. â€Å"Ideology and Ideological State Apparatuses.† Contemproary Critical Theory. Dan Latimer (ed.). San Diego: Harcourt 1989. Sartre, Jean-Paul. â€Å"What is Literature?† and Other Essays. Cambradge, MA: Harvard University Press 1988.

Geomatics : Levelling

Topic 2: Levelling Aims -Heights, datums and bench marks -Levelling equipment -Field procedure for levelling -Calculating reduced levels -Sources of error in levelling -Other levelling methods Levelling – how heights are defined Engineering surveying involves the measurement of three quantities; heights, angles and distances. Levelling it the process of measuring heights. It is possible when levelling to measure heights with an accuracy of millimetres Heights can also be measured using total stations, handheld lasers and GPS devices.However, levelling offers an inexpensive, simple and accurate method for measuring heights, and it is widely used in construction sites. Any method of measuring the heights of points above or below the ground using an agreed datum. These datum's or reference points are present in all construction sites and has an arbitrary height assigned to the point. Most construction sites will have several of these benchmarks, and if they have heights based on an arbitrary datum, they are known as Temporary Bench Marks. Heights Heights are defined using horizontal and vertical lines.The figure below shows a plumbbob suspended at point P, the direction of gravity along the plumb-line defines the vertical at point P. A horizontal or level line is any line at right angles to this For site work, any horizontal line can be chosen as a datum for heights and for levelling. The height of a point is measured along the vertical above or below the chosen datum. The height of a point relative to a datum is known as its reduced level (RL). On most construction sites there is a permanent datum. The horizontal line or surface passing through this, with its height, becomes the levelling datum.The height of the datum can be arbitrary, a value often used for this is 100. 000m. This is chosen to avoid any negative heights occurring. Any reference point on site which has had a height assigned to it is known as a bench mark. For most surveys and construction work, several bench marks would normally be established by levelling from the datum. If heights are based on an arbitrary datum these are known as Temporary Bench Marks or TBMs. Curved Surfaces Level (or horizontal) lines are always at right angles to the direction of gravity. The direction of gravity is generally towards the centre of the earth.Over large areas, as the Earth is curved, level surfaces will also be curved. For these, a height difference is measured along a vertical between two curved level surfaces. When surveying over a large area, a curved level surface of zero height has to be defined. This has been established by the Ordnance Survey, this is called the Ordnance Datum (OD). This corresponds to the average sea level measured Poolbeg or Malin Head. Heights based on these are know as OD heights. The levelling staff Levelling involves measuring vertical distances with reference to a horizontal plane or surface.To do this, a levelling staff is needed to measure vertica l distances and an instrument known as a level is required to define the horizontal plane. Many types of staff are used with varying lengths and different markings. The E-type face is commonly used in the UK and Ireland. This can be read directly to 0. 01m and by estimation to the nearest mm. The staff must be held vertically – a circular bubble is sometimes fitted to help this. Automatic Level 1. Focusing screw 2. Eyepiece 3. Foot screw 6. Tangent screw 7. Circular bubble Automatic Level 4. Horizontal circle 5. Base plate 8. Collimator (sight) 9. Object lensThe main features of the telescope 1. Object lens 2. Focusing screw 3. Focusing lens 4. Diaphragm 5. Eyepiece The object lens, focusing lens, diaphragm and eye piece are all mounted on an optical axis called the line of collimation or the line of sight. This is an imaginary line which joins the optical centre of the object lens to the centre of the cross hairs. When looking through the eye piece of the surveying telescope , a set of lines called the cross hairs can be seen. These are used for taking measurements from the staff. These cross hairs are etched on a small sheet of glass known as the diaphragm.To make the telescope work, the image of the staff is brought to a focus in the plane of the diaphragm using the focusing screw. The eyepiece is rotated so that the cross hairs are in focus and its focal point is also in the plane of the diaphragm. When looking into the telescope an observer will now see a magnified image of the levelling staff focused against the cross hairs. Parallax Parallax occurs when the focusing screw and the eyepiece is done incorrectly. This condition can be detected by moving the eye to different parts of the eyepiece when reading the staff. If different readings are obtained then parallax is present.To remove parallax, hold a sheet of paper in front of the object and adjust the eyepiece so that the cross hairs are in focus. Then remove the sheet of paper and bring the staf f into focus using the focusing screw. Once again check for parallax by moving your eye around the eyepiece. If parallax is still occurring repeat the adjustment