Impact of Arrival of Television on Electioneering In England Essay Example for Free

Impact of Arrival of Television on Electioneering In England Essay INTRODUCTION The invention of television marked he beginning of a new epoch. The age of information technology made information available at the push of a button. Facts and distortion of facts are the tools of the entertainment industry. Exaggeration is the premise on which the advertizing agency works. It is confluence of the audio visual impact which is one of the most powerful influences that is experienced by the individual. It left no human endeavor untouched .The fate of democracy is determined by the elections. Television was utilized for campaigning of the candidates participating in the election. It brought about a complete revamping of the election campaign. Local issues were sidelined and an emphasis on the national campaign was     the dominant feature of the election process.[1]Mass media had completely mesmerized both the masses and the persons responsible for planning and execution of the election campaign. The recent proliferation of the media channels has led to a depletion of issues that can be aired on these channels .therefore there has been a shift from national to local politics. The impact of the television is not just limited to what is going to be at the forefront but it has led to complete overhaul of the process. The campaigns are more articulate and well planned .The concept of negative publicity has been inducted like it was done never before. The elections are loosing personal touch as there is more emphasis on the how to air the campaign. Consequently the expenditure on the elections is rising partly because of infalation and partly because the campaigns are conducted on grand scale. British Law permits each party to air its programme, policies and agendas on the national channels across England for 20 minutes without paying any tariff for putting it on air. Each party is given a maximum of five repeat telecast. HISTORY OF POLITICAL BROADCAST Political broadcasting started in Britain in 1924 on radio with a20 minute allocation time for each party. it was started on television in 1951.   It was an unpaid time slot of 15 minutes that was allocated to each party. The political broadcasts are regulated by the 1990 Broadcasting Act and the Political Parties, Elections and Referendum Act 2000.The initial directives of the act forbade that the political advertisement should not be purely political in nature. In 2001 general election the   three major political parties were given five chances to broadcast their political campaign where as the minor political parties were given one chance if they were contesting one sixth of the total seats. 5 and 10 minutes of political advertisements were replaced by 240, 340 or 440and a stricture is placed on them so that they should not violate decency and good taste. All the political electoral broadcast by various party are simultaneously aired .These are either preceded or followed by   previews and reviews by the major news paper daily and there fore the messages are a kind of reinforced. Currently there is ongoing debate on whether the system of political broadcast should be completely scraped or it should be revised with a provision of paid commercials. Since time immemorial it has been stated that effective governance is related to whether the voters have made an informed choice. It is privileged class who will try different means to gather information about the party and candidates standing in the election. The masses either do not makes a conscious effort to gather information or they rely on effortless means to gain information about the political parties. What the media is representing can differ. On the one hand it can be balanced objective on the other hand it can be preferential[2] It has been observed that commercial broadcasting system can have ulterior motives as they are there to maximize their benefits. The national broadcasting system is more conducive to producing objective information   Ã‚  about the political parties[3]. Political advertising in England is more party oriented where as in America the emphasis is on the candidate .Lot of attention is being paid to the effect of use of media in the election .It is very difficult to conclusively prove that what results it is going to produce .England is a very old democracy and all the parties have their particular image .Media cannot altogether alter the image of the party   .It can highlight the achievement of the party and it can make the manifesto more lucrative. This premise is in accordance with the earliest studies of the impact of television on the electoral outcomes by Blumler and McQuail.[4] The party campaign through the media is expected to effect the voter turn out. It can bring to the forefront various campaign issues. It can create an enthusiasm for gathering more information about the party programmes.[5]These early studies reflected that voting for political parties were a matter of class and the election campaign served very little purpose. [6]The conservative and the Labour party were dividing the voters on the basis of who did manual labour and who didn’t work with their hands i.e the managers and the employers and the middle class The voters who changed their loyalties from one party to another were primarily for a short term. It has been observed that this faction was to swing back its support to he party which it originally adhered to.   It can be said that these floating voters can be influenced by the televised transmission of the electoral campaign. This can be contended because the labour part lost three elections in a row in 1959 although the class that does manual labour constitute major chunk of the electorate. The material prosperity entailed a spread of the middle class values and hence the conservatives won the election. The messages that are aired during the political campaigns in election are not the only information available to the electorate. The long term memory of the people might be short. That doesn’t mean that the events political debates     press conferences, by- elections etc preceding the election campaign have no consequence. The election campaign through the media is of two kinds. One in which the focus is on the image building or the achievement of the party .The other kind deals with the character assassination of the opponent. If the attack broadcasting is exaggerated and is not substantiated then it can create sympathy for the opponent. The conservative party campaign nick named ‘Demon eye’ of 1997 was counter productive It created an image of Labour as leftwing radicals. The electorate had experience a moderate labour party government under the leadership of Tony Blair. A caricature of Mr. Bust and Mr. Boom was used to depict the economic condition of England .The facts that Britain had experienced a spurt in the economy in 1980 under the leadership of Thatcher. This kind of media campaign has to be used with great caution as it is either counterproductive or it does not have any effect on the target audience. If there are fractions within the party then it can bolster unity among the contending fractions. The persuasive propaganda is more useful and almost all the parties realize that it is the best way to campaign .It pays attention to detailing the ideology of the party. It is oriented on the fact that the achievement of the party is highlighted. Moreover it is presented in manner that it appears more entertaining so as to keep the audience hooked on to it. It can be proved that the parties are more interested in this positive kind of advertisement by looking at the percentage of the campaign allocated to the political advertisement. Negative references were a small and similar proportion of the total literature of all three parties: 8.7 per cent Conservative, 10.4 Labour, 9.8 per cent Liberal Democrat. The televised broadcast of the political party programmes is useful tools because the minor political parties get a chance to make themselves felt. This is true for most of the countries who have democracy and who have televised political advertisement.