Sports Nutrition - Training Advice (Menu Planning, Recovery Snacks, Fl Essay - 1

Sports Nutrition - Training Advice (Menu Planning, Recovery Snacks, Fluids, Supplements) - Essay Example Therefore, to ensure that the demands on the athlete's body are well met, it is essential to make a Menu Planning, not only based on what the athlete enjoys eating but also what the athlete is needing to accomplish the daily calorie intake (Coyle, 2004):36). In addition, the portion of each food component in the menu will change, based on the level of the training activity of the athlete, current weight, height and age of the athlete (Stouffer, 2002:7). Thus, for Pete, the following Balanced Menu Planning has been customized, based on bodily calorie intake needs and the training activity levels. The customized menu has been informed by the fact that under the Dietary Assessment and Hydration section in Part I, it was recommended that Pete should reduce both his protein and fat intakes, and increase his carbohydrates intake. The Recovery snacks are as important to the body of an athlete, just like the breakfast is considered to be the most important meal of the day (Burke & Deakin, 2010:17). During the marathon training activity, an athlete can break down both the muscle and the red blood cells, while also using all the stored up glycogen and also sweating up to two litres of water (Volpe, 2006:24). Therefore, what an athlete consumes after training is crucial both for the athlete’s performance and also recovery, while also supporting the immune system to handle anybody damages sustained during training (Manore & Thompson, 2010:33). The consumption of recovery snacks, therefore, is one way through which replenishing the muscles and restoring liver glycogen are attained, thus enabling the positive recovery and future performance. The consumption of recovery snacks also helps the athlete’s body to attain the necessary protein needed for tissue repair, as well as the restoration of fluids and electrolytes that are lost during sweating (Burke, 2007:12). Thus, the following is a Recovery Snack Menu customized for Pete.  Ã‚  

MegaCorp Surf Shoppe Assignment Example | Topics and Well Written Essays - 1250 words

MegaCorp Surf Shoppe - Assignment Example Organizational unit is a part of active directory that is used for its organizing and management. Under Microsoft’s documentation,the term â€Å"organizational unit† is interchangeably used with the term â€Å"container†.It is a further subdivision of an active directory into which can be placed users, different systems (computers) and other organizational units that are operational in megacorp. These organizational units can be used for mirroring the organization’s structuring i.e., megacorp forest’s working and its operational maintenance. In fact, every domain can independently organize, implement and maintain its own organizational unit hierarchy. If megacorporation incorporates several domains, it can conveneiently create organizational unit structures in each domain that stands idependent and self operational against the structures in other domains. (Wei Wei, Bing wang & Chun Zhang, 2004) 2. If Megacorp services intend to connect and yet stay separate from the Megacorp forest structure, this can be done through offline domain join, which is progressively used in Windows Server 2007 and Windows Server 2008. It can be used to join a domain without actually engaging or contacting the domain controller. This way, megacorp Forest structure would connect and yet emain separate (karen Coyle & diane Hillman, 2007). Megacorp might intend to deploy many virtual machines in the data centre. Offline domain join would make it possible for the virtual machines to be joinesd to the domain name when they nitially start after the installation of windows 2008. This would additionally save a huge amount of time that could be required for wide scale virtual machine deployments. This scenario of domain join creates an aunthenticity relationship and a trust between the active directory domain and the system running the windows 2008 operating system. Windows 2008 server also offers a mechanism that can be used by negacorp services to connect a nd yet maintain their separate identity. Under this mechanism, domain join operations are performed undera read only domain controller (RODC). The following muktiple steps have to performed by read only domain controller (RODC) to process the domain join operation: 1. The computer account has to be created in advance in the directory and further settle certain attributes through the scripts. 2. Alongside, the Password Replication Policy (PRP) of the Read Only Domain Controller (RODC) has to be modified so as to permit the system that you want to join to be cached by RODC. 3. Duplication and replication of the system has to ensured so as to further facilitate the system through joining the domain. 4. Inform the computer that is about to join the domain through offline sources. 5. Finally, test through running a custom script that targets the Read Only Domain Control to facilitate the join. (University of Exeter, 2012) 3. Access networks are dramatically of different types as they con sist of links between connecting the end user systems and the edge routers. The three most pervasive and widespread types are:Dial up, Assymetric Digital Subscriber Line (ADSL) and Hybrid Fiber Coaxical Cable (HFC). Ethernet and switched Ethernet are the commonly classified Local Area Network (LAN) technologies that can be incorporated by megacorp since most of the businesses use it. Mgacorp can additionally focus on the Wireless Local Area Network (WLAN) using the IEEE 802.11d standard that is most frequently