procedure. The compensator In an automatic level, the compensator is mounted on the telescope next to the eyepiece. It will only work when the instrument has been levelled to within about 15’ of the vertical using the foot screws and circular bubble.The function of the compensator is to ensure that the line of sight viewed through the telescope is horizontal even if the telescope is tilted Tilting levels Tilting levels use a spirit level instead of a compensator to establish a horizontal line of sight. When the bubble is centred the sprit level will be horizontal. When the bubble is off centre the axis will be tilted. By attaching a sprit level to the telescope such that its axis is parallel to the line of sight a horizontal line can be set. This is done by using a tilting screw, when this is rotated the telescope is tilted a small amount in the vertical plane.The tilting screw is adjusted until the bubble is centred. Digital levels Digital levels are similar in appearance to automatic levels, a horizontal line is established by a compensator and this is done by centralising a circular bubble with the foot screws. The main difference between this and other levels is that the staff readings are taken and recorded automatically. When levelling, a special bar-coded staff is sighted, and there is no need to sight this staff as the level will do this automatically and display the measurement. It can also display the horizontal distance to the staff.The advantages of digital levels are that observations are taken without the need to read a staff or record anything by hand. Introducing this automation removes two of the most common errors when levelling, reading the staff incorrectly and writing down the wrong value in the field book. The on-board computer also calculates the heights required so that the possibility of making a mistake is removed. This makes the digital level much faster to use. Laser levels Laser levels contain a rotating laser which defines a visible horizontal plane from which distance to the ground can be made and then the height can be determined.Using a level The following steps are taken when using a level to measure heights 1. Set up the tripod 2. Ensure the top is level 3. Push legs firmly into the ground 4. Attach level 5. Use foot screws to centralise the circular bubble 6. Test to see if the compensator is working 7. Remove parallax Once the level is set up its important that the line of sight is horizontal. When the foot screws have been used to centralise the circular bubble, it is assumed that the compensator has set the line of sight to be horizontal.However, most levels are not in perfect adjustment and when levelled their line of sight is never exactly horizontal. If the line of sight is not horizontal when the instrument has been levelled, the level has a collimation error. As most levels will have some level of collimation error, a method is required to check if the error is within acceptable limits. This is known as a two-peg test. This needs to be conducted when using a new or different level for the first time and at regular intervals thereafter. Two peg test Stage 1 On fairly level ground, two points A and B are marked a distance of Lm apart.In soft ground, two pegs are used, on hard surfaces nails or paint may be used. The level is set up midway between the points at C and carefully levelled. A levelling staff is placed at A and B and staff readings S1 (at B) and S2 (at A) are taken. The two readings are: S1 = (S1‘ + x) and S2 = (S2‘ + x) S1‘ and S2‘ are the staff readings that would have been obtained if the line of collimation was horizontal, x is the error in each reading due to the collimation error, the effect of which is to tilt the line of sight by angle ?.Since AC = CB, the error x i n the readings S1 and S2 will be the same. The difference between readings S1 and S2 gives: S1 – S2 = (S1‘ + x) – (S2‘ + x) = S1‘ – S2‘ This gives the true difference in height between A and B. This demonstrates that if a collimation error is present in a level, the effect of this cancels out when height differences are computed provided readings are taken over equal sighting distances. Stage 2 The level is then moved so that it is L/10m from point B at D and readings S3 and S4 are taken.The difference between readings S3 and S4 gives the apparent difference in height between A and B. If the level is in perfect adjustment then: S1 – S2 = S3 – S4 However this is not always the case and that an error term (e) needs to be estimates e = (S1 – S2) – (S3 – S4) per Lm If the results of these tests show that the collimation error is less than 1mm per 20m (or some specified value). If the collimation error is gre ater than this specified value then the level has to be adjusted. This is normally done by the manufacturer or a trained technician.Example Readings obtained from a two peg test carried out on an automatic level with a staff placed on two pegs A and B 50m apart are: Staff reading at A = 1. 283m Staff reading at B = 0. 860m With the level position 5m from peg B (L/10): Staff reading at A = 1. 612m Staff reading at B =1. 219m Calculate the collimation error of the level per 50m of sighting distance Solution S1= 0. 860M S2 = 1. 283M S3 = 1. 219M S4 = 1. 612M e = (0. 860 – 1. 283) – (1. 219 – 1. 612) per 50M = (-0. 423 – (-0. 393)) = -0. 030M per 50M Exam Question 2007 (5 marks)