[7] Even .The liberal democrats were able to make themselves felt through their advocacy strategy. In 1951 the minor parties had around 10% to 3% of the vote share. This vote share increased in the 1997 and almost one fourth of the total share of the vote. There are many reasons for the increase in the vote share of the relatively new and unknown political parties like social class. Education of the voter as it determines whether it is an informed choice or not. Media especially the print media is specially tilted in favor of conservative parties IT was in the I970s that the researches were conducted and it reflected that a change had occurred in the political environment of Britain .The voters were not holding to the rigid class bias of the political parties due to the influence of the television. The other factor that is responsible for this change was the economic affluence in England as that was responsible for mitigating the gap between the rich and the poor.[8]Other researches argue that this doesn’t mean that class politics has changed rather it can be seen as both the parties are going out of favor. Heath et al argue â€Å"analysts have mistaken changes in behavior by voters for changes in their motivation without asking first whether or not the political stimulus they have received is still the same or not. They suggest, for example, that variations in the strength of the class alignment may well reflect changes in the distance between the parties on class-based issues†.[9] The voters are not taking their decisions in vacuum there are certain political and social issues that are motivating the voters to vote for apolitical parties. The short term shift in the voters preference is based on the perception of the competence of the parties,. The parties in power can effectively utilize the print as well as the television in advertizing its achievement .There have been fears that   the hegemony of the media was responsible for the conservatives winning the election as they have the hegemony over the press. It has been time and again proved television is not the sole deciding factor in determining the outcome of the election. The 1980s saw a shift from the national to regional politics .There was a variation in the voting patterns from one region to another. If television has been the main sway in the elections then the entire country should have shown a similar pattern. Local campaign did make a difference The surveys conducted by the Labour party showed that Its percentage of votes was directly related to number of people working for the party [10] Local campaign play an important role in persuading the voters to vote for a particular party. It is very difficult to find out what was the ultimate reason for voting as the preferences of an individual are shaped in the recesses of an individuals mind. Television came second in the list of what influenced the voters of the survey conducted by MORI .The regional television can be utilized to create amore local and specific advertisement for the electorate. This area has yet to be explored by the political party..   The labour party topped the list of frequency of the reference of the constituencies and it made almost 28.7 per cent of sentences referring to local provision. The Conservatives made 16.5 per cent and made the Liberal Democrats 10.2 per cent references to the local issues. This means the elections are by and large fought on national issues which are effectively transmitted through the television. The lab our party has thrice lost elections till 1997. This reflects that though they made more references to the local electoral constituencies they were unable to convert the voters in their favour. CONCLUSION It is seen that the advent of television had completely changed the way in which we look at the different issues .Things which are of relatively lesser importance can be presented in an innovative method .The election process in England has its own peculiarities.   Television didn’t bring about a complete transformation of the election process of Britain. England is one of the oldest proponents of the institution of democracy. The two major parties the lobour and conservatives have their peculiar images .Television cannot completely alter the public perception. The older generation is more difficult to mould as its ideas are set .The televised broadcasting of the party manifesto can be aimed at the youth which is more likely to change its preferences. A perceptible shift is seen in the support base of the two major political parties the Labour party was supported by the people doing manual labour and the conservatives were supported by the middle class. The class distinction was thought to be the basis of the voting pattern. Now this distinction is becoming less and less important as media and economic affluence has reduced the gap between the rich and poor.   The influence of television has backfired on the two major parties .The minor political parties have increased their vote percentage. The major beneficiary is the Liberal Democratic Party. Although it has been the pristine premise that the informed electorate   can lead to the formation of more effective and responsible government .It can be said with certainty that the voters of the present age are more informed but there is difference between having knowledge and judicious use of knowledge..The other aspect of this election scenario of England is that there is no alternative to the present parties on the national level .Even if the voter is aware of the shortcomings of the present parties, he has no choice. The voters have to choose the lesser evil. REFERENCES Blumler, Jay G. and Denis Mc Quail. 1968. Television in Politics: Its Uses and Influence. London: Faber Faber.n.p Bonham, J. (1954), The Middle Class Vote (London: Faber)pp 56-62 Butler, D. and Stokes, D (1974) Political Change in Britain(2nd. edition) pp54-78(London: Macmillan) Evans, G. Heath, A., and Payne, C. (1999), ‘Class: Labour as a Catch-All Party?’ in Evans, G. and Norris, P. (eds.), Critical Elections: British Parties and Voters in Long-Term Perspective n.p   (London: Sage) Kaid, Lynda Lee and John C. Tedesco. 1993. ‘A comparison of political television advertising fromthe 1992 British and American campaigns.’ Informatologia 25(1-2): 1-12 Kavanagh,   The British General Election of 2001. Basingstoke n.p: Palgrave Macmillan News on Party Images in the 1997 British General Election. British Elections and Parties Norris, 2001. Ed. Britain Votes 2001.n.p   Oxford: Oxford University Press. Norris et al .1999; Norris and Sanders 2000   pp 110-120 Sanders, David and Pippa Norris. 