Effect of Computer on Design Creativity

Effect of Computer on Design Creativity Are computers taking away the creativity in design? Abstract Computers are an integral part of todays design process. They, computers represent a time and cost saving device that aids designs in rendering shapes and looking at a broader parameter of possibilities than would be possible otherwise. In looking at design, one must be aware that it represents a part of a business process that has competitive considerations. The foregoing includes costs, materials, innovation, uniqueness, distinction, functionality, and utility in gathering clients and well as customers. The contribution of computers in this highly charged environment has helped to drive down costs, while developing innovation as well as approaches to creativity. As such, designers have been able to expand their creativity through the ability of the computer to permit them to look at more possibilities in their search to arrive at solutions that fit within the preceding parameters. As software programs advance on a technological basis, newer and more powerful programs are increasingly taking on more roles in the design process. This represents the foundation of this examination in that generative design has captured a new part of the preceding in that software can generate designs based upon input parameters. Is the preceding innovative? The answer would have to be a yes. Does the foregoing aid in the business aspects in terms of broadening the range of potential possibilities, and helping to keep costs low? Again, yes is the answer. So, computers do have their place in increasing the efficiency and range of design outputs. The question is, has their role starting to become so large that they, computers are taking over the design function, relegating the designer to a computer operator? Chapter 1 Introduction In equating the question as to whether computers are taking away creativity in design, an exploration into the key words of the examination is seemingly in order. The Houghton Mifflin (2007) dictionary defines generative as â€Å"Having the ability to originate, produce, or procreate†. Design, represents the process whereby one creates, fashions, executes and or constructs according to a plan (Merriam Webster (2007). The design process, depending upon the application that is being utilised, represents trial and error in working through the steps to the final design that fits the parameters of the project (Brown, 2001, p. 2). In order to focus in on the context, design as it relates to architecture, construction and new products such as vehicles, and machines shall represent the core of the examination as represented by the question as opposed to the design of clothing, packaging, and related forms whereby the product is designed based upon primarily internal considerations as opposed to client, and or competitive, and market considerations. As brought forth by McDonagh et al (2004, p. 13): â€Å"As established products have become more similar in technology, functionality, price and quality, companies have turned to design to differentiate their offerings through human-centred innovation and to create stronger emotional connections with their customers. More companies have followed the example of Apple, Braun and Philips, recognising design as a strategic function in their business-not one subservient to marketing, manufacturing or engineering† The design process has increasingly become more competitive in terms of differentiating products, and appealing to clients and customers, as â€Å"†¦companies seek competitive advantage through more integrated offerings, with differentiation through all points of customer contact that express their brand† (McDonagh et al, 2004, p. 13). Thus, design is a critical function most businesses, taking differing forms, thus the election to restrict this examination to the aforementioned categories. Rittel and Weber (1973, p. 158) tell us that design problems are more than just complex, they, design problems, represent what they term as â€Å"wicked problems†. Moran and Carroll (1996, p. 4) in elaborating on the aforementioned advise that design problems â€Å"†¦be stated per se or solved in the sense of definitive answers, because the criteria for evaluating goals and outcomes are innumerable, subjective, and conflicting†. They add that (Moran and Carroll, 1996, p. 4): â€Å"Any solution will generate waves of consequences that interact among themselves and with other problems, changing the problem situation in irreversible and unknown ways. Thus, each wicked problem is merely a symptom of further wicked problems; their solutions cannot even be finally evaluated.† In understanding the nuances as well as ramifications of design, it is necessary to note that design is a process that it usually proceeds under conditions that are represented by a high degree of uncertainty, whereby answers to critical facets cannot be had (Moran and Carroll, 1996, p. 4). The design process also is constrained by real world considerations as represented by time, and budgets, thus the boundaries of the process, design, are not unlimited. Thus, in view of constraints, the design process needs both ingenuity as well as creativity. As brought forth by Rittel and Weber (1973, p. 158), the complexity of design problems make design projects too large for on individual to handle as multiple â€Å"†¦technical disciplines are required, as well as management discipline, in addition to creative and integrative skills† (Moran and Carroll, 1996, p. 5). Evidence supporting the technical difficulties involved in the design process is presented by Brown (1998, pp. 45-46), who states the failure rate for new buildings of all types before construction starts is around 10%. For new products, such as electronics and related categories, the failure rate as a result of design is generally within Browns (1998, pp. 45-46) range, however there are exceptions, such as the 33% failure rate that Microsofts new Xbox 360 is experiencing (DailyTech, 2007). Pressures to get it right represent a critical business decision, whether there is a client involved, or if the design process represents an internal process for the companys own products. Thus, time, cost, simplicity, and failure rate minimisation are critical business concerns that the designer must operate within. Thus, the design function, while being creativity, is also subject to the foregoing pragmatic considerations. Generative design software represents the processes whereby new designs can be automatically produced at the push of a button (Mass Customization Open Innovation News, 2006). The preceding represents computer software