Essay --

Alison HennenThe scrap Castle Book ReviewThe Glass Castle was overall very strange. Written by Jeannette Walls in her point of view, this curb is her memoir that she wrote to share her story with the rest of the world. It won the 2005 Elle Readers Prize and the 2006 American Library Association Alex Award. The title comes from an unkempt promise from Jeannettes father, but preferably than seeing it as a letdown, Jeannette remembers it as a hope that things will get better, a trait she must have received from her mother. While The Glass Castle focuses mainly on her immediate family, she later wrote another book, Half Broke Horses, about her grandmother, Lily Casey Smith.The book starts off with Jeannette, a successful adult, taking a taxi to a nice party. When she looked out the window, she saw a woman digging through the garbage. The woman was her mother. Rather than calling out to her or look hi, Jeannette slid down into the seat in fear that her mother would see her. When askin g her mother what she should say when people ask about her family, Rose Mary Walls further told her, Ju...

Physics of Wormholes :: physics science wormhole wormholes

Science fiction will often have fantastic stories about humans traversing stars at great speeds, faster than light. great interstellar civilizations are maintained by fleets of starships that fly from world to world in a matter of days or weeks. The truth, sadly, is far less fantastic. The commonplace speed limit is the speed of light, or most 2.998x108 m/sec. Nothing passel move faster than that constant. Even at that extreme speed, it would take approximately 4 years for any spaceship to reach the closest of other stars. To make matters even worse, the energy required to accelerate an object increases exponentially as it gets closer and closer to the speed of light to the point where we cannot input enough energy to make the object actually go the speed of light. So how can we have these great galaxy spanning civilizations and expand our frontiers beyond the boundaries of our solar system? One possible solution is wormholes. This web project will attempt to pronounce on some o f the basic theories of wormholes and how they could be used to traverse great distances and possibly even time itself.HistoryEinstein first proposed wormholes in 1935. He co-wrote a paper with Nathan Rosen in which they showed that general relativity allowed for what they called bridges. They theorized that there could be places where space/time is folded that allowed transfer of matter from one point to another in the universe.After this initial burst of ideas in the thirties, wormhole theory was pretty much dropped by the world of physics in general. It wasnt until the 1980s when Carl Sagan wished to write his track record Contact was wormhole theory revisited. Sagan wanted to have his protagonist leave Earth and arrive at a distant star system in a relatively short amount of time without being completely scientifically invalid. He turned to his fellow physicist Kip Thorne to develop an at least passably scientifically appropriate method of faster-than-light space travel. Thorn e came up with much of the modern framework for wormhole theory that is in existence today for the book, which is now a study motion picture starring Jodi Foster. DefinitionA wormhole is a tunnel in space that matter can traverse through. It works in 4 dimensions with time being the fourth. It connects two points in the universe. A useful analogy for how a wormhole works is a two-dimensional piece of paper with a duet of dots on it.

freeaw Not Ready for Freedom in Kate Chopins The Awakening Essay

Not Ready for Freedom in The Awakening In Kate Chopins The Awakening, the main character, Edna Pontellier makes a very long, atrocious journey into her inner self. At the end of this journey she discovers that she is not strong enough to adopt a behavior in which a woman is her induce woman and lives for herself. This forces her to choose the only other option available to her. I think the propriety with which Edna struggles (and most often gives in to) as she begins to discover who she is and what she wants creates a thick, almost suffocating atmosphere of tension. So much so that I was relieved that she decided to take her own bearing, as it had evolved into a torturous existence. I thought it unfair that Edna was portrayed as a somewhat neglectful mother. It was clear that she adored her children, albeit a fondness that was in ...an uneven, impulsive way. (p. 59) It is important to tension on the time this story was written---the choices available to women in 1899 (the ye ar The Awakening was printed) were extremely limited, and Edna Pontellier, all things considered, actually made a good life for herself, on the surface by making a marriage with Leonce. The material trappings in life that Leonce provided were comfortable, extravagant, actually, and the luxurious life of servants (quadroons), and more than one home appeared to be a life of perfection. Buried within the text are a multitude of hints, suggestions, and in some cases blatant statements concerning the state of mind of Edna Pontellier. The reader is introduced to the accident that Edna may have a healthy curiosity of the absence of prudery due to her fascination with the lives of Creole women. These women of French descent have far les... ...se population. Edna Pontellier was a lady of ladies, yet she had a will stronger than any iron-clad vessel that plowed the Mississippi River. Her awakening was at once liberating and devastating. Her anger (throwing the vase and her wedding band) w as a facial expression of her confusion and inability to comprehend the society that insisted she receive guests on Tuesday (her husband Leonce was appalled that she left one day and did her own thing), be a wife and mother first, and love only one man. Although her demise was indeed tragic, the point is that Edna was not entirely ready to absolutely adopt the Creole way of life---the life in which a woman is her own woman and lives for herself, stands up to the world and insists on having life on her terms. In the end, Edna could not reconcile herself to a life that stepped outside the boundaries of propriety.

Julia Margaret Cameron :: essays research papers

Juliet Margaret Cameron was a Pioneer Victorian photographer during the nineteenth century. She took up photography later in life at the age forty-eight when her daughter presented her with a camera. This simple gift sparked enthusiasm in Cameron and led her to become one of the most colorful personalities in photography.Cameron was born in Calcutta in 1815 to a well to do British Family. After being educated in Europe, she returned to the Cape of Good Hope in 1836. While she was on that point she met Charles Hay Cameron, whom she married in 1838. On Charles retirement in 1848, they moved to London, the Isle of Wright, where Julia Margaret became part of Kensingtons artistic community.In 1863, Rejlander, a photographer, came to the Isle of Wright to photograph her neighbor Tennyson, a poet, and it was most likely then that Julia Margaret learned her basic technique from him. Also inspired by the Pre-Raphaelite painters, Camerons photographs were frequently allegorical, containing religious, antique, and literary themes. Her issuing matter consisted of portraits of the cream of Victorian Society, family, friends, and even passersby. Secure in her beliefs as a high Church Anglican, Camerons photographs also contained strong religious themes. Cameron ideal that religious art was far from dead and could be revived in photography. She also do strikingly bold photographs of children, including a series of large-scale heads. Julia Margaret created some(prenominal) of the most intimate and powerful portraits produced in any medium. Ambitious from the start, she considered herself an artist who made photographs rather than a photographer. Cameron was more interested in capturing the essence of the exposed than mastering perfect camera technique. Her photographs are notable for the extreme intimacy and psychological intensity of effect achieved by the use of close up perspective, crushing of detail (sometimes accompanied by peripheral blurring) large scale, and dramatic lighting. In her photographs, Cameron tried to achieve an effect called plasticity which created an expression of feeling rather than fact. Julia Margaret made it her duty to show her subjects in the light of their potential immorality and it shows beautifully in her work.Julia Margaret Cameron was an English woman with a remarkable talent for photography and who created excellent photographs that captured moments of emotional intensity. She rejected the meticulously observed and highly defined detail of the artisan photographers, yet there was nothing eccentric or amateur in her approach.

IMP 2 POW 8 Essay -- Math Mathmatics Problems

Problem StatementMy task was to find 3 equations, that would give me an answer, if I had certain information. The initiatory was to find one that if you knew that there were four pegs on the boundary, and none on the interior, you could calculate the area. The second was if you knew that there were 4 pegs on the boundary, and you knew how many were on the interior, you could get the area. And last, if you had the number on the interior, and the number on the boundary, you could get the area.ProcessThe first two equations, were a preparation for the final, building up towards the lie with idea. This helped, because I could complete the first two pretty quickly. For Freddie I drew a 3 column T-Table, with a drawing of the figure, the number of Pegs (in), and the Area (out). I looked for a innovation between the in and the out, and quickly found one that made sense, and I worked it into a formula. I got X/2-1=Y. Where X is IN (number of pegs) and Y is OUT (Area). This whole cabood le in all shapes with no interior pegs, like Freddie described. I attached this T-Table.For Sally I followed my luck of the 3 column T-Table, and drew another with the very(prenominal) guidelines. The figure, the interior pegs (in), and the area (out). After I filled in a few figures, and their properties, I noticed a pattern, and not long after, a formula, which worked for them. It was X+1=Y. This T-Table is also attached.Now...the next was not so easy. Frashys required a long thought process, an...

Personal Narrative- Lost Wallet :: Personal Narrative

Personal Narrative- Lost WalletA wallet, or purse for some, is a extraordinary item in which most people carry things more essential than money towards everyday life. If some people were to losethat portable safe, they may be offset for the rest of that day. The person without that wallet could be cranky or depressed for a while. Maybe something of great sentimental value was in that wallet. This person could stay hold these feelings for a long time, until they find their belongings by which case they are filled with joy. I, personally, keep anything I may have following in knowing where it is, in my wallet. I am very good about always having my wallet and never losing it...until recently. In my wallet, I store dreaded personal items such as my lisence and some pictures. Among other things, I have my money, like everybody else, and certificates for stores. This summer, I went to the Keys with my family. I drove down there with my wallet and took it all over with me, like I would any other time. Well, when someone doesnt have pockets, then it is hard to keep their wallet right next to them at all times. I was carrying my wallet out from the hotel, along with my keys, and set both on top of the car. When I figured out that I needed the keys in order to overhear in the car and turn it on, I took them off the top of the roof, leaving my wallet behind. I sat in the car, car door open, waiting for my protoactinium to make it to the car so we could all go to a diving area. Once he made it to the car, without thinking, I closed the door and started the car. I had been private channel about half a mile before I realized that my wallet was no longer on my body. Immediately, I pulled the car over, and the next time of day or so was spent looking for my wallet. All I could think about was what I would lose if I didnt find my wallet. The week before was my birthday, and I was given $60 to Best Buy and $50 to Auto Zone. Aside from that I had $3 in cash. While walki ng up and down the road that my wallet flew off on, my sister found my two Best Buy cards.