1998. Does Negative News Matter? The Effects of Television Semetko , holi .A 1996 The Media In Comparing democracies edited by Lawerence   Le Duc,Richard Niemaand Pippa Norris London:Sage   pp254-279 Seyd, P. P. Whiteley (2002) New Labour’s Grass Roots: The Transformation of Labour Party Membership, Houndmills: Palgrave Macmillan.pp10-38 Zaller John2003†Anew standerd of the news quality: Burglar alarm Monitorial Citizens†Political communication20 109-130 [1] (Kavanagh, (1970). The British General Election of 2001. Basingstoke: Palgrave Macmillan News on Party Images in the 1997 British General Election. British Elections and Parties n,p [2] Zaller John2003†Anew standerd of the news quality: Burglar alarm Monitorial Citizens†Political communication20 pp109-130 [3] Semetko , holi .A 1996 The Media In Comparing democracies edited by Lawerence   Le Duc,Richard Niemaand Pippa Norris London:Sage   pp254-279 [4] Blumler, Jay G. and Denis McQuail. 1968. Television in Politics: Its Uses and Influence. London: Faber Faber.n.p [5] Norris et al .1999; Norris and Sanders 2000   pp 110-120 [6] Bonham, J. (1954), The Middle Class Vote (London: Faber)pp 56-62 [7] Kaid, Lynda Lee and John C. Tedesco. 1993. ‘A comparison of political television advertising from the 1992 British and American campaigns.’ Informatologia 25(1-2): pp1-12 [8] Butler, D. and Stokes, D (1974) Political Change in Britain(2nd. edition) pp 54-78(London: Macmillan) [9] Evans, G. Heath, A., and Payne, C. (1999), ‘Class: Labour as a Catch-All Party?n.p Norris, P. (eds.), Critical Elections: British Parties and Voters in Long-Term Perspective (London: Sage)n.p [10] Seyd, P. P. Whiteley (2002) New Labour’s Grass Roots: The Transformation of Labour Party Membership, Houndmills: Palgrave Macmillan pp.10 38

How One Film Demonstrates Features Which Can Be Considered as Post-Modern Essay Example for Free

How One Film Demonstrates Features Which Can Be Considered as Post-Modern Essay Film within the post-modern genre simply illustrates the ideas of postmodernism through expressive art. Postmodern can be defined as a â€Å"genre of art and literature†¦ in reaction against principles and practices of established modernism† In this essay I will be outlining the key concepts as well as characteristics that can be found in a post modern film. Postmodern cinema contradicts the typical principle of narrative structure and the portrayal of the characters. One film I believe illustrates these ideologies is Quentin Tarantino’s film Pulp Fiction. Released when postmodern films were at its peek. Pulp Fiction has to be one of cinemas most iconic films of all time. Due to the uncertainty of the characters and the stylised yet ambiguous nature of the plot, Pulp fiction is not only to be branded intriguing but also a great example of postmodern. Work by theorists such as Fredric Jameson, will be looked at to help with the analysis of the chosen film. By doing so this helps prove that key concepts which are present within the film such as pastiche, irony, fragmentation and parody are perceptions that together make up a postmodern film proving that pulp fiction is a good illustration. The use of pastiche is present throughout the film. Pastiche allows the emergence of differing techniques to form together in order to create a new structure. Replications of renowned film makers work has been used in order for an updated equally creative film to be produced. Anything from words, phrases, visual, and musical patterns can be used, by doing so it demonstrates that postmodern film is a combination of a variety of texts, styles and skills. Many theorists have spoken openly about their disproval of pastiche. Theorist Fredric Jameson for example even goes as far as to refer to pastiche as a â€Å"dead language†. In the book Postmodern Culture Fredric Jameson writes about the decline of new art, he writes â€Å"in a world in which stylistic innovation is no longer possible, all that is left is to imitate dead styles† (Jameson,1995 ) Even though â€Å"plagiarism of older plots†(Jameson, 1995) occurs in some films it can be argued that by this technique being used it allows an ingenious reinvention of a classic, to be made. One of the first indications of pastiche in Pulp Fiction takes place in the third scene where Vincent (John Travolta) and Jules (Samuel L. Jackson) enter the house. When Vincent is directed to the place where the brief case is, and opens it he is to be met by a bright glow, the scenes shows similar replication to a 1950s film in the film noir genre; called kiss me deadly. Where in both films the characters gaze adoringly in to the case, in Pulp Fiction the question of what it could possibly be is asked, considering the 666 (the mark of the anti-Christ) had to be entered into the case in order for it to be opened. Referencing to the 1950s is evident in the film, Marcellous’s wife Mia is associated with the 1950s quite a lot. The dialogue between Vincent and Mia is reminiscent to what would be said in a 1950s film. This idea is highlighted again when she chooses to go to a 1950s themed restaurant. The language and the setting break’s away from the usual formatting of the film which up until now consisted of violence. Mia being so much associated with the 1950s is rather ironic as you automatically associate the 1950s and women to be calm and innocent. We soon find this not to be the case as she is soon after shown taking drugs in the bathroom. Another example of pastiche within the film would be when Marcellous got raped. After his traumatic experience he tells Butch that he’s going to get his men to work on Zed with a â€Å"pair of pliers and a blow torch†. A line that was famously taken from the film Charley Varrick. The use of parody is another postmodern feature that is evident in pulp fiction. Like pastiche parody is also the imitation of a person’s previous work. Even though they may seem the same, the two techniques in fact contrast one another. Parody imitates film through cynicism whilst pastiche emulates true form. According to Jameson the use of parody emphasises a films distinctiveness through mockery, he rightly declares â€Å"now parody capitalises the uniqueness of these styles and seizes on their idiosyncrasies and eccentricities to produce a imitation which mocks the original† (Jameson,1995 ) The sarcastic tone to situations that can be considered to be serious are ridiculed whilst random partially irrelevant scenes are present at times. This technique easily can be seen as an attack on history however it also can be perceived as a humorous take on a scene or situation of something of importance. According to Linda Hutcheon â€Å"pastiche usually has to remain within the same genre as its model, whereas parody allows for adaptation† (Hutcheon1989). Parody allows the script to differentiate away from the original and become a voice and vision of its own, helping create a new meaning to the scene. Parody allows the script to differentiate away from the original and become a voice and vision of its own, helping create a new meaning to the scene. An example of parody is shown in the film is in the scene where Butch is a young boy. He receives a visit from a friend of his father who died at war. On first appearances you as the audience not only are intrigued but curious to find out what is going on. What seems to be something of importance is soon dismissed as the soldier goes on to talk about how Butch’s birth right was hidden up his and Butch’s fathers â€Å"ass† for seven years. Another element which is evident is the exploitation of words and situations being used in order to suggest the opposite of their intended meaning. Pulp Fiction explores this feature in