Thermal Energy Conversion Essay -- physics energy power renewable powe

The demand for an efficient renewable energy source is a driving force in ongoing research. Thermal energy conversion is one such potential source that is under constant investigation and has endless avenues of possibility. The two requirements of energy production are efficiency and renewability. Many possibilities exist for energy production including: Fossil Fuels (natural gas, oil, coal, oilshale), nuclear, solar, wind, geothermal, biomass and wastes, & hydroelectric. Efficiency of the use of these resource are directly related to the location and the demand in that location. For example Hawaii is a prime candidate for the use of the oceans mechanical wave action, the thermal gradient of the ocean, wind, and biomass from the high levels of plant growth. The demand for another energy source comes from Hawaii's dependence on oil that has to be transported there. Ocean Thermal Energy Conversion Ocean Thermal Energy Conversion(OTEC) is the utilization of the energy stored in the world's oceans by the thermal gradient created. The thermal gradient is the difference of the surface temperature of the ocean that is heated via solar energy and the water at depths of significantly colder temperatures. This thermal gradient is the energy source that is converted to usable energy by OTEC plants. The idea for using the oceans thermal energy is credited to several visionaries including Jacques D'Arsonval, a French Engineer, in 1881. The temperature difference needed for an OTEC plant is about 36 deg F (20 deg C). Temperature differences of this amount are readily available in many locations in the world. The areas depicted in red on the above map produce the best areas for OTEC sites due to the stablility of warm weather throughout t... ...ntially be exploited for one of the municipalities that stand beside the pipeline? Arctic North Slope Borough - 179.2 mi. Fairbanks North Star Borough - 89.1 mi. City of Delta Junction - 5.5 mi. City of Valdez - 20.8 mi. Could the pipeline at least help to power one of the ten pump stations located along its winding path? It is not likely that the heat exchange in either of the two above systems would produce a sufficient enough amount of energy to produce electricity. The temperature of the oil as it is extracted is approximately 160 Â ° F and the flow temperature approximately 140 Â ° F. These temperatures need to be maintained for the oil to remain in a viscous enough state to be transport with some amount of efficiency. This inquiry into the potential use of excess heat being produced as a by-product does however open the door to other possibilities.

Development of Tourism in Sri Lanka

Sri Lanka is an island in the Indian Ocean, also often called the â€Å"The Pearl of the Indian Ocean†. Tourism in Sri Lanka has had its ups and downs. Such things like the civil war is now over, but for the past thirty years that the war was ongoing, a lot of people feared to travel to Sri Lanka and the devastating 2004 Indian Ocean tsunami . But despite all these events, the tourism in Sri Lanka is still one of the major profit generating industries. Sri Lanka may be a small island, but it has a lot to offer. From its beautiful beaches, to their exotic foods and diverse cultural heritage.The tropical weather in Sri Lanka is all year round except for the monsoon season which usually ranges from mid-year to the end of the year. Foreigners visit often to be in the warm weather. Sri Lanka has so many beautiful beaches that are still untouched and not commercialized. Over half a million tourists came to Sri Lanka in 2006. Other up and coming tourist attractions are precious stone mining in Ratnapura, â€Å"The Gem City† as it is known and also ecotourism. Travelers today like the idea of travelling while also doing their part to help preserve the environment.Buddhism has the biggest influence in molding Sri Lanka’s diverse cultural heritage and also a big factor in drawing in the crowds to Sri Lanka. From temples, relics, religious landmarks and Ayurveda. Sri Lanka has started its campaign on ecotourism and spa-like ayurvedic treatments, banking on the diverse flora and fauna found there. No matter what natural disaster or civil war comes upon Sri Lanka, its beauty and purity have made its mark on the world. There is no doubt that Sri Lankan tourism today is expected to reap the benefits after thirty years of struggle and the tragic tsunami, with hope and bright prospects on the horizon.

Illustrate and Critically Discuss the Representation of Gay People in Television Sitcoms or Soap Opera.