Alias Tutorial

learnedness Autodesk AliasStudio 2008 Level 1 A hands-on introduction to the key nebs & techniques of Autodesk AliasStudio 73415-050000-5001A procure and trademarks AliasStudio 2008 documentation by Pat Anderson, Marie-France Roy, Kerry Kingston and Damien Fleury imitation compensate 2002-2007 Autodesk, Inc. each(prenominal)(prenominal) rights reserved. This publication, or parts thereof, whitethorn non be reproduced in whatever form, by any method, for any purpose. AUTODESK, INC. MAKES NO WARRANTY, EITHER EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE REGARDING THESE MATERIALS, AND MAKES much(prenominal) MATERIALS AVAILABLE SOLELY ON AN AS-IS BASIS. IN NO EVENT SHALL AUTODESK, INC. , BE LIABLE TO ANYONE FOR SPECIAL, COLLATERAL, INCIDENTAL, OR CONSEQUENTIAL DAMAGES IN CONNECTION WITH OR ARISING proscribed OF ACQUISITION OR USE OF THESE MATERIALS. THE SOLE AND EXCLUSIVE LIABILITY TO AUTODESK, INC. REGARDLESS OF THE FORM OF ACTION, SHALL NOT EXCEED THE PURCHASE PRICE, IF ANY, OF THE MATERIALS DESCRIBED HEREIN. Autodesk, Inc. , reserves the right to rescript and improve its crops as it sees fit. This publication describes the state of this product at the time of its publication, and may non reflect the product at all times in the future. Autodesk Trademarks The following argon registered trademarks or trademarks of Autodesk, Inc. , in the USA and former(a) countries 3DEC (design/ logo), 3December, 3December. om, 3ds Max, ActiveShapes, Actrix, ADI, Alias, Alias (swirl design/logo), AliasStudio, AliasWavefront (design/logo), ATC, AUGI, AutoCAD, AutoCAD training Assistance, AutoCAD LT, AutoCAD Simulator, AutoCAD SQL Extension, AutoCAD SQL embrasure, Autodesk, Autodesk Envision, Autodesk Insight, Autodesk Intent, Autodesk Inventor, Autodesk Map, Autodesk MapGuide, Autodesk Streamline, AutoLISP, AutoSnap, AutoSketch, Auto lead, Backdraft, Built with ObjectARX (logo), Bur n, Buzzsaw, CAiCE, Can You Imagine, Character Studio, Cinestream, well up-bred 3D, Cleaner, Cleaner Central, ClearScale, Colour Warper, Combustion, Communication Specification, Constructw ar, Content Explorer, CreatewhatsNext (design/logo),Dancing Baby (image), DesignCenter, Design Doctor, Designers Toolkit, DesignKids, DesignProf, DesignServer, DesignStudio, DesignStudio (design/logo), Design Your World, Design Your World (design/logo), DWF, DWG, DWG (logo), DWG TrueConvert, DWG True cipher, DXF, EditDV, Education by Design, Extending the Design Team, FBX, Film street corner, FMDesk aggrandisement, GDX Driver, Gmax, Heads-up Design, Heidi, HOOPS, HumanIK, idrop, iMOUT, Incinerator, IntroDV, Kaydara, Kaydara (design/logo), LocationLogic, Lustre, Maya, Mechanical Desktop, MotionBuilder, ObjectARX, ObjectDBX, Open Reality, PolarSnap, PortfolioWall, Powered with Autodesk Technology, Productstream, ProjectPoint, Reactor, RealDWG, Real-time Roto, Render Queue, Revit, Showcase, SketchBo ok, StudioTools, Topobase, Toxik, visual, Visual Bridge, Visual Construction, Visual Drainage, Visual Hydro, Visual Landscape, Visual Roads, Visual Survey, Visual Syllabus, Visual Toolbox, Visual Tugboat, Visual LISP, Voice Reality, Volo, and Wiretap. The following ar registered trademarks or trademarks of Autodesk Canada Co. n the USA and/or Canada and other countries Backburner, Discreet, Fire, Flame, Flint, Frost, Inferno, Multi-Master Editing, River, Smoke, Sparks, St unrivaled, Wire. both other brand creates, product names or trademarks belong to their respective h ane-time(a)s. Third- ingredienty Copyright cross outs This product includes softwargon developed by the Apache Software Foundation. Macromedia Shockwave Player and Macromedia Flash Player software by Macromedia, Inc. , Copyright 1995-2000 Adobe Systems Incorporated. All rights reserved. Portions relating to JPEG Copyright 1991-1998 Thomas G. Lane. All rights reserved. This software is based in part on the wor k of the Independent JPEG Group. Portions relating to TIFF Copyright 1997-1998 Sam Leffler.Copyright 1991-1997 Silicon Graphics, Inc. All rights reserved. GOVERNMENT USE wont, duplication, or disclo genuine by the U. S. Goernment is subject to restrictions as aline forth in FAR 12. 212 (Commercial Computer Software-Restricted Rights) and DFAR 227. 7202 (Rights in Technical Data and Computer Software), as applicable. Published By Autodesk, Inc. 111 Mclnnis Parkway San Rafael, CA 94903, USA Documentation build catch April 3, 2007 iii GETTING HELP ON ALIASSTUDIO Welcome Autodesk provides you with a number of resources to aid you in becoming a proficient AliasStudio lend oneselfr. conclusion help on AliasStudio features If Try this You destiny schooling about installing AliasStudio Follow the on- privateness instructions on the installation CD. For to a greater extent detailed instructions, see the install. pdf rouse on the top level of the CD. You are sunrise(prenominal) to AliasStudio ? Read Getting pour put downed, the controllet included in the kit. ? Browse by dint of the culture on the main documentation rascal (index. html) ? Read the more or less section of the online documentation. If you p give ear, you corporation print off the book full of this information, which is called AliasStudio Fundamentals. ? blend in through these tutorials in Learning AliasStudio. These are basic lessons that provide teach you about working in 3D in AliasStudio. They are in addition the prerequi target for more advanced AliasStudio courses. enforce the How To section of the online documentation to throw up on how to perform specific operations within AliasStudio, like drawing slides, making four-sided surfaces, and using m acquires while painting. ? Visit www. autodesk. com/estore to baffle out about larn ray of lights much(prenominal) as Learning Alias AliasStudio Beginners Guide aimed at the novice user. You are upgrading from a previous tra nslation of StudioTools ? chaffer the Whats New in AliasStudio document, on hand(predicate) by selecting dish Whats New in AliasStudio, or on the documentation CD as a PDF file. ? verbalism at the Whats New chip in the inattention ledge provided with the application. iv You are looking for detailed nformation about a wight or feature ? Look in the Tools and wags section of the online help ? Choose Help Whats this and and so break down on the instrument or calling card stop ? Use the right walk spillage on the background of any alternative windowpanepanepanepane to see help for that peter or operation. You want to meet new techniques for using AliasStudio ? See Learning AliasStudio 2008 ? See Technical Surfacing ? Visit www. autodesk. com/estore to find reading legal documents aimed at intermediate and advanced users. You want a PDF version of one of the manuals ? All of the manuals are provided in PDF format in the PDF directory on the documentation CD. You want to manage what the eyboard shortcuts are in AliasStudio ? Choose Help Keyboard shortcuts from within AliasStudio, or permeate Keyboard Shortcuts on the main online help page. You want a Quick Reference learning ability ? Print the Quick Reference card file provided in the PDF directory on the documentation CD. v ferret outing AliasStudio training resources If Try this You want to obtain in-depth training ? See the learning materials and training courses uncommitted from www. autodesk. com/training You want to get tips and techniques from the experts at AliasStudio MasterClasses ? For events near you, see www. autodesk. com/training You want to create plug-ins for AliasStudio Use the AliasStudio Application Programmers embrasure Manual to learn the target area-oriented schedule required to build plug-ins. You want information about becoming an Alias-certified instructor ? See the information at www. autodesk. com/training or contact us at emailprotected com. vi abide bying nutriment for AliasStudio If Try this You are a Platinum member and want to access the Knowledgebase or Ask Autodesk ? Go to the AliasStudio support site at www. autodesk. com/ support You want to interat with other AliasStudio users ? Go to the online User-to-User Discussion forum on the AliasStudio support site at www. autodesk. com/support You want answers to common roubleshooting questions ? See the FAQs (frequently asked questions) in the technical support section of the AliasStudio support website at www. autodesk. com/support. You want to license your software ? If you are a Platinum member and necessity a license, check the execu chitle license file on the top of your installation CD. If your license isnt there, go to www. autodesk. com/ spar and follow the instructions in the install. pdf file at the top of the AliasStudio CD. ? If you are a new customer, go to www. autodesk. com/opa to obtain a new license. You want customer or technical support ? Go to the webpage www. autodesk. com/support vii Working with AliasStudioIf you create concept designs ? Read about our new concept design workflow ? Work through the placeing and variant tutorials in Learning Studio If you build 3D mannerls based on sketches ? Work through the modeling tutorials in Learning AliasStudio If you build 3D models for bring into being ? Read About Curves and About specimening ? Work through the modeling tutorials in Learning Studio ? Check the community site for tips and tricks If you modify 3D models for manufacture ? Read AliasStudio Fundamentals ? Work through the Technical Surfacing tutorials. If you create rendered images ? Read About Rendering ? Work through the rendering tutorials in Learning Studio Check the community site for tips and tricks and downloadable shaders and backgrounds If you create animations ? Do the work in the If you create rendered images section ? Read About Animating ? Work through the animation tutorials in Learning Studio ? Check the c ommunity site for tips and tricks. viii ix CONTENTS Learning AliasStudio provides you with tutorials to learn the basics of modeling, rendering, and animating. All features are not available in all products or on all platforms you may find your software does not support some of the capabilities set forth in this book to sketch, render, or animate. Getting help on AliasStudio iii Finding help on AliasStudio features iiiFinding AliasStudio training resources v Finding support for AliasStudio vi Working with AliasStudio vii Contents ix Learning AliasStudio Tutorials 1 How to use this book 1 Interface bedrock 5 use Tools 11 Changing Your View of the Model 25 Understanding the object lister 33 Introduction to 3D 37 trigger 1 stem a Model 38 government agency 1 Creating 3D objects 41 Saving your work 45 straggle 2 Building the lampstand 47 dissociate 3 Organizing the model 54 Part 4 Building the lampshade 58 Part 5 Assembling the desk lamp 65 Part 6 be the Lamp Model 68 Conclusio n 70 Quiz 71 On your own 72 x Contents Quiz Answers 74 Modeling a Joystick 75 Introduction 75 Part 1 Creating the Joystick Handle 77Part 2 Creating the Joystick Base 84 Part3 Creating the flexible Sleeve 94 Part 4 Creating the connecting cable 99 Part 5 Assigning objects to layers 104 Part 6 Directly modifying surfaces 108 Part 7 Creating the barelyton 120 Part 8 Visualizing the Model 123 Conclusion 126 Quiz 127 On Your bear 128 Quiz Answers 129 Modeling a Vacuum Cleaner 131 Part 1 Creating Primary Surfaces 133 Part 2 Intersecting and Trimming 139 Part 3 Surface Fillet 145 Part 4 Creating the Handle 152 Part 5 Air Vents 157 Part 6 Power Button 163 Part 7 Dust Bag and Cable Connector 171 Part 8 Completing the Model 180 Conclusion 183 Quiz 184 On Your Own 185 Quiz Answers 187Modeling an MP3 Player 189 Introduction 191 Part 1 Creating the Casing Curves 192 Part 2 Creating the incline Surfaces 197 Part 3 Completing the Casing 202 Part 4 Creating the Screen Recess 209 Part 5 Centre N avigation Key 217 Part 6 Control Button 221 Part 7 Completing the Model 231 Quiz 236 On Your Own 237 Quiz Answers 239 Modeling a Sports Shower Gel bottleful 241 New Concepts 242 Part 1 Creating Primary Surfaces 243 Part 2 Creating the Finger Grip Contents xi 251 Part 3 Label Surface 256 Part 4 Adding Blend Details 261 Part 5 Embossed Logo Details 267 Part 6 Completing the Model 275 Quiz 280 On Your Own 281 Quiz Answers 283 An introduction toRendering 285 Visualizing a PDA 289 Conclusion 296 Quiz 297 On Your Own 298 Quiz Answers 299 Shaders and Lights 301 Part 1 Creating Shaders 302 Part 2 Adding a Label 309 Part 3 Lighting the Scene 313 Part 4 Creating an Image 319 Quiz 322 On Your Own 323 Quiz Answers 325 More rendering 327 Part 1 Editing the Render Globals parameters 329 Part 2 Creating a background environment 333 Part 3 Creating a 3D solid texture 338 Part 4 Creating a 2D bump texture 341 Part 5 Raytracing 345 Conclusion 349 Quiz 350 On your own 351 Quiz Answers 352 Introduction to animating 353 Part 1 keyframing animation 355 Part 2 animating along a motion street 364Part 3 editing a motion path 367 Part 4 animating the photographic camera 369 Conclusion 372 Quiz 373 On Your Own 374 Quiz Answers 375 More animation techniques 377 Part 1 Creating an exploded put on animation 379 Part 2 animating shaders 386 Conclusion 395 Quiz 396 On your own 397 Quiz Answers 398 xii Contents Index 399 1 LEARNING ALIASSTUDIO TUTORIALS Learning objectives This chapter try outs how to use the tutorials, and presents the graphic and text conventions used in this manual. HOW TO USE THIS BOOK Introduction A general introduction and welcome to the AliasStudio tutorials. Welcome to AliasStudio and the world of triplet dimensional modeling, rendering, and animating.AliasStudio offers a complete solution for the creation of digital content in playing areas such(prenominal) as industrial design, automotive design, and consumer product design. About the Learning AliasStudio Tuto rials A general over discern of the tutorials. The tutorials in this book present examples of typical concept design workflows. The tutorials introduce the powerful tools and interactive features of AliasStudio, and demonstrate how to use them to save your concept design tasks. The prime(prenominal) six tutorials introduce modeling tools to build your experience level. We remember that you first gear with the first tutorial and propel sequentially through the modeling tutorials, because they build on each other. The abutting both tutorials introduce rendering tools and skills.The last tutorial introduces animation tools and skills. These tutorials are densely packed with information and techniques that may be new to you. You may want to re-read the lessons after completion, or even repeat the more difficult lessons. You weed find out movies (in Flash format) demonstrating each tutorial in the online documentation. In order to gull these movies, you may need to install a Fl ash player. You gouge download Flash plug-ins for your browser for vacate from www. macromedia. com. Disclaimer There may be slight discrepancies in procedures between the movies and the compose documentation. If you 2 How to use this book encounter a discrepancy, use the written ocumentation version because it leave behind be the most on-going. For More Information Information on learning more about AliasStudio and training. These tutorials are an introduction to AliasStudio. They are not intended as an exhaustive guide to the capabilities and options of AliasStudio, and get out not teach you everything there is to learn about the products and workflows. For additional information and more comprehensive explanations of tools and options, refer to the online documentation included with the product, and read Getting help on AliasStudio (page iii). Graphic Conventions Explains graphic conventions used in the tutorials. To call attention to part of a screen s gamy, we ighlight th e important sports stadium and darken the rest of the image. For example, in the picture fork outn, we come upon over marked the location of the cosy box on the Action window. To fence a click, we use this symbol. For example, in the picture shown, we fox indicated that the Open command should be clicked. In the text of the instruction, we willing refer to this as blame Open. The first intelligence service or term is the name of the menu or palette it is followed by an cursor and the name of the menu item or tool. In the case of a submenu, two arrows are used Layouts All Windows All Studio refers to the All Studio menu item available from the All Windows submenu, which is found on the Layouts menu.To indicate that an option box for a tool or menu item should be ignoredided, a box appears after the tool name, like Surfaces Skin ?. When we ask you to recognise a tool, we show the tools icon abutting to the instruction. Terms Explains terms used in the tutorials. pa wl Move the cabbage pointer over an object and press and release a grovel going once. Double-click Move the shiner pointer over an object and press and release a mouse push discharge twice nimble. Drag Move the mouse pointer over an object and apply down a mouse button, and then hold out the mouse with the button held down. Then release the mouse button. come through-Drag Move the mouse pointer over an object, ress the mouse button, and move the mouse pointer to a last-place frame before releasing the mouse button. The Scene The 3D world inside the soak up windows. 