the form of irony. The three types of irony used are: irony of fate, verbal irony and dramatic irony. Together the three different varieties of irony merge collectively providing a witty script. The scene where the two men in suits (Samuel L. Jackson and John Travolta) approach the door and enters, is a prime example of dramatic irony. This is due to fact that we know something bad is going to take place. The audience knows more than the characters in the film, making us to wonder what will happen next. The sarcastic tone in the conversation Jules is having with one of the victims, too adds to the suspense as his tone is not serious â€Å"do you mind if I have some of your tasty beverage to wash this down? The dialogue is rather confusing as you immediately think that your interpretation of events must be wrong and once again are left not knowing what is going to happen next. Before killing the victim Jules recites a biblical verse â€Å"The path of the righteous man is beset on all sides by the iniquities of the selfish and the tyranny of evil men. Blessed is he who in the name of charity and goodwill shepherds the weak through the valley of darkness, for he is truly his brothers keeper and the finder of lost children. And I will trike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know my name is the Lord when I lay my vengeance upon thee† (Ezekiel 25:17). The irony behind this is that he associates God with assignation. His act has now become justified in a deluded way. Whereas before God was associated with negativity in regards to Jules in the end it was the â€Å"divine intervention† of God that also saved him from the life of violence. Jules’ epiphany came when he was close to death it was this same epiphany that saved the thieves in the diner at the end. An example of irony of fate would have to be when Butch runs into Marcellous at the traffic lights. This is ironic as Butch escapes being killed due to Marcellous putting out a warrant for him. The scene continues to show irony as the two of them end up being put in a compromising situation in which they end up needing the help of the other for their own survival. Marvin’s death in the car is an additional case of irony of fate. He ends up being shot accidentally minutes after his life was spared. This is tragic as in Marvin’s case he was killed due to being at the wrong place at the wrong time. The complex nature of the film means that pulp fiction contains multiple storylines making it a story within a story. This fragmented form â€Å"deliberately discontinuous narratives†¦to suggest the fragmentation and breaks-up of formerly accepted systems of thought and belief† (Tim Woods, 1999). This particular feature is vital and takes place through out. The mergence from one thing into the next forces those watching to construct and figure out the story for themselves. Fragmentation has a real role of importance in Pulp fiction as the distorted storyline enables the audience to have empathy for the characters. The beginning of the film which we later find out is in fact the end, starts off with a mid way conversation between a man and a women. Only seconds into the movie and already the audience is left unsure of what it is they are talking about and what is going on in the scene. After a confusing dialogue between the two people which lasts only a few minutes the scene ends with a frozen image of the two of them. Not knowing what is going on is a theme which is explored throughout the film. Like in the first scene the scene following, too starts off with a conversation which has already started â€Å"okay so tell me again bout the hash bar† by doing so again the audience are unaware of what is taking place and feel the need to construct the story for themselves. A different example in the scene â€Å"Vincent Vega and Marsellus Wallace’s wife† introduces another character which the film later reveals is one of three protagonist characters Butch. Like the formatting of the other scenes a conversation is already taking place when the scene begins. The scene continues and Vincent and Jules randomly enter wearing t-shirts and shorts. It is only nearer to the end of the film that we find out why they are wearing what they are wearing. As the film draws to an end the first scene in the diner is explained in the last scene. The audience later find out that both Vincent and Jules are in fact present at the robbery. With his new morally correct path in which Jules wants to pursue he spares them their lives even though they had a gun pointed in his face. After an extensive look into postmodern film and the role in which it plays in the formation of film, it is evident that it is these features that make the films what they are, despite it contrasting the conventions of typical film. Borrowing plot lines from other well known sources, the use of sarcasm when imitating art, irony and perplexity are just a few descriptions, you could find within this genre. Even though at times these features have been questioned as well as criticised, in the end the final product at times are fascinating, a good example of this theory defiantly lies in the film pulp fiction. Pulp fiction forces the audience not to conform to the conventional ideas of film but instead consider a new way of understanding and acknowledge film. The concepts effectively add a new type of understanding to a collective of ideologies, allowing the reader to witness many different transitions that occurs within life through the characters. The relation between postmodernism and film has been openly criticised yet applauded by theorists. The lack of originality is the main focal point in regards to the subject with some theorist even referring it to plagiarism. Quentin Tarantino disproves this theory as his work is a prime example of originality and uniqueness that can come out of postmodern film in spite of pastiche, parody, irony and fragmentation being used.

Step by step design of a lock

Step by step design of a lock Introduction This paper outlines the step by step design of a lock in amplifier based micro-ohmmeter. This is very useful in measuring small resistances without applying large currents. And find its usefulness in tracing short circuits on printed boards containing sensitive components. The Audio Micro Ohm Meter uses synchronous detection to measure low value resistances. The circuit provides a variable frequency audio tone to indicate the resistance under test. Such a tone is invaluable when troubleshooting shorted tracks on multi-layer circuit boards because it is easier and quicker to observe 1. The source generates a 1KHz, 250mV peak square wave carrier signal that is injected into the unknown resistance, the resulting voltage across the resistor is amplified by the instrumentation amplifier. The phase reversing switch then rectifies the complementary square wave input, the rectified output is not all smooth so a low pass filter is needed. A Voltage controlled is then used to measure and indicate low value resistances such as track resistances on printed circuit boards. To provide a convenient indication, we want a ‘display that has high resolution (like a digital display) but is easy to read (like analogue meter) and that preferably doesnt even need to be looked at, so we can concentrate on the probes. To trace short circuits, the one thing we dont really need is high accuracy, since we are generally moving the probes 1. A muting detector then comes in to compare the control voltage with reference