Illustrate and critically discuss the representation of gay people in television sitcoms or soap opera. As the issue of representation is central to this essay, it is important to note that there have been problems with identifying a definitive meaning of ‘representation’. Several theorists have commented on the concept of representation. Stuart Hall (1997: 61)) defines representation as ‘the process by which members of a culture use language†¦to provide meaning’.From this meaning, he says, we can already see that ‘representation’ cannot possibly be a fixed, unchangeable notion. While culture and language evolve and grow with human society, the same must therefore be said of the perceptions of ‘representation’. Gillian Swanson (1991: 123) backs up Hall’s theory, observing that ‘there can be no absolute version of ‘how things are’ but only many competing versions’. She continues: Ideas about what people are like and how they are meant to be understood already prevail in our culture.They give meaning to our sense of self and allow us to position ourselves in relation to others. Such meanings and attitudes are reproduced in representation but the way representations are constructed is as important as the ideas and meanings they project, since they offer positions for us, through which we recognise images as similar, or different from, ourselves and those around us. We continually define ourselves in changing relations to those meanings; images change over time and the meanings which are legitimated by the social or cultural context change as well.The general idea of ‘representation’ then, not only changes over time, but may also have several different interpretations at any given point. Alexander Doty and Ben Gove (1997: 84) argue that when discussing homosexual representation in the mass media and popular culture we must look ‘beyond understanding the â₠¬Ëœmass’ or ‘popular’ as necessarily meaning a mainstream media or culture that only addresses millions of heterosexuals’. They acknowledge another, ‘alternative’ mass media that runs parallel to the ‘mainstream’ mass media but has been pushed to the sidelines in the past.A conservative viewpoint would state that this is because the mass media should convey the will and desires of the ‘majority’ and therefore should not be made to positively represent anything that contradicts the society’s dominant ideology. However, Doty and Gove note that in recent years the lines between these ‘mainstream’ and ‘alternative’ mass media have become blurred with, for example, the screening of programmes written, starring and watched by lesbians, gays and queers on television.Having said that, this by no means implies that there is less of an issue to be raised by the representation of homosexuality on television. The most obvious issue surrounding this is, of course, the stereotyping of gay characters on television and, in particular, television sitcoms. While gay, lesbian, bisexual and transgender characters did not appear in television sitcoms until the 1970s, modern television sees an entire genre of situation comedies featuring gays.These types of programmes are no longer written by the homosexual for the homosexual, but have become integrated within Doty and Gove’s ‘mainstream’ mass media. They discuss the importance of being aware of who finances, creates, publicises and exhibits a certain programme, and how these factors might affect the way that programme represents ‘queerness’. For example, the two creators of the ‘gay-best-friend’ sitcom Will & Grace are Max Mutchnick, who is gay, and David Kohan, who is straight.Arguably, the way in which ‘queerness’ is represented here may have benefited from having a homosex ual and a heterosexual input. This way, the show has more chance of appealing to a wider ‘mass’ audience. Consequently, it is possible that the gay, lesbian or queer characters featured in television sitcoms may have been tailored, in a sense, for a heterosexual audience. This could go some way to clarifying why Will & Grace, unlike many other similar sitcoms of its kind, has become so popular. Stephen Tropiano holds a simpler view, claiming that ‘the success of Will & Grace really comes down to one thing – it’s funny.What separates Will &Grace from the gaycoms that only last a few months has little to do with its politics and more to do with the talent of the performers and the quality of the writing and direction (mainly, James Burrows, one of the best in the business). ’ Swanson notes the ‘extreme and caricatured way in which [stereotyping] draws on commonly-held impressions and assumptions’. It may be assumed that the views Sw anson talks about are ‘commonly-held’ by the dominant, heterosexual audience that the mass media is seen to address.If this is the case, then this may account, in part, for some of the stereotyping of gays in television sitcoms. A more positive (and therefore acceptable) representation would make the programme much more accessible to a much wider audience. But what could be regarded as a ‘positive’ image of gays and lesbians in television? Doty and Gove note that many of the images regarded as ‘positive’ by, and that received praise from critics and watchdogs were ones that played down homosexuality or ignored the issue altogether, depicting gays as being ‘just like everyone else’ in their attempts not to make it a focal point.On the other hand, those images where gays were more explicitly depicted fared no better. Joshua Gamson (1998: 21) found that studies of the portrayals of