3 How to use this book The Model The curls, surfaces, and points that ingest up the object you are creating. Note about Window Names AliasStudio 2008 brings a smorgasbord in Studio and DesignStudio to the names of the Front and Side orthographic windows. proficient about of the tutorials in this book (Modeling a Shower Gel Bottle, Modeling an MP3 Player, and Rendering fundamental principle) use the new naming convention the rest of the tutorials still use the older DesignStudio window names. At the start of each tutorial, a section describes which window ames are used in that tutorial, and how to set the window names. 4 How to use this book 5 INTERFACE BASICS Learning objectives You will learn how to ? Log into the system and start AliasStudio. ? Arrange windows. ? Use tools and tool options. ? Customize shelves and crisscross menus. ? Tumble, track, and dolly the view. ? Use the Object Lister window to understand the model Introduction Before you begin working in AliasStudio, you should spend some time learning how AliasStudio conciliates the injection and the model (both externally and internally), and how you use menus and tools to create and edit model data. Installing the tutorial courseware filesEach tutorial in this book is based on an Alias wire file which contains the material you need to learn the tools, skills and concepts in the tutorial. When you install AliasStu dio, the courseware files are not automatically installed. These files are required to complete the Learning AliasStudio and Technical Surfacing tutorials. If you have installed the online documentation, your courseware may already be installed. If not, follow the following procedure to install the courseware. To install the courseware for use with AliasStudio The courseware files (Alias wire files and other support files) are automatically installed when you install the documentation from the AliasStudio Documentation CD. If you have not yet installed the documentation, place the AliasStudio Documentation CD in your CD-ROM drive and proceed with the installation. You will require write permissions to the directory in which you plan to install the online help and courseware files. If you want to install only the courseware files, go directly to your disk drive and find the CourseWare folder on the disk. 2 Copy the CourseWare folder from its location on your hard drive or CD-ROM driv e into your user_data folder. On Windows systems this is typically CDocuments and SettingsuseridMy DocumentsAliasStudiouser_dataCourseWare 6 Interface basics To install the courseware for use with AliasStudio Personal Learning Edition 1 The AliasStudio documentation should have lready been installed on your system. The courseware files youll require to perform the tutorials passel be found in the CourseWare directory, located under the Help directory. If you have installed the application in the default directory, you should find the CourseWare directory at CProgram FilesAutodeskAliasStudioPLE2008Help. 2 Copy the CourseWare directory from the Help directory to your circulars user data directory. On Windows systems this is typically CDocuments and SettingsuseridMy DocumentsAliasStudiouser_dataCourseW are Starting AliasStudio Logging In If you have not logged in to your account on your workstation, do so now.To log in to your account ? Type your user name and password at the prompts . If you have an account on this workstation, the operating system user environment will appear. Depending on which product you are using, the AliasStudio icon may have a different name, such as DesignStudio or AutoStudio. To start AliasStudio on Windows 1 Double-click the Studio shortcut icon on the desktop, or call for Studio from the Start menu. When you start AliasStudio for the first time the Application Launcher appears on your desktop. 2 Choose a product to launch and options where applicable. If you want AliasStudio to launch the selected product and options automatically every ime you start AliasStudio, click Set Default. When you start AliasStudio over again, the default product starts and the Application Launcher does not appear. You flush toilet change the default riding horses anytime by choosing Application Launcher from the Start menu. 3 weenie Launch. The chosen product should start. 4 If the main AliasStudio window appears, AliasStudio is installed. The Start-u p Process The first time you run AliasStudio, you may be presented with a scatteraxe of product to launch, if you work in an environment where there are several AliasStudio products installed. The product choice will depend on the licenses owned by your organization. 1 Choose the product you want to run, and clickGo. Next, youll be presented with a workflow selection. 2 For the purpose of these tutorials, consider the Default workflow, which gives you access to all 3D curve and surface creation tools. The Paint workflow is for working solely within a 2D environment. You can click the Do not show again check box so this window wont appear every time you launch AliasStudio. If you have chosen a workflow setting and checked Do not show again, you can change the default workflow by choosing the workflow you want from Preferences Workflows. AliasStudio will launch the application in the same workflow that was active when you last muttered the application.AliasStudio shows a splash w indow as it loads. During start-up, AliasStudio may warn you about unusual conditions on your system ? If you are already running AliasStudio (or if AliasStudio exited abnormally the last time you ran it), the application will ask you if you really want to start another copy. 3 If you are sure AliasStudio is not running, click Yes to continue loading. After AliasStudio has finished loading its resources and plug-ins, the workouter space window opens. 7 Interface Basics Overview of the AliasStudio Interface The main parts of the AliasStudio interface are ? the Palette, located on the leave ? the Menu Bar, located at the top the Window Area, taking up most of the interface and located in the plaza (this area may or may not contain view windows when you first start AliasStudio). ? Shelves, located at the bottom (the Shelves may or may not be visible) ? the Control Panel, located on the right As you continue through this tutorial you will give way more and more acquainted(predicate) with the AliasStudio interface. utilise Help One of the most important menus is the Help menu. The Help menu is organized so that you can get quick and specific information on just about any tool in AliasStudio. To get help on a tool or menu item Its easy to get help on any tool or menu item in the interface.Just follow the steps below. 1 detent the Help menu, located at the right end of the menu bar. 2 In the Help menu, click Whats This? You are prompted to select the tool for which you want help. (This prompt appears in the prompt line, located just below the menu bar. ) 3 interpenetrate a menu item or a tool icon in the Palette. A browser window is launched and the on-line documentation about that tool icon or menu item is displayed. 4 When you are finished reading the information, minimize or obstruct the browser window. Menu Bar Shelves Control Panel Window Area Palette 8 Interface Basics Arranging Windows Performing Menu Commands To use the menus to take a window layout dawn the name of the Layouts menu to open the menu. Notice the arrow next to the All windows item. This means there are more sub-options for this category 2 Click the All windows item to open the submenu, then click the All windows item. The All windows command arranges view windows in the Studio layout Top, Front, Right, and panorama. These tutorials will sometimes refer to menu items by the path through the menus to the item. So All windows will be Layouts All windows All windows. As an alternative to the single-click method, you can use the pull-down menus by pull the mouse down the menu and releasing on the item you want. Window ControlsUse these controls on the borders of view windows to move, close, and re size the window The view windows have more controls across the top, but for now you will concentrate on the close box, title bar, maximise, and resize corners. You will discover the functions of the other icons later in the tutorials. Close box Title bar Maximize box resize corners (4) 9 Interface Basics Closing Windows To close the Top view using the close box ? Find the close box in the upper go forth(p) corner of the Top view window. ? Click the Top view windows close box. The Top view window disappears. Resizing Windows You can change the size of windows using the resize arrows at each corner.To change the size of a view window using the resize arrows and maximise box 1 Find the resize arrows in the corners of a view window. 2 Drag a resize arrow to change the size of the window. An scheme of the view window follows the mouse. 3 wrick the mouse button. The corner of the window snaps to the new size. 4 Try traverseging the resize corners in the other corners to see how they resize the window. ? Often you will want to work in one large(p) window to see more detail. Use the maximize box to temporarily train the view window fill the entire screen. 5 Find the maximize box in the upper right corner of a view window. 6 Click the maximize bo x of the view window .The view expands to fill the entire screen. Notice that the maximize box changes to black to show the window is maximized. 7 Click the maximize box again to return the view window to normal size. Moving Windows To move and arrange the remaining windows 1 Find a view windows title bar. The title bar is the area at the top of the window, between the close box and the other icons on the right. 10 Interface Basics 2 Drag the title bar. An outline of the view window follows the mouse. 3 Release the mouse button. The window snaps to the new location. ? By now you probably have some view windows overlapping other windows, similar to this The windows are like a stack of papers on a desk.As you shuffle them, they can overlap. When windows overlap like this, you can click in a window to move that window to the front of the stack. 4 Click the title bar of the scene view window to move it in front of the other windows. The windows are probably a little disorganized at thi s point. You can quickly fix them to a default layout using the commands in the Layout menu again. 5 Choose Layouts All windows All windows. The Active Window Notice one of the view windows has a white border. This is how AliasStudio indicates the active view window (sometimes also called the received view window). The active view window is always the last view indow you clicked in. Some tools change behavior based on which view is active, but for now you can disregard which view window is active. Saving an arrangement of windows If you have a particular(a) choice of windows that you plan to use repeatedly, you can save the set by choosing Layouts User windows Save Current Layout. Youll be prompted for a file name. To use this layout in the future, choose Layouts User windows Retrieve Layout. 3 1 2 1 2 3 1 2 3 11 Interface Basics development Tools Using Tools Describes how to use the AliasStudio interface, such as selecting tools and creating shortcuts. Tool Basics To orie nt yourself in the Palette window Find the Palette window on the leftover side of the screen. If the palette is not visible, go to the Windows menu and choose Palette. The Palette window is divided into separate palettes of tools, each labeled with a tab at the top. For example, the Curves palette contains tools for creating new curves. The Curve Edit palette contains tools for editing and reshaping existing curves. 2 Find the Surfaces palette. Its the seventh palette from the top of the window. If you cant see the Surfaces palette, use the scroll bar on the left side of the palette window to scroll up or down until its visible in the window. 3 Hold the cursor over a tool. The name of the tool appears in a footling box just elow the icon. This small text window is called a tooltip. This feature can help you to identify tools until you become familiar with the icons in the palette. Once you are familiar with the icons in the palette, you may want to disable tooltips. To do this, ch oose the ToolTips option in the Interface section of the General Preferences window (Preferences General Preferences ? ). straight you will use the geometric primitive tools to add some geometry to the scene. The primitive tools create simple 3D geometric shapes such as cubes, firmaments, and cones. As a technical surfacer, you may not regularly need to add these simple shapes to a model. However, hey will allow us to practice several AliasStudio interface concepts, including choosing tools, using manipulators, sub-palettes, tool option windows, and snapping. 