voltage. The Proteus ISIS software is used for the simulation of the circuit while a printed circuit board was used for the verification of the circuit. Resistor selection, analysis of waveforms , sensitivity and linearity of the device to supply voltage and possible improvements of the device were discussed. Excitation Oscillator One of the most useful ICs ever made is the 8-pin 555 timer and it is used in many projects. It can be used to build many circuits by just adding a few external components. NE555 is a popular version and it is suitable in most cases where a 555 timer is specified. Some low power types of the 555 are made, for instance the ICM7555, but can only be used when specified (to increase battery life) because their maximum output current of about 20mA (with a 9V supply) is too low for many standard 555 circuits. The ICM7555 has the same pin arrangement as a standard 555. The circuit symbol for a 555 is a box with the pins arranged to suit the circuit diagram: for example 555 pin 8 at the top for the +Vs supply, 555 pin 3 output on the right. Usually just the pin numbers are used and they are not labeled with their function. Standard 555 ICs create a significant glitch on the supply when their output changes state. This is not a problem in small circuits with no other ICs, but in a complex circuit a smoothing capacitor can be connected across the +Vs and 0V supply near the 555 . The 555 timer operates in different modes. The astable mode suits our design criteria. An astable circuit produces a square wave, this is a digital waveform with sharp transitions between low (0V) and high (+5Vs). It is possible that the durations of the low and high states may be different. The circuit is called an astable because it is not stable in any state: the output is continually changing between low and high. Our circuit needs a square waveform output of 4KHz, for this to be obtained an appropriate resistor value can be estimated by calculation to obtain the needed signal to drive the circuit Duty cycle The duty cycle of an astable circuit is the proportion of the complete cycle for which the output is high (the mark time). It is usually given as a percentage. The duty cycle of our circuit can be determined using Time period. The timeperiod (T) of the square wave is the time for one complete cycle, but it is usually better to consider frequency (f) which is the number of cycles per second 2. The time period can be split into two parts: T = Tm + Ts 5 Mark time (output high): Tm = 0.7 Ãâ€" (R1 + R2) Ãâ€" C1 Space time (output low): Ts = 0.7 Ãâ€" R2 Ãâ€" C1 we can determine our R2 using C3= 10nF, R1=1k and f= 4kHz we calculate our R2 as Tm = 0.7 X (1K + 33K) X 10 X 10^-9 = 238 ÃŽ ¼s While Space-time represents low output, Ts= 0.7 Ãâ€" R2 Ãâ€" C1 Ts = 0.7 X (1K) X 10 X 10^-9 = 0.7 ÃŽ ¼s T = Tm + Ts = 238 + 0.7 = 238.7 ÃŽ ¼s Duty cycle = = 99.7% The Quadrature Divider A quadrature divider, comprises a plurality of flip-flops, it includes at least two flip-flop, the flip-flops are interoperably coupled in series to produce a set dividing ratio 7. Each of the flip-flops includes two differential inputs I, two differential outputs O, and two differential clock inputs C, the outputs O, of one flip-flop is connected to the inputs I, of the next flip-flop, the outputs O, of the last flip-flop is connected inversely to the inputs I, of the first flip-flop, the flip-flops are clocked at their clock inputs C with differential clock signals in a consecutive manner which, for each flip-flop, are individually selected from quadrature clock input signals, 0, 90, 180, and 270, the quadrature divider is an even number divide-by-n circuit comprising a number of 2n flip-flops and providing a number of 4n output signals having 4n equidistant phases. 9 In our case the quadrature divider receives the square waveform signal from excitation oscillator as its clock signal . Figure 4 and 5 of the appendix show the pictorial representation of the quadrature divider as obtained from the circuit simulation and the oscilloscope graphic display. There are four output signals from the quadrature divider and they each have amplitude of about 5V but frequency of 1 KHz. This shows that the quadrature divider effectively divides the clock frequency into four amongst the equidistant phases. Attenuator An attenuator is a circuit that allows a known source of power to be reduced by a known factor usually expressed in decibels. The main advantage of an attenuator is that it is made from non-inductive resistors and therefore able to change a source or load, which might be reactive, into a resistive one that is know. The power reduction is achieved by the attenuator without introducing distortion. The attenuator used in our circuit is a pi type It is used to attenuate the 0 and 180 degrees antiphase 5V signal form the quadrature divider to 250mV at 1KHz. In order to get this value we need to select R5 in this attenuator circuit. Using Thevenins theorem. RTH = R5// (R3 + R4) where RTH = 100 ohms, R3 = 1K1ohms and R4 = 1K1 ohms. R5 = = 104.76 ohms. The best resistor to this to this value is a110 ohms resistor. So R5 = 110 ohms. figure 6 of the Appendix shows the graphical output of the attenuator with amplitude of about 250mV and frequency of 1 KHz. The attenuators gain in decibels is obtained by finding the ratio of the voltage corresponding to a known factor. Using the formula: , where R1 = 1100 ohms and the Z = 100, K = = 1.2 The value of attenuation, A in dB is obtained using K = 10 (A / 20) 1.2 = 10 (A / 20) A = 20 log 1.2 = 1.584 dB Instrumentation Amplifier An instrumentation amplifier is a variation of differential amplifier with input buffers that eliminates the need for input impedance matching making the amplifier suitable for use in measurement 5. It is a differential op-amp circuit providing high input impedances with the pleasure of gain adjustment through the adjustment of a single resistor. Instrumentation amplifier has very low DC offset, low drift, low noise, very high open-loop gain, very high common-mode rejection ratio, and very high input impedances. The instrumentation amplifier used in this circuit affected its accuracy and stability. The attenuated signal is applied across a resistor with very small resistance. The voltage drop across the resistor is small and needs to be amplified. The instrumentation amplifier does this, it composes of three op-amps arranged so that there is one op-amp to buffer each input signal and one to produce the desired output with adequate impedance matching for the function.3 The gain of the instrumentation amplifier circuit used for this micro-ohmmeter design is known to be 60 dB. Using the formula below then, Av =where AV = 60 dB, R = 10 k, 60 =, R9 = = 338.98 ÃŽ © The best resistor to this value is 340 ÃŽ © and it controls the gain of the instrumentation amplifier. The negative feedback of U3:A makes the voltage at pin 2 of U3:A to be equal to Voltage across R8. while, the voltage at pin 6 of U3:B is held to a value equal to Voltage across R14. This establishes a voltage drop across R9 equivalent to the voltage difference between V1 and V2 and subsequently a current through R9 and since no current is drawn by the feedback loops of the two input op-amps , the same amount of current through R9 must be going through R10 and R12 resistors above and below it. This produces a voltage drop between points A and B equal to V The ordinary differential amplifier part of the circuit then amplifies this voltage drop by a