Music; the Savior of Life

Jacob Cheslock Ms. Smith World Literature, Hour 6 30 November 2012 Music: The Savior of Life One good thing about music, when it hits you, you have no pain—â€Å"Bob Marley. † No matter what kind of music you listen to, there seems to be something about it that soothes, calms, or sparks the creative side of the mind. Ishmael Beah, a victim child of war, is very connected to music, using it to lose himself in it, forget about the war, and focus again on life just as many of us, including myself, do when life gets tough.Beah, like many of the children in his generation, is very connected to the rap genre of music but for reasons other than because it is what is popular around him. Beah and his friends are first influenced by rap music when they see it on television at a neighboring village of Mobimbi. They are amazed at how good the black people could speak English so fast and to the beat of the music. This ends up becoming a way of life for the boys as they form their ow n dance team and end up carrying notebooks and cassettes with the music of their favorite artists to always work on music together.They use this to express themselves and who they really are. After the war Beah ends up in a rehabilitation center called the Benin Home. The rehab process is a very long, hard, and painful process for not only Beah, but as well as all of the boys affected by this war. Beah however ends up finding his true self through the use of his music. It helps him to focus his mind and heal up from the damages of war. Thinking about the lyrics helps him to avoid the flashbacks and bad memories of the war, while opening up to the possibilities of life again.Beah has had a super touch life, especially being a child and music for him seems to be not only a tool to help him, but something that he needs. He explains what it feels like to be one of the victims of war, which is what the music was used to cure, in this quote by him in his book â€Å"A Long Way Gone† , â€Å"One of the unsettling thing about my journey, mentally, physically, and emotionally was that I wasn’t sure when or where it was going to end. I didn’t know what I was going to do with my life. I felt that I was starting over and over again† (Beah 69).This is the main reason why music becomes such an important aspect in Ismael Beah’s life just as it has become in my own. Music for me has always been something that I loved. It has helped me through many times where I felt alone or when something was making life tough. I also music because by writing my own songs and lyrics it is a good way for me to express myself and who I really am. Whether I am listening to, playing, or writing music it seems like it flows through me like the blood in my veins. It can determine my mood or influence the mood I am in.Music always makes me feel like I have a place in this world even when nothing else can and sometimes when no one else will†¦it is my best friend . Music lives within me, around me, and is what I can always fall back on. Being a child victim of war, Ishmael Beah connects himself to music to help cure himself to the damages of war and to help him focus on returning to a normal life, as I have even done a few times. Music is an aspect of life that anyone can use to get through life†¦no matter what has happened in your life, even if you have been to end and back. â€Å"Music IS the ultimate savior and friend of life. †Ã¢â‚¬â€Jake â€Å"ChEz†