12 Interface Basics Using Tools To create a primitive sphere in the scene 1 Click the Surfaces Primitives area tool. A red outline appears approximately the icon to show it is the current tool. 2 Click in the Top view window to place the new sphere. A new sphere, one grid unit wide, appears where you release the mouse button. Using a Snap Mode To use grid snapping to place a primitive cube You may have noticed that som e tools have a small yellow arrow in the top right corner. These arrows indicate that more, similar tools re available in a hidden sub-palette. To access the extra tools, you must click and hold the mouse to open the sub-palette. 1 In the Surfaces palette, click and hold the Sphere tool icon. The Surfaces Primitives sub-palette pops out. 2 Hold the tenderness mouse button on the different tools in the sub-palette to see their names. 3 Click the Cube tool. The sub-palette disappears. The Cube tool is selected and now occupies the space in the main palette where the Sphere tool was. This time you will place the new primitive using grid snapping. 4 Find the snap buttons, to the right of the promptline. 5 Click the Grid button to turn on grid snapping. Click and drag in the Top view window. 13 Interface Basics Using Tools The cube snaps to the grid intersections as you drag. 7 Place the cube at a grid point by releasing the mouse button. 8 Click the Grid snap button again to turn grid snapping off. In addition to using the Grid button, you can grid snap by pressing and holding the Alt button while you place a primitive. To use the palette menu to choose the cone cell tool This time we will show you an alternative method for choosing tools from palettes. 1 Click the tab at the top of the Surfaces palette. The palette collapses down to just the tab, and the other palettes move up to fill the space.This feature is very useful for saving space in the palette window and in shelves. You can still choose tools from the palette using the palettes menu. 2 Click the right mouse button on the Surfaces palettes title tab to open the palettes menu. 3 Click the Primitives item to open the sub-menu. Just like the menus at the top of the screen, arrows indicate that an item in the palette menu has sub-items. 4 Click the Cone tool item. You have now seen two different ways to choose a tool from a palette. From now on, we will ask you to choose tools by name, such as In the Surf aces palette, choose Primitives Cone. Whenever you are asked to choose a tool, you an either click the tool icon, or choose the tool from the palette menu. 5 Click in the Top view to place a cone in the scene. 6 Click the Surfaces palettes tab again to expand the Surfaces palette back to normal. To use tool options to add a half-cylinder 1 With the right mouse button, click the title tab of the Surfaces palette to open the palette menu, then open the Primitives sub-menu. Notice that some items have shadowed boxes next to the name of the item. 14 Interface Basics Using Tools 2 Click the shadowed box next to the piston chamber item. 3 The cylinder options window appears. 4 Double click in the text box labeled Sweep, then type 180 and press Enter to set the sweep to 180 degrees. Use the slider next to the Sections text box to set the sections to 4. 6 Click the Go button at the bottom of the window. This button applies the settings in the window and activates the tool. 7 Click in the Top view window to place the new half-cylinder in the scene. As you specified in the option window, the cylinder has a 180-degree perimeter and is created from four sections (spans). 8 Look at the Cylinder tool icon. It has a small option box symbol in the top left corner. Like the symbol in the menu, this indicates the tool has options. 9 Double-click the Cylinder tool icon. The Cylinder Options window appears. 10 Click Exit to close the options window. striping and Unpicking ObjectsPicking refers to selecting objects in the scene for use with other tools. For example, to move a CV, you must pick the CV, then use the Move tool on the picked CV. Picking objects in the scene is a fundamental part of modeling with AliasStudio. Because it is so important, AliasStudio provides several different tools for picking. To pick all and pick nothing 1 In the Pick palette, choose Object Types All obj/lights. All the objects in the scene highlight to show they are picked. 15 Interface Basics U sing Tools Unlike most selection tools, Pick Object Types All obj/lights does not stick by selected, since you never need to use it twice in a row.When these momentary types of tools finish, the current tool reverts to the last continuous tool you selected. 2 In the Pick palette, choose the Nothing tool. The Pick Nothing tool unpicks every object, leaving nothing picked. Like the Pick Object Types All obj/lights tool, the Pick Nothing tool does not stay selected. The current tool reverts to the last tool you used. To pick and unpick individual objects 1 Choose the Pick Object tool. 2 Click the cone primitive in the view windows with the left mouse button. The cone highlights to show it is picked. 3 Click the other objects with the left mouse button. They also become picked. With all the objects picked, click one of the picked objects with the left mouse button. The object you clicked becomes unpicked. The left mouse button toggles objects between picked and unpicked. 5 Now c lick one of the primitives with the middle mouse button. The object you clicked is picked and the other objects are unpicked. 16 Interface Basics Using Tools The middle mouse button picks only the object you click. 6 Click the picked primitive with the right mouse button. The object is unpicked. The right mouse button unpicks objects. This is most useful with pick boxes, as you will see in the next procedure. To use pick boxes to pick and unpick several objects at once With the Pick Object tool still selected, click one of the primitive objects with the left mouse button. 2 Press the left mouse button and drag a box around all the primitive objects. All the objects inside the pick box toggle between picked and unpicked. 3 Now drag a pick box with the middle mouse button around some objects. Now only the objects inside the box are picked. 4 Now drag a pick box with the right mouse button around some of the picked objects. 17 Interface Basics Using Tools Any objects inside the pick box are unpicked. To pick by name 1 Use the middle mouse button to pick only the sphere. 2 From the Windows menu, choose Information Information window.The Information window appears. The information window allows you to adjust parameters for objects in the scene. 3 Find the Name field. The name of the object should be sphere or something similar. 4 Close the Information window. 5 Click in renounce space with the middle mouse button. All objects in the scene are unpicked. ? guess, the middle mouse button picks only what you click. If you pick nothing (empty space), then the tool acts just like if you had chosen Pick Nothing. 6 Type sphere, then press Enter. The text appears as you type in the promptline at the top of the workspace window. When you press Enter, the sphere is picked. Shortcuts to ToolsThe variety of tools available is the source of AliasStudios power, but finding tools in the palette can potentially become time consuming. You can make ordinarily used tools availa ble more quickly, and hide rarely used tools until you need them. AliasStudio provides three solutions shelves, marking menus, and hot keys. Shelves are like the palettes, except you control the tools options and their position on the shelves. You will use shelves to organize all your commonly used tools. patsy menus pop-up at the current mouse location. They provide a very fast method to choose the tools you use most often (such as Pick Object). Hot keys are special key combinations that perform ommon menu or tool commands. Creating Custom Shelves To show and hide the ledge window 1 In the Windows menu, choose Shelves. The Shelves window appears. ? The Shelves window provides a floating window in which to abide by commonly used tools. 18 Interface Basics Using Tools AliasStudio, however, provides another, even more convenient location for shelves. In these tutorials, you will use the shelf area in the control dining table. ? Since you will not be using the Shelves window, yo u can close it. 2 Choose Windows Shelves again to hide the Shelves window, or click the Shelves windows close button. To help demonstrate how to make new shelves, you ill clear the default shelves and make new shelves specific to these tutorials. Before you clear the default shelves, you will save them so you can retrieve them later. To save the initial shelf set 1 Choose Windows Control Panel. The control panel will appear. 2 Hold the left mouse button on the Shelf Options menu button at the top of the control panels shelf area to open the pop-up menu. 3 Drag down to the Save item and release the mouse button. A file requester appears. 4 Click in the File text field and type Default, then click Save. In the next procedure, you will start a new shelf of tools commonly used in curve fitting in preparation or the lesson on fitting curves to scan data. To clear the existing shelf set and create a new one 1 Hold the left mouse button on the menu button at the top of the shelf area to open the pop-up menu. Notice how the menu button is now called Default, after the name of the current shelf. 2 Choose New from the pop-up menu. A requester appears asking for the name of the new shelf. 3 Click in the text box, hit the Esc key to clear the text, and type Curve qualified. Click OK to name the new shelf. The old Shelf set is deleted and a new, empty shelf appears in the shelf area. Now you can begin adding tools to the new shelf. 4 In the Palette window, find the Curves palette. With the middle mouse button, drag the Fit Curve tool onto the Curves shelf in the control panel. 19 Interface Basics Using Tools The tool appears in the shelf. You could move the entire Curves palette onto the shelf by dragging its title tab, but you only want a selection of tools from the full palette. Next, you will add curve drawing tools to the palette. Since you will often need to create curves of different degree in technical surfacing, it would be useful to have tailor-maked versions o f tools with different settings. The shelf allows you to do this. When you drag a tool onto a shelf, the new copy of the tool keeps the settings it had when it was dropped on the shelf, ndependent of the original tool in the palette. Using this technique, you will create several versions of the two original curve creation tools, New curve (edit pts) and New curve (cvs). Each version will have different settings for the Degree option. To add versions of the New Curve tools to the shelf with different options 1 In the Curves palette, double-click New Curves New Curve by Edit Points to open the tools option window. (Remember that you can also choose New Curve by Edit Points from the palette menu). The New Curve by Edit Points option window appears. The options let you set the knot position (parameterization) and degree of the new curve. film sure Knot Spacing is set to Uniform and Create Guidelines is off. 3 Set the Degree option to 2. 4 Find the tool icon at the top of the option w indow. This icon represents the tool as configured with these settings. 5 Press the middle mouse button on the tool icon at the top of the option box and drag it to the CurveFit shelf. Now when you choose this icon in the shelf, the New Curve (edit pts) tool will create degree 2 curves. 6 Back in the option window, set the Degree to 3. 20 Interface Basics Using Tools 7 Use the middle mouse button to drag the tool icon at the top of the option window to the shelf. Another copy of the tool is added to the shelf.When you choose this copy of the tool, the New Curve (edit pts) tool will create degree 3 curves. 8 Click Exit at the bottom of the option window to close the window. To rename the tools 1 Move the mouse over the CurveFit shelfs title tab and press the right mouse button to show the shelfs menu. Note that the two versions of the tool have the exact same name and icon. To be able to distinguish between the tools, you will rename them. 2 Find the first version of New Curve by Edi t Points you dragged to the shelf. If you cant remember which is which, doubleclick the two icons to see their option windows. You want the version with the Degree option set to 2. Hold down the Ctrl key and double-click the tool icon. A name requester appears. 4 Double-click in the text box and type Edit_pt_Deg_2, then click OK to rename the tool. 5 Hold down the Ctrl key and double-click the second copy of the New Curve by Edit Points tool. 6 Double-click in the text box and type Edit_pt_Deg_3, then click OK to rename the tool. 7 Hold down the right mouse button on the title tab of the shelf to open the shelf menu. The two copies of the tool are now distinguishable in the menu, but still have identical icons. We recommend you keep the shelves collapsed and use the shelf menus to choose tools. This saves space in the shelf.To remove a tool from the shelf 1 Add another tool to the CurveFit shelf. permits now assume that this was a mistake and you wish to remove the tool. 2 Hold the middle mouse button over the tools icon in the shelf. The name of the tool appears. 3 With the middle mouse button held down, drag the label to the upper-right corner of the window and position the cursor over the trash can icon. 21 Interface Basics Using Tools 4 Release the mouse button. The tool disappears from the shelf. You can also delete groups of tools by dragging a tab with the middle mouse button to the trash can. You may have noticed that icons are a bit crowded on the shelf.The large icons are good when you are learning which icon is which, but now you will switch to the small icon size to save space in the shelf. To change to the small icon size 1 In the Preferences menu, choose General Preferences ?. The Interface options appear. 2 Set the Icon Mode to Small. If you wish, you can also turn the icon labels option on to display name labels on all the icons. 3 Click the Go button at the bottom of the window to apply the changes. AliasStudio loads smaller versions of all the tool icons. You have seen how to create shelves with customized tools. In later lessons you will load premade shelves containing all the tools you need to omplete the tutorials. Using and Customizing Marking Menus An even faster method for selecting tools are the marking menus. Marking menus generally hold fewer tools than a shelf, but are much faster since you can use quick gestures to choose tools. With practice, selecting tools with marking menus becomes almost instantaneous. To choose common tools with marking menus 1 Hold down the Shift and Ctrl keys. 2 With the keys held down, hold the left mouse button. 22 Interface Basics Using Tools The left mouse button marking menu appears at the location of the mouse pointer. 3 move the left mouse button held down and drag down until the Pick Object box is ighlighted. A thick black line shows the bursting charge of the mouse pointer. 