gay men and lesbians in film and television ‘ha ve soundly demonstrated how homosexual lives have been subject to systematic exclusion and stereotyping as victims and villains’. For example, Gamson cites Vito Russo’s The Celluloid Closet, in which Russo argues that television has produced ‘stereotypical conceptualisations of AIDS that vilify gays and legitimate homophobia’. Doty and Gove take this a step further, observing that:By the late 1980s and 1990s, the recurring televisual image of gay men with AIDS sparked heated critical debates over exactly what kind of image it was: ‘negative’, because it depicted homosexuality as a victimhood that, yet again, ended in death; or ‘positive’, as it encouraged sympathy and even admiration for gay men through images of their courage in the face of death. They identify a bit of a grey area concerning the labelling of the representation of homosexual images as ‘positive’ and ‘negative’ in that different people wi ll look at these images from a variety of perspectives; there can be no universal interpretation of any given image.The same can be said of trying to define ‘realistic’ images of gays, lesbians and queers on television. Doty and Gove observe that there are two ways in which people recognise these ‘real’ images; some note that text expressively marks the imagery through dialogue or by showing physical or sexual activity. Recent examples of this are Matt Fielding (Melrose Place), Simon and Tony (Eastenders) and Beth Jordache (Brookside). Other people feel that realistic images do not need to use explicit text to gauge a character’s sexuality on the basis of other signs.Many viewers see characters like Mr Humphries (Are You Being Served? ) and Xena (Xena: Warrior Princess) as being gay, lesbian or bisexual. These two binary explanations of what constitutes as a ‘realistic’ image of queerness shows the difficulty in even defining what Ã¢â‚¬Ë œreality’ is for gays, lesbians and queers. It is difficult to define a ‘typical reality’ or, to put it another way, to recognise a general gay ‘identity’ in which to categorise them. Essentialist theorists state that they are bound together by the fact that their identities are determined by their sexuality.Donald Hall (2003: 42) suggests that such theorists would argue that ‘same-sex desiring individuals have always existed and that however much their context may have changed, they were, without a doubt, aware of their sexual desires and they must have thought of themselves as belonging to a distinct group of similar individuals’. While it makes sense that the individual would have been aware of their sexual desires, constructionist theory would perhaps note that historically they may not have been aware of any sense of belonging, rather one of detachment due to the cultural influences in society at the time.Constructionist theory, say s Hall, emphasises language and belief systems in order to determine identity. Richard Dyer (2002: 19) observes, rather importantly, that ‘a major fact about being gay is that it doesn’t show†¦the person’s person alone does not show†¦that he or she is gay’. He argues that there are ‘signs of gayness’ such as expressions, stances and clothing that ‘make visible the invisible’. Typification is a near necessity, says Dyer, for the representation of gayness, which he argues is the product of social, political, practical and textual determinations.He deduces that the social factor is an integral one from which gay people can be recognised: The prevalent fact of gay typification is determined by the importance of a social category whose members would be invisible did they and the culture not provide lifestyle signs with which to make recognition possible†¦It is probable that most gay people are for most of their lives in fact invisible. Acting and dressing gay may only be an evening or weekend activity; in particular, it may not be practised at the workplace, or for married gays at home either.Equally, many people who are homosexual may never identify with the various gay lifestyles, never, in this sense, define and produce themselves as gay. What Dyer conveys here is that to be classed as ‘gay’, a person must be able to identify with not only the inner, biological aspects of ‘gayness’ (as put forward by essentialism) but also with the cultural aspects around them (as suggested by constructionism). This in itself is quite stereotypical because of the presumption about what is ‘gay’. Those who do not conform to this ideal are classed as ‘invisible’.Accordingly, the images we have been seeing of gay characters in television sitcoms may only be representations of certain types of gay people, and it is difficult to know whether or not these people are a majority or a minority. Will & Grace attempts to deviate from the stereotypical notions of ‘gayness’ through its two gay main characters, Will and Jack, and provide an insight into ‘invisible’ gayness. James Keller (2002: 124) describes the two main male characters as ‘foils representing diversity within gay masculinity, a diversity which argues for and against gender stereotypes about gay men’.The name ‘Will’, Keller says, signifies resolution and courage while the surname ‘Truman’ suggests that Will is a ‘real man’. This is also put across in the way he dresses. As an attorney, his conservative style and uptight personality mean that Will shows little of the usual stereotypical traits that signal to an audience that he is gay. Keller compares him to the modern sensitive male (such as Ross Geller