gain of 1. The post- differential amplifier circuit, with gain = R19 / R15 and differential input resistance = 2*R15. The two amplifiers on the left are the buffers. With R9 = Rgain removed (open circuited), they are simple unity gain buffers; the circuit will work in that state, with gain simply equal to R19 / R15 and high input impedance because of the buffers. The buffer gain is increased by putting resistors between the buffer inverting inputs and ground to shunt away some of the negative feedback; however, the single resistor Rgain between the two inverting inputs is a much more elegant method: it increases the differential-mode gain of the buffer pair while leaving the common-mode gain equal to 1. This increases the common-mode rejection ratio (CMRR) of the circuit and enables the buffers to handle much larger common-mode signals without clipping than would be the case if they were sep arate and had the same gain. Another benefit of the method is that it boosts the gain using a single resistor rather than a pair, thus avoiding a resistor-matching problem. The ideal common-mode gain of an instrumentation amplifier is zero. The common-mode gain of the instrumentation amplifier used in this design is near zero because of the equally numbered resistors and by the matched common-mode gains of the two buffer op-amps of the instrumentation amplifier. To obtain a closely matched resistors is difficult, as is optimizing the common mode performance of the input op-amps. All resistors are of equal value for this instrumentation amplifier except for R9. This method has the advantage of possessing extremely high input impedances on the input voltage across R=39 because they connect straight into the non-inverting inputs of their respective op-amps and adjustable gain that can be set by a single resistor. The lowest gain possible is obtained from the above circuit with R9 completely open (infinite resistance), and that gain value is 1. The output of the instrumentation amplifier is an anti-phase square wave signal from the that connects to the phase shift detector for further modification. Lock-In Amplifier A lock-inamplifier otherwise known as a phase-sensitive detector is a type of amplifier that can extract a signal with a known carrier wave from extremely noisy environment. It is a homodyne with a very low pass filter making it very narrow band. Lock-in amplifiers utilizes mixing, via a frequency mixer, to convert the signals amplitude and phase to a DC—in fact a time-varying low-frequency—voltage signal. It is often used to measure phase shift, even when the signals are of a high value and of high signal-to-noise ratio, and do not need any other improvement.To obtain signal at low signal-to-noise ratios, it is necessary that a strong, undiluted reference signal is made available at the same frequency as the signal to be measured. Phase Difference Two oscillators that have the same frequency and different phases that is, a phase difference, the oscillators are said to be out of phase with each other. The amount by which such oscillators are out of step with each other can be expressed in radians from 0 to 2Ï€ or in degrees from 0 ° to 360 °, If the phase difference is 180 degrees (Ï€ radians), then the two oscillators are said to be in antiphase. If two interacting waves meet at a point where they are in antiphase, then destructive interference will occur. It is common for waves of electromagnetic (light, RF), acoustic (sound) or other energy to become superposed in their transmission medium. When that happens, the phase difference determines whether they reinforce or weaken each other. Complete cancellation is possible for waves with equal amplitudes. Phase compensation This is the correction of phase error (i.e., the difference between the actually needed phase and the obtained phase). To obtain stability in an operational amplifier a phase compensation is required. To keep a phase margin in the phase compensation a capacitor/RC network is usually used . A phase compensator works by subtracting out an amount of phase shift from a signal which is equal to the amount of phase shift added by switching some additional amplifier stages into the amplification signal path. Low-Pass Filter A low-pass filter is a filter that passes low-frequency signals but attenuates (reduces the amplitude of) signals with frequencies higher than the cutoff frequency. An ideal low-pass filter completely eliminates all frequencies above the cutoff frequency while passing those below unchanged: its frequency response is a rectangular function, and is a brick-wall filter 8. If we need to get rid of an interfering signal in order to get a lot of attenuation, several RC filters can be cascaded. Unfortunately, the impedance of one RC section affects the next. What this means is that the transition between the pass and stop bands will not be sharp. A sharp transition helps reduce the interfering signal without causing degradation to the desired signals. In this case, the Sallen-Key active filter can do the job well. This circuit uses a 2-pole filter. Cascading a number of stages can give a steep attenuation transition with a very sharp knee. This cut-off frequency aids in selecting the R20 an d R22 resistor values to be used in the low pass filter design to average noise in the DC signal 6. The required Q for the butterworth filter = 1.414. The op-amp stage is a unity gain follower when R20 = R22. if C9 and C10 are equal, then the Q = 1.5858 for Butterworth response. Using convenient near values gain of 1.56 in the formula, R20 = R22 = Q / (4 ·Ãâ‚¬Ã‚ ·fo ·C9) where, fo = cut-off frequency = 4Hz, C9 = C10 = 0.1ÃŽ ¼F R20 = R20 = 310.31kÃŽ © The nearest standard resistor value to this calcualted resistor value is 330k Voltage Controlled Oscillator A voltage-controlled oscillator is an oscillator whose frequency is determined by a control voltage. As the control voltage causes the frequency to rise slowly until it hits a maximum and then falls back to the starting frequency. The first op-amp is an integrator(U7:A). A voltage divider puts the + input at half the control voltage. The op-amp attempts to keep its input at the same voltage, which requires a current flow across the 100k to ensure that its voltage drop is half the control voltage. When the MOSFET at the bottom is on, the current from the 200k goes through the MOSFET. Since the 100k resistor has the same voltage drop as the 100k but half the resistance, it must have twice as much current flowing through it. The additional current comes from the capacitor, charging it, so the first op-amp must provide a steadily rising output voltage to source this current. When the MOSFET at the bottom is off, the current from the 200k goes through the capacitor, discharging it, so a steadily falling output voltage is needed from the first op-amp. The result of the operation of this integrator circuit is a triangular waveform confirmed by figure 13 of the appendix. The capacitance of the capacitor in our circuit is determined thus: The second op-amp is a Schmitt trigger. It takes the triangle wave as input. When the input voltage rises above the threshold of 3.33 V, it outputs 5 V and the threshold voltage falls to 1.67 V. When the input voltage falls below that, the output goes to 0 V and the threshold moves back up. The output is a square wave. Its connected to the MOSFET, causing the integrator to raise or lower its output voltage as needed 4. Figure 14 shows the graphical representation of this circuit . The variation of the supply voltage from 3V to 9V while observing the output signal frequency obtains the sensitivity of the overall voltage- controlled oscillator circuit to supply voltage. From the test observation, the VCO produced no output signal at 3Vand beyond 6.2V. The below table shows the values obtained for the during the sensitivity test of the voltage-controlled oscillator. Using the power supply sensitivity formula Sensitivity Percentage change in frequency = Percentage change in power supply voltage = Between 5V to 6V, the percentage change in power supply voltage = = 20% While the percentage change in frequency is = 3.575% VCO sensitivity to this supply voltage variation = = 17.875 % Between 4V to 5V, the percentage change in power supply voltage = = 25% While the percentage change in frequency is = 12.21% VCO sensitivity to this supply voltage variation = = 48.84% The inference from the above calculation shows that the sensitivity of this lock-in amplifier based micro-ohmmeter to power supply voltage increases with reducing supply voltage. The tuning range of the VCO refers to the range of oscillation frequencies Two important parameters in VCO design are linearity and sweep range. Linearity correlates the change in frequency or the VCO output to the change in the control voltage. The sweep range is the range of possible frequencies produced by VCO control voltage. The linearity Muting Detector Circuit The filtered output from the phase sensitive detector is a control voltage which, with Zero input ( short circuited probes) is about Vg volts . It goes more positive with increasing signal level. With maximum input(open circuited probes) the voltage will saturate near the positive supply rail. This would result in a loud high pitched tone from the oscillator, which is not what we want. We want the it to be mute when the probes are disconnected and to do this another operational amplifier is brought in to compare the control voltage with a reference voltage. Whenever the control voltage goes higher than the reference, the output will go negative. This allows a small current to be drawn through D1 and R25, which will keep the oscillator transistor switched off, stopping oscillation. The output voltage of an AM synchronous detector is compared with a reference potential level by a voltage comparator. A muting device connected with the output of the detector is controlled by a control circuit connected with the comparator. Through this control circuit, the detector output is immediately muted when the detector output level falls below the reference potential level, and the muting of the detector output is removed after a predetermined retardation when the detector output level exceeds the reference potential level. References 1 Bateson, S. January 2010, Electronic Signal Conditioning Labs, Teesside University, Middlesbrough 2 Hewes, J, (17.02.2010), 555 Timer, http://www.kpsec.freeuk.com/555timer.htm#astable 3 Instrumentation amplifier, (14.02.2010) http://en.wikipedia.org/wiki/Instrumentation_amplifier 4 Java, (19.01.2001), Voltage controlled oscillator, http://www.falstad.com/circuit/e-vco.html 13022010 5 Kuphaldt, T, (12.02.2010), Differentiator and Integrator Circuits, http://www.allaboutcircuits.com/vol_3/chpt_8/10.html 6 Low pass filter, (14.02.2010) http://en.wikipedia.org/wiki/Low-pass_filter 7 Quadrature Divider, (17.02.2010), http://www.patentstorm.us/patents/7425850/claims.html 8 Sallen-key low-pass filter (13.02.2010), http://www.ecircuitcentezr.com/Circuits/opsalkey1/opsalkey1.htm 9 Widerin, P, (13.02.2010), Quadrature Divider, http://www.freshpatents.com/Quadrature-divider-dt20070111ptan20070009077.php

Bartleby the Scrivener: Catatonic Schizophrenia :: Health, Diseases, Mental Disorder

Misery loves company and in Melville's "Bartleby the Scrivener", Bartleby exhibits traits of depression and catatonic schizophrenia as defined in the DSM-IV; however the narrator's other employees also show symptoms of catatonia either influenced by Bartleby or by Melville's own mental state. The theme of mental disorder is prominent throughout the text and a close analysis of specific passages in concordance with the DSM-IV will first reveal how Bartleby exemplifies these mental disorders and secondly show to what extent the entire story serves to personify them. Bartleby demonstrates behaviours indicative of depression, the symptoms he has in accordance with the DSM-IV are a loss of interest in activities accompanied by a change in appetite, sleep, and feelings of guilt (Diagnostic and Statistical Manual of Mental Disorders, 4th edition, 320). Very shortly after Bartleby begins his work as a Scrivener he is described by the narrator as having done â€Å"nothing but stand at his window in his dead-wall revery†. (Melville, 126) In contrast, Bartleby had previously been described as a very hard worker and this process of doing increasingly less shows how his a diminishing sense of interest both in his work but also of the perception others have of him. It is also noted that included in this lack of interest is a social withdrawal (DSM—IV, 321) which corresponds well to Bartleby in that his workspace becomes known as his â€Å"hermitage†. During small talk which included Bartleby he says that he â€Å"would prefer to be left alone†. (Melville, 120) Bartleby only emerges from his hermitage when called upon and quickly returns when faced with confrontation. His lack of appetite is noticed early where in the narrator notices â€Å"that he never went to dinner†. (Melville, 51) We discover later that he has been eating a bit of ginger-nuts and some morsel of cheese, (Melville, 88) however the narrator suggests that this is a pitiable amount of food and that Bartleby is clearing suffering. In fact his refusal to eat ultimately leads to his death; one might infer that it was a form of suicide as he says that he â€Å"prefers not to dine to-day... [i]t would disagree with me; I am unused to dinners†. (Melville, 235) This implies that Bartleby hadn’t been eating for a long time. Also refusing to eat, Bartleby is shown to very seldom sleep. The narrator mentions that he is â€Å"always there; - first in the morning, continually through the day, and the last at night†, (Melville, 84) he makes his home in the office and the narrator comments that he finally does sleep at the end when he is dead.

Attention Deficit Hyperactivity Disorder Essay examples -- Behavior Dis

Attention Deficit Hyperactivity Disorder According to the National Institute of Mental Health, Attention Deficit Hyperactivity Disorder, or ADHD, is the most commonly diagnosed disorder among children (1). The disorder affects approximately 3-5 percent of children of school age (1), with each classroom in the United States having at least one child with this disorder (1). Despite the frequency of this disease in the United States, there still remains many discrepancies about the disorder itself, starting from the diagnosis and frequent misdiagnosis of ADHD, as well as the question of whether or not ADHD is an actual medical condition, or just a "cultural disease" (3). According to the NIMH, frequent symptoms of ADHD include inattention, hyperactivity, and impulsivity (1). Examples of these three patterns of behavior can be found in the Diagnostic and Statistical Manual of Mental Disorders, which, summarized by the National Institute of Mental Health, states that signs of inattention include * Distraction by "irrelevant sights and sounds" (2) * Failure of attenti...