4 Release the mouse button to choose the highlighted tool. The Pick Object tool is now the curren t tool. 5 Hold Shift and Ctrl with the middle and then with the right mouse buttons to see the other marking menus. Each mouse button has a separate marking menu. Once you have learned which snap corresponds to which tool in a marking menu, you can use a quick gesture to choose the tool. 6 Hold the Shift and Ctrl keys, then drag up and release the mouse button quickly. The black line shows the direction but the menu is not drawn. When you release the mouse button, the arking menu flashes the name of the selected tool on the screen. You have just selected Pick Nothing. Use this method to choose tools even faster once you have mastered the positions of the tools on the menu. Learn which tools are on the marking menus, and use the marking menus whenever you need to choose one of those tools. The more you use them, the faster you will become, until you can choose tools with quick gestures. To customize a marking menu with common tools 1 In the Preferences menu, open the Marking Menus sub-menu and choose Modeling Marking Menu ?. The Modeling Marking Menu shelf window appears. This is a special shelf window. The tools and enu items on the different tabs appear in corresponding marking menus. The procedure to modify the content of marking menus is similar to the one for modifying shelves that we learned earlier. Here you will make a small modification to the Pick marking menu shelf. 2 Double click the Pick Pick locator point tool in the Palette or Control Panel to open the Pick Locator Options box. Right mouse button Middle mouse button Middle Right 23 Interface Basics Using Tools 3 Hold down the middle mouse button and drag the tool icon from the top of the option box and drop it between the third and fourth last icons on the shelf. You now have a tool on the marking menu to ick locators. 4 Hold down Shift and Alt keys and press the left mouse button to show the marking menu again. The tool you just added is called Pick Pick_locator in the marking menu. You wil l change the name to something more concise. 5 In the MarkingMenu shelf window, hold down the Ctrl key and double-click the Pick locator tool in the shelf (second from the right). A dialog box appears. 6 Type Pick_Locator in the text field and click OK to rename the tool in the marking menu. 7 Show the left mouse button marking menu again. You now know how to customize the marking menus. In later lessons, you will load pre-made marking menus with common urfacing tools. Using hot keys Hot keys are special key combinations that choose tools or perform menu commands. You can get a complete listing of all the hot keys in the hot key editor. To use hot keys 1 In the Preferences menu, open the Interface sub-menu and choose Hot keys / Menus. The hot key editor appears. 24 Interface Basics Using Tools ? AliasStudios option windows use a hierarchy similar to that of the file lister options are organized into hierarchical sections that can be collapsed and expanded. 2 In the menu section, cli ck the Layouts subsection title to expand it. Click to open a Section Heading You can see the hot key for the User windows tem, as well as text fields for defining other hot keys. You can define your own hot keys if you wish. For the most part we will not use hot keys in these lessons. If you are new to Autodesk AliasStudio products, we recommend that you spend some time working with the product before you define hot keys, so you can learn which commands you use frequently enough to need a hot key. 3 Click the close box to close the hot key editor. 25 Interface Basics Changing Your View of the Model Changing Your View of the Model Learn how AliasStudio represents the 3D model on your 2D monitor, and how to use the view controls to get the best possible angle on the model for the ask at hand. tracking, Dollying, and Tumbling the Cameras View There are many different ways to change the cameras view in AliasStudio. In general, you will only need to learn three camera moves to model ef fectively tumble, dolly, and track. Because these camera movements are so common, AliasStudio uses special hot key/mouse combinations to let you access these movements quickly. To use the camera move mode to move the camera in a eyeshot window 1 Hold down the Shift and Alt keys. Keep the keys held down during the following steps. 2 Make sure the mouse pointer is over the perspective view window. 3 Drag the left mouse button to tumble the camera Drag left and right to rotate the camera. ? Drag up and down to tilt the camera. Tumbling the camera changes the azimuth and elevation angles of the camera. 4 Release the left mouse button, but keep the Shift and Alt keys held down. 5 Drag the right mouse button to dolly the camera in and out. Dolly in out Track Tumble rotate tilt up down left right 26 Interface Basics Changing Your View of the Model Dollying moves the camera preliminary and backward. 6 Again, release the right mouse button, but keep the Shift and Alt keys held down. 7 Drag the middle mouse button to track the camera. Tracking moves the camera, but does not change the direction in which the camera is pointing. When you are done moving the camera, release the mouse button and the Shift and Alt keys to exit camera move mode. Now, try moving the camera in the orthographic windows. To use the camera move keys to move the camera in an orthographic window 1 Hold Shift and Alt to enter camera move mode. 2 Make sure the pointer is over an orthographic window such as Top, Side, or Back 3 Drag the right mouse button to dolly in and out. 4 Drag the middle mouse button to track up, down, left and right. 5 Now try dragging the left mouse button to tumble the orthographic view. Nothing happens. You cannot change the view direction of orthographic windows. They always ook in the same direction. Moving the camera is a very important skill in AliasStudio. Throughout this book you will need to move the camera to work with geometry. Using the camera move mode soon becom es second nature. With practice, you will be able to 27 Interface Basics Changing Your View of the Model move the camera where you need it without thinking about the keys or the mouse. Practice tumbling, tracking, and dollying the camera around the model some more before you move on. To use Look At to center on an object 1 Use the marking menus to choose the Pick Nothing tool. Remember that the left mouse button marking menu has the pick tools. Now use the marking menus to choose the Pick Object tool. 3 Pick one of the geometric objects you created earlier. 4 Find the View palette. Its near the bottom of the Palette window. 5 Choose the Look at tool. The active view window (the window with the white outline) changes to center on the picked object. 6 Pick nothing. 7 Use the Look at tool again. The active view changes to center on all the existing geometry. When you use Look at with nothing or everything picked, the view will center on all the geometry in the scene. Look at is most useful to quickly find geometry that is outside the view of a window or too far to be seen distinctly.AliasStudio provides two additional tools to make it easier to move the camera around a model quickly the point of interest, and the viewing panel. Changing the Point of vex Normally, camera move mode (Shift+Alt) is calibrated to best view objects at the origin (the center of world space, coordinate 0,0,0). This can become awkward when you want to move the camera around objects away from the origin. The point of interest manipulator lets you center the camera movements on a point on the model. To use the point of interest manipulator First, make sure the point of interest manipulator is turned on. 1 Choose Preferences General Preferences ?.The General Preferences window appears. 28 Interface Basics Changing Your View of the Model T 2 Click Input on the left hand side to open the Input section. 3 Turn on the Use point of interest option. 4 Click Go to close the window and use the new settings. 5 Move the mouse pointer over the locating view and hold down the Shift and Alt keys to open the Viewing Panel. Keep the keys held down for the rest of this procedure. 6 In the Viewing Panel, open the Pnt of Interest section and turn on Visible. 7 Position the mouse pointer on the wireframe of one of the primitive objects and click with the left mouse button. When you release the mouse button, the point f interest manipulator appears on the model where you clicked. Drag with the left mouse button to tumble. The view tumbles around the point of interest. 8 Click and release on another point on one of the primitive objects. The point of interest manipulator jumps to the new point. 9 Drag the circle at the center of the point of interest manipulator. The manipulator moves across the surface of the object. 10 Notice the light obscure or yellow arrow extending from the center of the manipulator. This arrow indicates the normal at this point on the surface. The arrow is li ght blue when it is pointing toward you and yellow when it is pointing away. 11 Click the light blue or yellow arrow.The view changes to look at the point down the normal. 12 Now look for the red and green arrows extending from the center of the manipulator (tumble the view to show the arrows more clearly if necessary). These arrows represent the tangents along the U and V directions for the object. 13 Click the red arrow. The view changes to look down the tangent in the U direction. 29 Interface Basics Changing Your View of the Model Use the following overview illustration as a reminder of the different controls on the point of interest manipulator. Using the Viewing Panel You have probably already seen the viewing panel appear when you enter camera move mode in the Perspective window.This window lets you quickly switch the Perspective window to a default or userdefined view of the model. As you work on the model, you will probably find yourself changing the camera view back and f orth between two or more areas of interest. The viewing panel lets you bookmark views of the model and return to those views by clicking the name of the bookmark. To use the viewing panel to move between different views 1 Click the maximize box in the upper right corner of the Perspective view window. The Perspective view window enlarges to full screen. 2 Hold down the Shift and Alt keys to enter camera move mode. Keep the keys held down for the rest of this procedure.The viewing panel appears in the upper left corner of the Perspective window. The images at the center of the panel (small icons of the top and bottom of a car) represent the model. 3 Click an arrow to view the model from one of eight different directions. The horizontal and vertical arrows represent front, side, and back views. The diagonal arrows represent three-quarter views. Click the red or green arrow to look at the tangent along the U or V direction Click the light blue/yellow arrow to look down the norma Drag t he circle to move at this point the point of interest along or across the object 30 Interface Basics Changing Your View of the Model Click the left car icon to see a top view, or the right car icon to see a bottom view. 5 Click the white arrow near the bottom of the viewing panel to return to the view previous to your last camera move. 6 Click the Viewing Panel section heading at the top of the panel to collapse the entire panel into a small heading. Use this technique to get the viewing panel out of the way when you want as much viewing area as possible. 7 Click the Viewing Panel heading again to expand the panel. 8 Click the Point of Interest section heading to open it. Options connect to the point of interest manipulator appear. 9 Turn off the Visible check box to hide the point of interest manipulator.Turn the Visible check box on to show the manipulator again. 10 Turn on the Locked check box to keep the point of interest manipulator locked at its current position. The manipula tor will not move when you click at another point or drag its center handle. Use this option if you find that you are moving the manipulator unintentionally. Turn the Locked check box off to free the manipulator. 11 Turn off the Perspective check box. The perspective view changes to an isographic projection. 31 Interface Basics Changing Your View of the Model Many people find an isographic view easier for technical modeling, since line of latitude lines in the model remain parallel in the view window.For the remainder of the tutorials, the screen shots will show isographic views. However, feel free to turn the Perspective checkbox back on if you prefer a perspective view. To set and show bookmarks 1 Move the mouse pointer over the Perspective view and hold down the Shift and Alt keys to enter camera move mode. Keep the Shift and Alt keys held down. 2 Find the Bookmarks section at the bottom of the Viewing Panel If it is not visible, click on the brand in the bottom right corner of the viewing panel. It will turn white and the bookmarks section will appear. 3 Click the new button in the bookmarks section. A new bookmark appears at the bottom of the section. Move the camera to a new view on the model. 5 Click the new button again. A second bookmark appears in the bookmark list. 6 Click the label for the first bookmark, then the second. The view switches back and forth between the two bookmarked views. To be able to distinguish between bookmarks later, you should rename them now. 7 Click the edit button in the Bookmarks section. The Bookmark Lister window appears. 8 Release the Shift and Alt keys. 9 Hold down the Ctrl key and double-click the first bookmark icon in the Bookmark Lister. A dialog box appears. 10 Type a new name for the bookmark, then click OK. For production work you should use meaningful ames such as back panel or door handle. By default, bookmarks are named BM, BM2, BM3, etc. Move the cursor over a bookmark icon to see its current name. 11 Ctrl double-click and rename the other bookmark. 12 Note the buttons in the Bookmark Lister window ? The cancel button removes the current bookmark (green outline) from the list. ? The New button adds a bookmark of the current view. This is the same as clicking new in the viewing panel. ? The Prev and Next buttons change the view to the bookmark that precedes or follows the highlighted bookmark (green outline). Delete New Prev Next Bookmark icons Cycle Publish 32 Interface Basics Changing Your View of the Model The Cycle button displays the bookmarked views in a slideshow fashion. ? The Publish button saves the current or all bookmark(s) as image files on your disk. ? Clicking on a bookmark icon changes the view to that bookmark. This is the same as clicking a bookmark in the viewing panel. 13 Close the Bookmark Lister. 14 Hold the Shift and Alt keys in the Perspective window to show the viewing panel. Notice your new names in the Bookmarks section. Use the following overview illustrat ion as a reminder of the different controls on the viewing panel. The diverge and Azimuth/Elevation tools rotate the view around the point of interest. Open/Close Panel Open/Close