in Friends), and his primary relationships focus mainly on women, namely Grace.The name ‘Jack’ is reminiscent of a joker or jester, a clown basically. While ‘Truman’ represents composure and respectability, ‘McFarland’ implies waywardness and outlandish behaviour. Tropiano asserts that, similarly to Will, Jack ‘isn’t exactly gay either: he’s hyper-gay’. Keller describes Jack as ‘silly, irresponsible, immature, narcissistic, effeminate, insulting and promiscuous’, the epitome of the negative stereotypical gay male, ‘made lovable by humour and childlike unselfconsciousness’.Their apparent contradictory personalities are, says Keller, the ‘respective embodiments of the familiar and the unfamiliar, although, paradoxically, what is coded as familiar here is actually unfamiliar in the history of gay representation’. He notes that Will is presented as the ‘norm’ whilst Jack is portrayed as unusual among gay men in a respectable, middle class situation. While Will is offered as th e ‘preferable alternative’ to the stereotype of the gay man, because Jack is much funnier and more stylish than Will he could, points out Keller, easily also be a preferable alternative.This presentation of two very different types of gay men, both preferable to the stereotype, serves to not only expand the culturally accepted notion of ‘gayness’ (as part of its political agenda) but also works as a hook to keep its audience interested (the main function of the programme). In addition to this, Will and Jack have enough depth, enough layers in their personalities, to represent – arguably – a certain sense of ‘realism’. Tropiano explains ‘[Sean] Hayes and the writers have created a three-dimensional character who, beneath his somewhat shallow exterior, is a strong, confident person.As a gay man, he’s also completely comfortable with his sexuality. ’ Will, on the other hand, though smart and successful, is the cha racter that most needs personal guidance, about love and relationships in particular, and Jack is often on hand to give this advice. Between these two characters, then, are a fair number of characteristics that gay, lesbian, bisexual, transgender and straight people alike would be able to relate to in some way.Furthermore, Will & Grace compromises with the dominant ideologies by making the most important relationships in the lives of the two gay characters heterosocial and quasi-heterosexual. By doing this, the problems identified in earlier ‘gaycoms’ such as Ellen (which was axed for being ‘too gay’ and overly political) are overcome and, as a result, more meaningful, contemporary representations of gay people seen in the show are able to ease naturally into cultural ideology as opposed to being forced through. Vito Russo (1987:325) argues against Richard Dyer’s (and others’) theory of invisibility.He says that ‘gays have always been vi sible†¦it’s how they’ve been visible that has remained offensive for almost a century’. Joshua Gamson supports Russo, pointing out that, until recently, gays and lesbians had very little input into their own representations. Dominant ideologies have therefore held virtually all control over how gays have been represented in the past, leading to negative stereotypes of gays. To remedy this, Gamson argues that ‘more exposure is the answer’. However, this in itself poses problems, such as when considering the positive/negative images approach.Doty and Gove note that its critics have suggested that ‘most definitions of what constitutes a ‘positive’ image would restrict the range of gay and lesbian representation as much as so-called ‘negative’, stereotypical images do, by encouraging only bland, saintly, desexualised mainstream figures who might as well be heterosexual’. But herein lies the problem: dominant c ultural ideology has, throughout history, commanded how gay people are represented in society and on television, and only recently have they been able to acquire some control themselves.After a period of trial and error, the television sitcom Will & Grace, with its innovative balance of hetero and homosexual political comedy, could be making its mark on society. During this time, gays, lesbians, bisexuals and transgenders have been continually trying to become fully accepted as part of mainstream culture. However, the images approach has been criticised for attempting to do just that. In an ever-changing culture, is the gay community in a state of confusion about which direction it wants to go, and how it wants to be represented when it gets there?References †¢ Craig, Steve (1992). Men, Masculinity and the Media. London: Sage Publications Ltd. †¢ Dyer, Richard (2002). The Matter of Images: Essays on Representation. London: Routledge †¢ Gamson, Joshua (1998). Freaks Ta lk Back. Chicago: University of Chicago Press †¢ Hall, Donald E. (2003). Queer Theories. Hampshire: Palgrave Macmillan †¢ Hall, Stuart (1997). Representation: Cultural Representations and Signifying Practices. London: Sage Publications Ltd. †¢ Keller, James R. (2002).Queer (Un)Friendly Film and Television. North Carolina: McFarland & Company Inc. †¢ Lusted, David (edited by) (1991). The Media Studies Book: A Guide For Teachers. London: Routledge †¢ Medhurst, Andy and Sally R. Munt (1997). Lesbian and Gay Studies: A Critical Introduction. London: Cassell †¢ Tropiano, Stephen (2002). The Prime Time Closet: A History of Gays and Lesbians on TV. Kent: Combined Book Services Ltd. †¢ Russo, Vito (1987). The Celluloid Closet: Homosexuality in the Movies. 2nd Ed. New York: Harper & Row