3 Ways To Get Respect When You’re The New Person at Work

3 Ways To Get Respect When You’re The New Person at Work You know your worth. But you’ve just started a new job and you’re back down at the bottom of the ladder. How do you make your coworkers and supervisors see the grounds for all your confidence? How do you get the senior team members to listen to you when you share ideas or make suggestions? How do you get a seat at the big kids’ table? (Without, of course, coming off as arrogant or corner-cutting or worse, as an insufferable know-it-all.) Here are 3 suggestions to get you on the right track to office domination- without alienating anyone. In short: how to get genuine respect when you’re the new person at work.1. Help outIf your workload isn’t challenging enough and no one is trusting you with sexier projects, you can always offer to help a colleague who has a lot on her plate. This accomplishes two things: a) you win that colleague over as a friend for life by pitching in when she needs it most, and b) you have an extra opportunity to shine. Do good work and you both look good. Instant prestige and gratitude! And you look like a hero. Start small and become your team’s go-to guy. Prove that you can rise to the occasion, whatever may be asked of you.2. ShareOffering up ideas and suggestions in meetings isn’t a solo sport. You’re working as a team, remember? Don’t hoard all of your best ideas and information; share it! All that research you are doing into industry trends? It’s no good if you keep it to yourself. Sharing shows your intelligence, plus it asserts your position as a resource in your office. Remember to stay humble and also ask your coworkers and superiors for information and insight, especially if you’re the most inexperienced. All this boils down to: keep learning as much as you can.3. Build relationshipsThe best way to get respect is to earn it, and recruit people to your corner. This can’t be done dishonestly, so there aren’t any tricks involved. Be genuine, not obsequious. Do your share of listening in every conversation. Find a mentor. Earn your teammates’ trust. And don’t get bogged down in office politics or gossip.Keep your cool, and keep your head above the fray. It may take time, but if you behave like a decent human being and find good ways of showing your stuff when given the opportunity, you will earn the respect and admiration of your colleagues.

Famous First Lines of Novels

Famous First Lines of Novels The first lines of novels set the tone for the story to come. And when the story becomes a classic, the first line can sometimes become as famous as the novel itself, as the quotes below demonstrate. First-Person Introductions Some of the greatest novelists set the stage by having their protagonists describe themselves in pithy but powerful sentences. Call me Ishmael. - Herman Melville, Moby Dick (1851) I am an invisible man. No, I am not a spook like those who haunted  Edgar Allan Poe; nor am I one of your Hollywood-movie ectoplasms. I am a man of substance, of flesh and bone, fiber and liquids and I might even be said to possess a mind. I am invisible, understand, simply because people refuse to see me. - Ralph Ellison, Invisible Man  (1952) You dont know about me without you have read a book by the name of The Adventures of  Tom  Sawyer; but  that aint no matter. -  Mark Twain,  Ã¢â‚¬â€¹The Adventures of Huckleberry Finn   (1885) Third-Person Descriptions Some novelists start by describing their protagonists in the third person, but they do it in such a telling way, that the story grips you and makes you want to read further to see what happens to the hero. He was an  old man  who fished alone in a skiff in the Gulf Stream and he had gone eighty-four days now without taking a fish. -  Ernest Hemingway,  Ã¢â‚¬â€¹The Old Man and the Sea  (1952) Many years later, as he faced the firing squad, Colonel Aureliano Buendia was to remember that distant afternoon when his father took him to discover ice. -  Gabriel Garcia Marquez, One Hundred Years of Solitude​ Somewhere in la Mancha, in a place whose name I do not care to remember, a gentleman lived not long ago, one of those who has a lance and ancient shield on a shelf and keeps a skinny nag and a greyhound for racing. -  Miguel de Cervantes,  Ã¢â‚¬â€¹Don Quixote When  Mr.  Bilbo Baggins of Bag End announced that he would shortly be celebrating his eleventy-first birthday with a party of special magnificence, there was much talk and excitement in Hobbiton. - J.R.R. Tolkien, The Lord of the Rings (1954-1955) Starting With It Some novels start out with such original wording, that you feel compelled to read on, though you remember that first line until you finish the book and long thereafter. It was a bright cold day in April, and the clocks were striking thirteen. - George Orwell, ​1984 (1949) It was a dark and stormy night ... . - Edward George Bulwer-Lytton, Paul Clifford (1830) It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair. - Charles Dickens, ​A Tale of Two Cities (1859) Unusual Settings And, some novelists open their works with brief, but memorable, descriptions of the setting for their stories. The sun shone, having no alternative. -  Samuel Beckett, Murphy (1938), There is a lovely road that runs from Ixopo into the hills. These hills are grass-covered and rolling, and they are lovely beyond any singing of it. - Alan Paton, ​Cry, the Beloved Country (1948) The sky above the port was the color of television, tuned to a dead channel. - ​William Gibson, Neuromancer (1984)