Elderly or Old Age Stage of Development

Participants Cultural BackgroundThe senior woman is a Caucasian living in the United States and has been living within the subtlety of the west throughout her life. Therefore, her life has non been adversely affected by other cultures. The Western culture is such that it emphasizes individualism and independence thus to each one person seeks autonomy through education, employment and involvement in various social activities. Information provided to me indicated that she was a instructor before she retired and involved herself in community of interests work. In particular, her social work revolved around providing guidance and counseling services to young adults and adolescents.According to Schulz & Jutta (1996, p. 704), aging is not universal and affects people in assorted ways as influenced by versatile factors that the individual is exposed to, among them being education, social support, diet and nutrition. These factors mediate the process of aging thus determine the supr emacy or failure of aging. Generally, the role player had been influenced by the factors especially education, nutrition and social support. The participant had been influenced by education owing to the fact that before her retreat, she had been a teacher and lived with her family who provided her with social support and adequate nutrition.She is a Caucasian thus culturally, her family is keen on her diet and wellbeing. Setting where participant was observed I observed the participant in her home where she lives with her family for a week. I was able to make my observations constantly because the participant does not live far from where I reside. The house is medium in size and houses six people with the participant being the oldest. She lives with her son, the sons wife and their two children as well as a nanny. There is an unsolved back yard behind the house where there is a swimming pool and a garden with flowers and grass.The remote woman spends most of her day in this area w ith the assistance of a nurse and in some occasions in the company of her son and grandchildren. She generally deals with various aging issues. For instance, she is dealing with retirement and decreased income, dealing with loss of spouse and getting ready for her own period of death. She does not engage in energy demanding activities such as manner of walking long distances, climbing the stairs, lifting heavy objects, among others. She claims that whenever she involves herself in strenuous activities, she breathes a lot.According Leahy, Grafe and Fuzy (2004, p.124), when people grow older, their blood circulation becomes less efficient hence they become sensitive to diverse things such as energy demanding activities and extreme temperatures. In general, I made my observations within the compound in which the participant was residing in. During my one week of observation, I did not see her travel but she always saw her family off whenever they were going out. Behaviors displayed At this stage of development, there are a number of behavioral characteristics that sewer be observed in the elderly participant corporeally, socially and psychologically.This is because the individual is likely to present retired, thus undergone significant evolution. 92 years of age fashion that the person is shifting towards the end of his or her life cycle. It is often a time when they can spend time with their grandchildren, engage in leisure activities and absolve the issues that caused stress and anxiety in the prior decades. The participant was participating in some activities that enabled her to enjoy her aging. For example, in the mornings, I would see her in the garden all trying to trim the flowers, water the garden or plant more flowers in the flower pots.Although the pace of engaging in the activities was slow, she seemed to enjoy doing that work and it sometimes required the intervention of the nurse to stop her from gardening. According to Pecks theory, during ol d age, an individual experiences Ego Differentiation vs. Work Role Preoccupation where the elderly individual is prone to cling to lifestyles that he or she previously lived or engage in activities that enhance their self esteem (Saxon, Saxon & Etten, 2002, p. 26). The participant had slow-moving responses as well as reflexes.When she is asked about something, I observed that she took a while before she responded. In addition, she seemed to be forgetting various instructions within a short period of time especially in situations when the instructions or information given were verbal. I realized this after she asked my name a equal of hours after I had told her. However, she had definite memory of visual gestures because she could spot her sons car from a distance. According to Leahy, Grafe and Fuzy (2004, p. 123), aging affects the persons force to remember and concentrate because it affects memory.It is difficult for the old to think fast and logically due to old age. However, t he degree of memory loss differs with individuals. In most cases, the elderly often experience memory loss of recent activities whereas past activities are easily remembered. The elderly woman has lost several(prenominal) things ranging from independence, friends, health to family although she may build increased wisdom. The elderly are faced with some developmental tasks such as bending with declined physical energy and loss of well being. This is indicated by her behaviors such as having difficulties parting up things when they fall.For example, during one of my observations, she was walking towards the car but her hat was blown off by the wind. However, she was not able to bend and pick hence was assisted by her grandson. In addition, her reaction to the hat that had been blown off was slow in both speed and verbal response. Saxon, Saxon and Etten (2002, p. 26) stain out that in the process of aging, Body Transcendence vs. Body Preoccupation influences the elderly to an extent that for older adults with the capacity to rise above preoccupation with their health, they have the exponent to engage in activities that grant them individual satisfaction.Her vision, tasting, hearing, and smell are quite poor. For her vision, she usually has difficulties reading and noting details in some visual objects and this explains the fountain why she always wears her spectacles. She is not able to see small sized objects. For example, in case a button falls on the carpet, she cannot find it. Her taste is also poor because she always complains about nourishment and drinks. For instance, she often complains about food having inadequate salt which is rarely the case or that the fruit juice given to her is tasteless.Her hearing has been impaired by old age because when communicating with her, one has to speak loudly or talk close to her ears. On several occasions, her grandchildren are forced to almost shout so that she can hear them. This has brought frustration to the participant owing to the fact that she finds it strenuous to communicate with those around her. In the course of my observation, I noted that the participant did not have a good sense of smell. I made this observation when the nanny burnt the food and while everyone else was finding fault in the strange smell, she just said, I dont smell anything.Schulz & Jutta (1996) point out that during aging, it is common for the elderly to emit their senses of smell, touch, taste, hearing and sight. This is attributed to the decline in the ability of the senses of the body to function adequately. In conclusion, it is evident that old age results to changes in diverse aspects of life to psychological and physical changes in the life of the elderly. Aging affects persons differently depending on factors such as nutrition, social support, education and diet.Conversely, aging generally results to a decline in the ability of the body to function due to a decline in the capacity of a number of body parts to function e. g. respiratory system, urinary system, circulative system, nervous system, and musculoskeletal system and hence affecting the activities they get involved in. Therefore, at old age, the elderly should be well taken care of because they do not have the ability to function effectively as they used to in their previous years (Leahy, Grafe & Fuzy, 2004).ReferencesLeahy, W., Grafe, J. & Fuzy, J. L. (2004). Providing mansion Care A Textbook for Home Health Aides. Albuquerque Hartman Publishing Inc.Saxon, V. S.S, Saxon, V. S. & Etten, M. J. (2002). Physical Change & Aging A Guide for the Helping Professionals. New York Springer Publishing CompanySchulz, R. & Jutta, H. (1996). A Life continue of Successful Aging. Journal of American Psychologist. Vol. 51 (7), pp.702- 714