Short Writing and Discussion Topics for ESL

Short Writing and Discussion Topics for ESL The idea of this exercise is to get students to quickly write about a topic they choose (or you assign). These short presentations are then used in two manners; to generate spontaneous conversations on a wide range of topics, and to take a look at some common writing problems. Aim: Working on common writing mistakes - generating conversation Activity: Short intensive writing exercise followed by a discussion Level: Intermediate to upper-intermediate Outline Variation 1: Tell students that they will have exactly five minutes (reduce or extend the writing time as you feel is appropriate) to write about a subject on the list that you are going to give them.Variation 2: Cut the list of topics into strips and hand a different topic to each student. Tell students that they will have exactly five minutes (reduce or extend the writing time as you feel is appropriate) to write about the topic you have given them.Explain that students shouldnt worry about their writing style, but, rather, they should focus on quickly writing down their feelings about the topic they have chosen (or you have assigned).Have each student read what he or she has written to the class. Ask the other students to write down two questions based on what they hear.Have the other students ask questions about what they have heard.During the course of this exercise, take notes on common mistakes that occur in student writings.At the close of this exercise, discuss the common mi stakes you have taken not of with the students. In this manner, no student feels singled out and all students benefit from learning about typical writing mistakes. Writing Storms The best thing to happen to me today The worst thing to happen to me today Something funny that happened to me this week What I really hate! What I really like! My favorite thing A surprise I had A landscape A building A monument A museum A memory from childhood My best friend My boss What is friendship? A problem I have My favorite TV show My son My daughter My favorite grandparent

261 Vonnegut and Slaughterhouse-Five Professor Ramos Blog

261 Vonnegut and Slaughterhouse-Five Quick Write Kurt Vonnegut (1922 2007) Slaughterhouse-Five (1969) 1972 Movie

Information Systems Paper Essay Example | Topics and Well Written Essays - 1000 words