Sweeping Political and Economic Changes Essay Example | Topics and Well Written Essays - 2000 words

Sweeping Political and Economic Changes - Essay Example Customer expectations can be fulfilled or even exceeded by opting for quality systems whether the organization concerned is a manufacturing industry or an analytical laboratory offering services of chemical analyses. 2. DEFINITION OF QUALITY According to Mulmi,(2009, p7-8)the term ‘Quality’ has been defined in many a different way by various authorities on quality. For example he cites, Joseph M Juran’s definition of quality as ‘fitness for use’, Philip B Crosby’s definition as ‘Quality is conformance to requirement, it is respect to humanity’ and the American National Standards Institute’s definition of quality as the ‘totality of the features and characteristics of a product that bears on its ability to satisfy the stated or implied needs’. The International Organization for Standardization has defined quality as the ‘Degree to which a set of inherent characteristics fulfills requirements’ (ISO: 2 005a, 3.1.1). ... 3. SELECTIING A CONTEXT-THE ANALYTICAL LABORATORY Cases (2000,p xix) defines Analytical Chemistry as a ‘metrological science that develops, optimizes and applies measurement processes intended to derive selecting chemical information of global or partial type from natural or artificial objects or systems in order to solve analytical problems’. Fifield & Kealy (2000,p524) point out that a typical analytical laboratory carries out development and day-to-day application of analytical methods in optimum conditions. According to them, the successful functioning of activities in an analytical laboratory necessitates the simultaneous management of a number of related but different operations. Reproducibility, reliability, and efficiency of operation of various instruments are as much necessary as are collation and interpretation of data which result in the generation of valid conclusions drawn from them. In the present context, the Analytical Laboratory has been taken to illust rate the impact of quality issues in this dissertation. 4. QUALITY ISSUES RELEVANT TO AN ANALYTICAL LABORATORY Analytical laboratories are organizations that obtain process and communicate information about the composition, structure and relative amounts of constituent elements in matter or systems, from a chemical or biochemical point of view. The quality system, administrative system and technical system that govern the operations of a laboratory are together termed as the management system by the ISO ( 2005b, p1). Due to the increasing use of management systems, it is becoming increasingly important to ensure that analytical laboratories do operate to a quality management system while at the same time become capable of demonstrating their technical competency to international standards.  

Ph conductivity lab Report Example | Topics and Well Written Essays - 1000 words

Ph conductivity - Lab Report Example The colour change in observed in each of the solutions was recorded and later used to determine if the solutions were either basic or acidic. From the experiment on PH, it was observed that despite the different outputs of the indicators the colours and digital signatures tally with standard conventions even when verified against an electronic PH probe. Conductivity measurement can be utilized in the surveillance of purity of feed water, quality control of drinking water and process water. It estimates the total number of ions in a solution or directly measures the constituents of the sample. Conductivity instrumentation is highly reliable, low cost and very sensitive (Gray, 2006 p.1). The conductivity of water provides information on its chemical composition as it is directly linked to the concentration of ions and their mobility (Dalmas, n.d, p. 1). From figure 1, it is observed that as the concentration of ions in a solution increases so does the conductivity. Conductivity measurements are based upon the Measurement of electric current flowing between parallel plates of fixed size and fixed separation distance (leveling, 2002. P. 1). Electrical conductivity is dependent on the PH, temperature and dissolved carbon dioxide. Conductivity can either be intrinsic or extraneous. It has been reported that soil solutions presenting high concentrations of sodium chloride with electrical conductivity of between 6 to 10 mmho/cm can be associated with a 50% decline in rice yield and in addition high PH of alkaline soils induces zinc deficiency (Breemen and Moorman, p.121). pH is a measure of the acidity or alkalinity of the solution and is measured by determination of the concentration of hydrogen ions (H+) or hydroxyl ions (OH-) present in the solution. The assembly of a pH meter comprises of a pH sensitive electrode that is commonly made of glass, a reference electrode, and a temperature element that