Comparing America’s Economy in the 1920s and the Current Economic Situation Essay

Few periods in America have influenced the current government structure, size, and economy preferably than the Roaring Twenties and the Great Depression. At the beginning of the 1920s, the United States was converting from wartime to peace time economy at the time weapons for World War I were no longer useful. In this decade, America became the richest nation in the world and a culture of consumerism was born. People spent m matchlessy for better roads, tourism, and holiday resorts. solid estates booms sent land prices soaring (DeLong, 1997). Looking at technology, it played a vital role in delivering the economic and cultural good times that some of America enjoyed during the 1920s. The automobiles popularity, construction of roads and elevatedways, poured fresh habitual funds into the economy. This resulted to tremendous economic prosperity. Technology enhanced communication with the first public station being established, KDKA, the year 1922 introduced the first movie made wit h sound- The Jazz singer.It is in this time that the United States became a modern middle-class economy of radios, consumer appliances, automobiles and suburbs. survey production had made the United States the richest society the world had ever seen (DeLong, 1997). The economy today seems to negate the glory it received in the 1920s. According to Leonhardt (2010), it produced $ 15 one million million worth of goods and services in 2008 in estimates, making it the largest in the world.The US economy however has shown a downward trend since in 2007, it began to slow significantly mainly because of a real-estate slump and other pecuniary problems that has led the economy into a recession. The recession continued up to early 2009, making it the longest one in decades. August 2009 came with some hope with the Federal Reserve Banks policy-making committee saying that they believed the recession was ending. The bank cautioned that the recovery would be slow and there was a possibility that unemployment was to remain high for another year.The year 2010 is seen as the year of severe economic contraction. According to Whitney (2010), reports in the financial media believe that the effects of ongoing credit contraction and the massive injection of the central bank liquidity have prevented the collapse of financial markets. A clustering is still to be done in order to leverage households and stimulate the general economic activity. The financial crisis has stripped the economy $ 13 trillion in equity and Americans have grown gloomier about the economy and the nations direction over the past few months, although it shows signs of moving to recovery.The country is persistent with high unemployment with ordinary working people continuing to fight to keep their jobs and maintain their standard of living. This is a contrast on what was happening in the 1920s. US had transform in less than a decade to become the richest Nation in the world. High pay of $5 a day showed the low unemployment rate that existed. Industries were well-fixed with high profits and numerous companies opened their doors to start operations.The US might be the worlds leading economy, but the current unemployment rates, the number of businesses destruction their doors as a result of inability to pay their debts and the constraints the government face in order to fully fund the budget requirements are overwhelming. The government, the Fed and the full-page economy need to work towards alleviating bottlenecks that cause the economy harm. They need to uphold policies that will see to it that economy does not run to the stagflation condition of the 1970s.

Multicultural Literature Essay

During this semester in Prose class, I have learned many kind of short stories by writers of various background. I also learn how to analyze the textbook critically, especially astir(predicate) structural sociology and culture stu betters. There atomic number 18 8 short stories that I have discussed with the class and written in one-page journal response. First, A Short Happy Life of Conat by Mochtar Lubis , Rising Flood by Riem Eng, First Confession by Frank OConnor, Wings by Catriona McKenzie, Ta-Na-E-Ka by Mary Whitebird, Indian Camp by Ernest Hemingway, Bali by Putu Setia, and Because My Father Always Said He Was the Only Indian Who Saw Jimi Hendrix Play The Star-Spangled Banner at Woodstock by Sherman Alexie.Moreover I learned slightly what Prose is and Intrinsic ele ment of literature, such plot, character, theme, point of view,setting, etc. Then I learn about structuralism in literature, such as binary opposition, the sequence of the event, unequal interference of time, e tc. On the other opportunities I also learn about symbolism, narration, multicultural literature and Indonesian multiculturalism.Because My Father Always Said He Was the Only Indian Who Saw Jimi Hendrix Play The Star-Spangled at Woodstock is a story that does not unless focus on Indian people who are marginalized but it contains how the modern Indians life is. In this story, we could find some of multiculturalism. First, from the narrator,Victors point of view, he shows the mingle culture between traditional NativeAmerican values from his incur and the dependence to American influences from his catch. There also some multiculturalisms about the difference treatment towards Indian fathers who leave their children compare to white fathers and how Indians family live such as the difference of Victors friend experience about how their parents making drive in and Victors parents who are Indians .In the beginning of the story, the mixture of the culture is shown by Victors father. Du ring the sixties, my father was the perfect hippie, since all the hippies were assay to be Indians. There is an irony here that Victors father does not like the perfect hippie. He wear bell-bottom, flowered shirt and holds a riffle above his head that represented American, not the hippies. He use red peace symbols splashed across his face and there is a hallow MAKE LOVE NOT WAR in his demonstration but he seems does not stand for peace. The caption under the photograph read certainty GOES TO WAR FOR PEACE.The editor capitalized on my fathers Native America identity with other headline like ONE WARRIOR AGAINST WAR and PEACEFUL host TURN INTO NATIVE UPRISING.Then his obsession with pop music America icon, Jimi hendrix, damage his family relationship and claims the values of his Indian culture. Only the good die young, to his mother replied, No, only the crazy people choke to death on their own vomit. So Victors father asked Why you talking about my hero that way? In this case, Vi ctor saw their parents argue just because of different perception of the death of Jimi Hendrix. So indirectly Victors father obsession on Jimi Hendrix polish off him having arguments with his wife. In addition, on page 32 A hundred years ago, an Indian marriage was broken easily.The woman or man just packed up all their possessions and left the tipi. There were no arguments, no discussion. Now, Indians fight their way to the end, holding onto the last good thing, because our total lives have to do with survival of the fittest. It also indicates that by fighting stage, an Indian family problem now becomes clear since both wife and husband spill out their spirit and thought that might become the solution of the problem. On the other hand, Victors mother solace involved with NativeAmerican traditions, such as her dancing. As soon as her husband does not need her when he was sick in a hospital, she went back to the life she had created. She traveled to powwows, started to dance aga in.. In this case I could see that Victors mother as a woman have to make hard decision. Even though she understood loves him, she can not follow the lifestyle of the man. Culture will always influence the characteristic of the society.Victors fathers dependence on music, alcohol, and other American influence separates him from his wife and son. In addition, when his marriage get worse, Victors father does not follow tradition that inspires the Indians about survival or the importance of family . It bring the multicultural further that is about the difference treatment towards Indian fathers who leave their children compare to white fathers. On a reservation, Indian men who abandon their children are treated worse than white fathers who do the same thing. Its because white men have been doing that forever and Indian men just leraned how. In this matter, we could see that white people who indicate as more individual people, give influence Native-American to leave the children.There is also multiculturalism about how Indians family live such as the difference of Victors white friend experience about how their parents making love and Victors parents who are Indians. Some night I lay awake and listened to my parents lovemaking. I know white people keep it quite, pretend they dont ever make love. My white friends tll me thay cant even imagine their own parents getting it on. I think in this occasion, it would be positif knowledge for Indians children that their parents still love each other although sometimes they have fight. For the conclusion, we could see that multiculturalism can be the mixture culture between one culture to another. It could give positif affect or even negatif affect.Especially when we look at Victors father, the influence of acceptance of white American pop culture with Jimi Hendrix ironically contributes to his family breakup. However, for Victor, an Indian boy these sound of American pop culture (not always Jimi Hendrix but also Roberst Jo hnson) offer the hope that maybe someday his father will get home. These sounds are an inspiration for this Indian boy to go on. Until the sun rose so bright that I knew it was time to go back inside to my mother . So he knew when the sun comes up and shines brightly.