Information Systems Paper - Essay Example The latter is typically referred to as Enterprise Resource Planning (ERP) systems. A typical ERP platform would encompass all major functions in an organization such as Operations, Inventory & Stores, Accounting, HR, Payroll, etc. Most clients tend to purchase an off the shelf product, and contract a software deployment specialist to make the required customizations to the platform and adapt the system for use at a particular company. I was involved with the specific deployment of an ERP system at a ceramics manufacturing company with roughly 1300 employees. The company was migrating from a legacy FoxPro based system to an MS .net based client-server ERP system, which would encompass all departments and be written in the newer Microsoft .net framework with a user friendly Graphic User Interface (GUI) as opposed to the text based interface for the legacy system. The specific departments that the ERP presently covers is Accounts, HR, Payroll, Inventory & Stores, Commercial Department, Sales, and Fixed Asset Control. The Manufacturing module is being developed and will be integrated into the ERP system over the next 10 - 12 months. The ERP platform, in its present state controls virtually every business process in the company. A closed loop workflow ensures tight knit integration between departments with electronic authorizations and checks at every stage of the process. Global connectivity of the system with users in 2 factories and 4 sales offices meant that user groups had to be able to interact with the system in a secure environment to manage workflows in these remote locations. For the factory locations, the company decided on connectivity through leased lines with direct point-to-point connectivity. However, with the geographically diverse locations of the 4 sales offices, leased line connectivity was not feasible. The company decided to utilize Internet based connectivity using Virtual Private Networks (VPN) to be establish connectivity from these remote locations to the main server housed in the corporate office. Connectivity to the system was a critical requirement for all remote locations. In the factory environment, the only way for the factory warehouses to check-in and enter fresh production into inventory is by utilizing the Stores & Inventory module to generate an inward bound Material Note. The Warehouse in turn is required to generate the Material Receipt Note to complete transactions. Similarly, when the Warehouse receives an electronic request to dispatch new products to one of the four remote sales locations, it uses the system to create a Material Dispatch Note that is closed once material is received by the remote location and the ticket workflow is closed in the system electronically. In case of an unplanned system downtime or a network outage, the company's operations come to a standstill since workflows cannot be completed. One of most critical workflows that get affected is the inventory process. No inventory can move in and out of any warehouse of the company until the sys tem electronically updates its records. The company had to put in exception handling for these circumstances, which involve emailing data packets to update inventory and complete workflows when there is scheduled maintenance of the system, or where longer system shutdowns may be required. System security was another important aspect of the system.

Java Programing Assignment Example | Topics and Well Written Essays - 1500 words

Java Programing - Assignment Example Java is also simple in that software that can run in small machines can be constructed in java. This feature in java enable clean definition of of interfaces and makes it possible to provide reusable software. Object orientation focuses on the design on the data or objects and on the interfaces to it. Java language has an extensive library of routines for easily coping with TCP/IP protocols like Http and ftp. This allows java application to open and access objects across the net via URLs with the same ease the programmers are used to accessing a local file system. Java is a very environmentally flexible language since it can be easily run in multiple operating system. An interface can be multiply-inherited and they can be used in a more flexible way than the usual rigid class inheritance structure. Java one can compute a data type name and have it trivially dynamically linked into the running system. By making interconnections between modules later in the execution of the program, java will completely avoid problems and make the use of object-oriented paradigm much more straightforward, Libraries can freely add new methods and instance variables without any effect on their clients. Shows a set of use cases and actors (a special kind of class) and their relationships. Use case diagrams address the static use case view of a system, these diagrams are important in organizing and modeling the behaviors of a system. The goal of the use case is to identify all the features that the users of the system expects the system to support, but it does not reveal any details about the implementations of these features. The system can be run in systems from windows XP that has MS_Access as the database management software. The hardware minimum hardware requirements of the system that will be used to implement the system are Pentium II and above. Ram of -1gb and at-list a hard disk capacity of 20gb. This are the images in the system that users will upload