Mind Muscle Vs. Mind Mush Essay -- Intelligence

Let us see what Hitler thought of the masses he moved and how he did the moving. The first principle from which he started was a value judgment: the masses are utterly contemptible. They are incapable of abstract thinking and uninterested in any fact outside the circle of their immediate experience. Their behavior is determined, not by knowledge and reason, but by feelings and unconscious drives. (Huxley, 1958, p.3) If Hitler looked at mankind today with his opinion be the same? Would he succeed at moving the masses to the deplorable deeds as he once succeeded in doing? The instinctive answer would be no, of course not; but, there exist today a constant bombardment of information, distractions, demands, and influences attacking us at the same time there still exist the same emotions and motivations that moved the masses of Hitler’s era. In the face of this barrage, how can mankind possibly keep its mind muscle when society is being pushed to mind mush? Armed with the proper intellectual tools, mankind’s mind muscle will remain strong. For about a century now, literature and films like The Hunger Games, Harry Potter series, Logan’s Run, Terminator, I Robot, and others include control of the masses or the rise of artificial intelligence. In his article, Amusing Ourselves to Death, Neil Postman (1984) describes the differences between the prophetic visions of George Orwell’s, 1984 and Aldous Huxley’s, Brave New World. Orwell’s books, Postman explains, tell of â€Å"externally imposed oppression. But in Huxley's vision, no Big Brother or Ministry of Truth is required to deprive people of their autonomy, maturity, and history. As Huxley saw it, people will come to love their oppression, to adore the technologies that undo their capacities... ... Papworth & R. Seamons (Eds.), The way of wisdom (pp.). Rexburg, ID: BYU-Idaho. Retrieved May 7, 2012 from http://ilearn.byui.edu Morowitz, H. J. (2010). Drinking hemlock and other nutritional matters. W. Brugger, D. Hammond, M. K. Hartvigsen, A. Papworth & R. Seamons (Eds.), The way of wisdom (pp.). Rexburg, ID: BYU-Idaho. Retrieved May 7, 2012 from http://ilearn.byui.edu Pinker, S. (2010). Mind over mass media. W. Brugger, D. Hammond, M. K. Hartvigsen, A. Papworth & R. Seamons (Eds.), The way of wisdom (pp.). Rexburg, ID: BYU-Idaho. Retrieved May 7, 2012 from http://ilearn.byui.edu Postman, N. (2010). Amusing ourselves to death. W. Brugger, D. Hammond, M. K. Hartvigsen, A. Papworth & R. Seamons (Eds.), The way of wisdom (pp.). Rexburg, ID: BYU-Idaho. Retrieved May 7, 2012 from http://ilearn.byui.edu Singh, T. (Director). (2012). Mirror mirror [Motion Picture].

Deloneys view of age Essay

The word ‘age’ is also paired with the adjective ‘crabbed’, however the word ’youth’ is not attached to any word and seems almost completely separate. Youth seems quite isolated from the word ‘age’ and could represent how nowadays parents and children are quite segregated from each other. As well as the word being isolated, it seems to be independent, as it is not relying on an adjective to describe itself. Following onto the point of where I had written that parents and children are isolated from one another, this is clearly demonstrated to us in ‘Romeo and Juliet’, throughout the play, as well as in ‘crabbed age and youth’, when it is written that they ‘cannot live together’. The isolation between a parent and child, can be expressed due to the fact that these two humans are both from different generations, and have been brought up to have different opinions, or in some cases, completely contrasting opinions and as a consequence have little or nothing in common. For example in ‘Follower’ we are not informed of any similarities between the father and son, however the fact that the verb stumble appears twice and that both the father and the son have experienced it, suggests that this is the only thing of which they have in common. Another example is in ‘Romeo and Juliet’ where we see at the beginning of the play Capulet displaying a willingness to become a better parent as he attempts to understand Juliet’s thoughts and emotions by saying to Paris that Juliet is too â€Å"ripe to be a bride†. This portrays to us a parent who is willing to change their own opinion in a matter. in the Elizabethan era it was considered normal for a 14 year old to be married and expecting children, which is made clear to us when Paris says to Capulet ‘younger than she (Juliet) are happy mothers made’, to which Capulet answers by saying that young mothers are ‘too soon marr’d’. By defending his and his daughter’s actions, shows him to be a protective father. There is no doubt that along the path of parenthood there will be clashes between a parent and child, of which the child or parent feels that they ‘cannot live together’, due to different factors, the most prominent of which is a severe clash of opinions. We know not to take the line ‘cannot live together’ literally, because Deloney is talking about the two opinions of the youth and the old and how they are so severely differentiated, almost contradictory. I translate this stanza to mean that the two opinions are so contradictory that neither can win the argument. I can refer this to the poem ‘Catrin’, in which Gillian Clarke talks about a ‘red rope of love’ which represents the bond that a parent and child have. To demonstrate how contradictory these 2 opinions are, Deloney offers us a variety of antithesis, such as â€Å"Youth like summer†¦ Age like winter†, â€Å"Youth is hot†¦ Age is†¦ Cold†. The roles in this parent child relationship are clear to us; Capulet even tells us that he thinks of Juliet as a ‘whining mammet’. A mammet is a puppet, and so obviously a puppet needs a puppeteer, and due to how Capulet acts in this scene, it is evident that he is the puppeteer. This hierarchy of a parent and child is also shown in ‘Follower’, when Heaney describes his father to be a ‘full sail strung’ and that ‘horses strained at his clicking tongue’. By saying that even ‘horses strained at his clicking tongue’ shows how much power and authority his father had; he had to do such little, to get the horses to do a lot of work. The fact that an animal listens to him, demonstrates just how powerful he is. Deloney also thinks that age and youth are completely opposite by saying ‘age like winter weather; Youth like summer brave’. By using two completely opposite seasons of the year, Deloney is also pointing out that parents and children are also completely opposite. For example it is hot in summer and cold in winter, it cannot be hot in winter and cold in summer, however when we get too hot, we wish for it to be cooler and when we are cold, we wish for it to be hot. Similarly, when we are old we desire to be young, and when we are young we wish to be older or you could say when children are in need of parents, they may not be here, but that when they are here, you do not need them vice versa. If we were to interpret this to fit the role of a parent child relationship then we would say that when as children we become older and our parents eventually die, suddenly we seem to miss them immensely. So by using antithesis, the poet is basically telling us that once a parent or child is deceased, we learn how much we appreciated them. I feel it is a shame that we only realise things like this once it has been taken from us. This is shown in Romeo and Juliet when Capulet discovers that his daughter has apparently died from depression, he feels overwhelmed and his true feelings for Juliet are revealed as he says ‘with my child are my joys buried’, however when she was alive (in act 3 scene 5), he did not seem to care if she were to ‘die in the streets’.