Black Psychology Essay

Abstract This is an autobiographical essay where I briefly analyzes and interpret significant and impactful events that has transpired over my last 20 years in my life from school to my community in Portland, Oregon. The objective of this essay is to connect concepts and the course objectives related to depressed Psychology which I enrolled in at Florida unpolished and Mechanical University (FAMU) spring 2009 term. The outline for this essay is in a chronological age order starting from my birth in 1988 till my current receive at FAMU.The book that is mainly referenced in this essay is the Kobi K. Kambon textbook African/ downhearted Psychology in American Context An African revolve around Approach along with Joseph Baldwins class lectures that I attended. Divided Among two Different Views of the World But this is my Story The idea that a opaque soulfulness is from Portland, Oregon seems to be shocking information for certain African-Americans. Once I introduce myself to new friends and professors who never traveled to Portland or were never informed that dark-skinned people live in Oregon.Many atomic number 18 intrigued by this information and have a quest to k directly more. So to answer that question, yes there argon blacks who live in Oregon. I am a product of Oregon I, Michelle Williams, was born and raised in the urban community in Portland amongst other African-Americans. sensation may run into that I had a difficult time growing up in Oregon. Experiencing discrimination, racism, or identity crisis however, my six siblings and I never did. Although, I did non experience those types of issues, I beneathstood that in Portland, the Black race was the minority and Europeans were the majority in the race factor.In addition, do not assume that my family lineage only lines in Oregon, on both sides of my family southern roots run deep. Therefore, southern traditions, values, morals, beliefs, and customs were inbreeded into my up brings. Without que stions, I am an African-American cleaning lady from Portland, Oregon however, my geographic region does not define my blackness, nor does it determine if I am capcapable of experiencing hardships like my fellow peers who were raised in Confederate states.In my early childhood, I resided with my maternal gran due to my p atomic number 18nts abuse to their environment and the use of narcotics. However, my time spent with my grandmother was not in vein, yet filled with years of observing and learning how to uphold traditional southern values, which the modern humans of psychology considers the African/ Black Worldviews. In the book, African/ Black Psychology in the American stage setting An African- Centered Approach Kobi K.Kambon explains the difference between the African/ Black and European Worldviews. The four components that compose the worldviews be cosmology, ontology, axiology, and epistemology (Kambon, 1998) In the African/ African-American worldviews one are taught to b elieve in oneness/ harmony with nature, extract of the group, sameness whereas the European Worldview have the notion of survival of the fittest, competiveness, independence, and uniqueness (being different).In my middle childhood my parents redirected their life, and my mother returned to college and obtained her bachelors and masters in Psychology with a minor in Black Studies at Portland State University. turn in school she begun to incorporate her findings into her parenting. Although, my mother and I were led by Eurocentric teachings, my family and our surroundings reinforced the black/African-American Worldviews in the household. I opine myself adapting to the ideologies and beliefs of those who were not within my own indigenous ethnical group.Kambon defines this experience as a black child who has been influenced by Eurocentric teachings resulting in Abnormal paranormal Circumstances. The child has accepted and identified him or herself as a member of a group that is not indigenous cultural reality (Kambon, 1998). I was able to bounce back to the normal-nature circumstances, with the help of my Black community friends, and family through our morals and beliefs. I had to stay true to my own cultural reality and not be amongst those who are cultural mis-identified.An example of how I demonstrated abnormal unnatural circumstances was when I accepted the European philosophies and allowed the whites to dictate and define what was let or correct based off their standards and views on life. By this I allowed the notion that white Barbie dolls are better, rather than the Black China Doll my grandmother purchased for Christmas one year. While in middle school, which is considered my late or pre-adolescence years, I was offered acceptance into the Talent and Gift also cognize as the quest after architectural plan.The TAG programs honors and congratulates students who demonstrated outstanding abilities or potentials in areas of general intellectual ability or specific ability aptitude (Davenport Community School Website). After discovering the equity in the Black Psychology course, I have come to the understanding that this particular program has several flaws that discriminates against the Black race. The black students who excel above the standards designate for Blacks are called Talented or Gifted. In chapter eight it stated that there was well-nigh Blacks who scored as high as Whites on Standard tests of so-called news (i.e research on Black gifted children) (Kambon, 1998).The foundation of the Tag program refers and supports White Supremacy. The definition the European psychologist use to define intelligence which were examined on Caucasians only was (a) the repertoire of intellectual/cognitive skills and intimacy available to a person at any one period of time, or (b) the gist of global capacity of the individual to act purposely, to think rationally, and to deal effectively with his/her environment (Kambon,1998).The nam es of a couple of exams that exemplified that one was intelligent were The Alfred Binet and the Binet Test, also known as news show Quotient/ IQ, Charles Spearman with the GS Factor test, and a few others (Kambon, 1998). Robert L. Williams the second National Chairman/ President of American of Black Psychologists (ABPsi) (Kambon, 1998), developed a Black cultural specific intelligence test which demonstrated that Blacks could perform superiority to Whites on such a Black cultural based test.The test was called Black Intelligence Test for pagan Homogeneity formally known as BITCH. His intelligence test showcased that African-American students were out performing whites by 30 to 50 points (Kambon, 1998). In relations to my acceptance to the TAG program I felt a sense of being privileged, superior, and connected to the white race in some sense. I belittled my peers who the Europeans and the test scored them as being underachievers. Through my actions I had continued on the European w orldviews.The people see the good that the TAG program promotes however, there are down sides and negative characteristics of being called a Talented or Gifted child. In my early adolescence years, I was considered at times a student who could be insubordinate, disrespectful, and disruptive in class. However, my actions were to challenge an question my teachers philosophy about Western History, colonization in Africa, slavery, and anything that focused on the Black race. Now looking back on what transpired in high school I was trying to discover the truth regarding my peoples.I tried to range the mess that the Europeans, Western historians, philosophers, and psychologist created. Removing the blind folds that had been placed over my eyes through the European teachings I was tired of receiving the edited, shorten, and beautified story the teachers and academic curriculum spoon-feed me every year during the one month Blacks are allowed to celebrate their history (February). I have co me to accept that knowledge is key and discovered like John Henrik Clarke that, African History/ Negro History are the missing pages of World History (John Henrik Clarke, 1996).In chapter three of Kambon books, he explains this idea of cultural reality and worldviews construct, and how ones thoughts beliefs, values and actions are not uniquely our own, distinct and separate from those of others, particularly other individuals (Kambon, 119). In todays society we accept as true that Europeans set the standards or dictated/ guide one to believe that their ways of living and doing things are how things ought to be done continues white supremacy.I am now in my third year at FAMU as a nursing major interested in psychology, following siblings footsteps of attending a Historical Black University. My journey in the Black Psychology has taught me new things about my personality and where I come from. In my opinion Oregon is a diverse and complex state. I had adopted and balanced the differen t worldviews. From my secondary education I have come to a new found knowledge about this Black Psychology and its striving for perfection in the Black communities.I have come to understand that my people are from the Southern or African Cradle, which developed before the Northern or European Cradle a model Diop (Kambon, 1998). I am from the lineage of infamous Pharaohs and queen such as Narmar, Pharaoh and Queen who whore the red and white crown Hatshepsut (Abarry, 1996). For years information has been hidden and sheltered from my peers and I. Not only from the African descendents in Oregon, but from all of the descendents of Africa has that populated the 50 states in America.I have learned that I am a descendant of great Queens and Kings and Africans who were educated, governed themselves, ran a successful economy that was developed in many aspects before the 1500s when Europeans arrived. Ancient Kemit (KMT) and the Maat which is the foundation in which the KMT people lived by (Ab arry, 1996). I have grown accustomed to both Western and this new psychology called Black Psychology. I am able to observe and fully understand and acknowledge the course objectives in Black Psychology because I have been in the ream of both worlds.My parents were educated and products of the early 60s where there was a large movement on civil rights and black psychologist making a change for the black community. Such as the Pan-African Cultural nationalism movement group who where Black Psychologist who advocate that race and culture are the foundation of African self-identity and psychological well being (Kambon, 1998). Black psychology has made tremendous accomplishments they have challenged the ideals and ideologies of Western Psychology. Rather than being the blinded test mice used in Western Psychology, Black psychologist has made a memorialize in Psychology.There has been a creation of Psychology geared to the Blacks. They have developed an impressive editorial journal that comes out quarterly called The Journal of Black Psychology which has been around for about 35 years (Kambon, 1996). The members of the Association of Black Psychologist have overcome many obstacles that have been presented in front of them, and will continue to do so for following years to come (Kamon, 1998). I find that my mind was once held captive in a sense, before I entered college under Eurocentric teachings.I upheld the ideas of Eurocentric teachings, yet the status quo has changed in favor for the Black Race, and my cognitive for that matter. In todays society black children are taught by a Eurocentric teaching, where there is a mis-education which manifests itself in the Eurocentric conceptual incarceration (Kambon, 1998). The portrait the European psychologists painted through their views and studies of the black race, personality, psychological health, and behavioral problems have not reflected the Black people in anyway. On the contrary it has caused a separation betwee n blacks.Those who believed in changing the psychology world for the black race have succeeded at founding its place and did not allow the standards set by Western Psychology to be the foundation for Black Psychology (Kambon, 1996). Today the blacks can see the great depth of the Eurocentric cultural incarceration that encapsulates African intellectual consciousness and scholarship. (Kambon,1998). Which has caused a developmental problem of the knowledge of the African/ black race. From the motivation of Francis Cecil Sumner, Herman G. Canady, Robert L. Williams, Marcus Gravey, Nat Turners, W.E. B Dubois, Frances Cress Welsing, and the thousands of members of the Association of Black Psychology, there is a psychology that focuses on the black community which is not defined by the Western Psychology standards. It is up to students like me to utilize the essential tools from courses like Black Psychology, and turn a desensitize ear to the myths and misleading information that the We stern Psychology once succeeded at incarcerating. This was my experience from growing up in Portland, Oregon and making a much(prenominal) need journey to Florida A&M University which landed me a seat in Dr.Joseph Baldwin course Black Psychology. References Abarry, S. , Asante, M. ,(1996). African intellectual Heritiage. Philadelphia, PA Temple shift A Great and Might Walk. Dir. St. Claire Bourne. Perf. Wesley Snipes John Henrik Clarke. 1996. Bourne, C. Westley Snipes (1996) Los Angles Davenport Community School Website. (1998, Aug). Retrieved Mar. 09, 2009, from http//www. davenport. k12. ia. us/curriculum/gifted. asp Kambon, K. (1998). African/ black psychology in the american context an african- centered approach. Tallahassee, Fl Nubian Nation Publication.