taking various design specifications and formulating them into a final design matrix based upon the input variables within the software program (Mass Customization Open Innovation News, 2006). The basic forms, patterns and or objects is modified automatically by an algorithm, thus permitting faster trail and error processes (Mass Customization Open Innovation News, 2006). The process of automatic design generation permits thousands of differing designs to be produced, as well as permitting new ones, as the design process is not restricted to the designers imagination (Mass Customization Open Innovation News, 2006). It, generative design is â€Å"†¦ the power or function of generating, originating, producing, or reproducing† (Merriam Webster, 2007). The designing of architecture, and products represent processes that are three-dimensional (Beilharz, 2004). Parameters as represented by colour, texture, utility design input constraints, space, regulations, gravity, materials, heat (in the case of certain products) and costs are the boundaries to the structure as well (Beilharz, 2004). The application of generative systems to design affects the design process phases and â€Å"†¦ integrates the macrocosmic and microcosmic relations of the design system†. For the purpose of clarification, macrocosmic represents â€Å"and large or complex system or structure made up of similar smaller systems or structures †¦Ã¢â‚¬  (allwords.com, 2007), whereas microcosmic is defined as â€Å" a little world †¦ a community or other unity that is an epitome of a larger unity† (Merriam Webster, 2007). This examination shall look at whether or not computers are taking away creativity in design by focusing on generative design, and how it affects the designer. In delving into the preceding, a number of important areas shall be examined in order to understand the design process, what it entails, along with what creativity is and how it is utilised. Chapter 2 -The Design Process In designing a product, building, vehicle or machine the principle output as represented by the design process is its specification as represented by either an annotated CAD rendering and or a schematic (Moran and Carroll, 1996, p. 324). The design rationale represents the why the design is done in the manner that it is, with the foregoing including various types of information (Moran and Carroll, 1996, p. 324). Fry (1999, p. 22) takes a wider view of design, stating that â€Å"†¦ it is one of the most powerful ways to understand how a world is prefigured, made and acts†. Mitchell (1990, pp. 67-71) explains the design process as one that depending upon the context, takes on differing forms. He explains that the most usual computational variations represent transformations, which he terms as unary, as well as binary operations of shapes as represented in either two dimensional drawings, and or three dimensional geographic models (Mitchell, 1990, pp. 68-69). Mitchell (1993, p. 25) states that there are areas in computer-aided design that fail to support creativity, citing shape emergence as an example. Mitchell (1993, p. 25) argues that: â€Å"that design intentions evolve through the course of a creative design process, that these intentions determine how emergent shapes in drawings will be recognized, interpreted, and reinterpreted, and that interpretation (and reinterpretation) of emergent shapes plays a crucial role in directing design explorations. Traditional computer-aided design systems do not effectively support creative design because they provide only very limited and inflexible ways of interpreting shapes.† In elaborating on the foregoing Mitchell (1993, p. 25) adds â€Å"†¦Computer-aided design systems can, however, be developed on an alternative foundation that provides the necessary flexibility†. Jun and Kim (2003) have a differing opinion of the preceding. They argue that shape semantics in CAD systems offer the potential for the emergence of shape semantics. In presenting their view, Jun and Kim (2003) offer the following rationale: â€Å"Drawings in the early phase of design support both continuity and change in a process of design through the use of two different types of drawings (1): context drawings which hold the evolving design decisions, and exploration drawings which are abstracted from the context drawing and act as graphic probes to investigate selected issues. The notion of emergence in design is found here. The ambiguity of the exploration drawings enables a designer to read more out of a drawing than he or she puts into it; that is, to generate new meanings within the design task. Through exploring drawings that are ambiguous until concept formation (2) is reached, various interpretations, in particular in visual aspect, are possible. As a consequence new drawings emerge. This process plays a crucial role to develop conceptual form in architectural design.† The limitations found in CAD systems are based in the fact that they are fixed, in terms of the representation that are embedded (Jun and Kim, 2003). They argue that there are three types of emergence in the architectural field, â€Å"†¦ shape emergence, shape semantics, and style emergence† (Jun and Kim, 2003). The rationale for this brief look at emergent shape semantics is that it represents a visual design concept, thus representing a segment of creativity (Jun and Kim, 2003). An alternative view of computers and creativity is offered by Kathleen Gibson, an associate professor of design and environmental analysis, who believes that computers actually aid in increasing creativity (Winter, 2003). Professor Gibsons unconventional approach is based upon the rationale that the designer can look at a multitude of differing examples, shapes, configuration and styles as part of their own internal creative processes and potential come up with ideas, shapes, and approaches that they may not have worked on without the aide of a computer to run through variations (Winter, 2003). Mathias (1993) advises that the more time and input designers spend on conceptualising through drawing, visualising as well as re-evaluating designs, the more they, in general, generate new information through multiple reviews and analysis, also resulting in reasoned explanations concerning problems, and proposed solutions. Lawson (1980, p. 6) advises that design represents a mental process that is highly organised, that is capable of manipulating differing as well as many kinds of information. He adds that the preceding blends that data into a set of ideas that is coherent, and finally results on the generation of ideas related to the process (Lawson, 1980, p. 6). Design, as shown throughout this examination, is a process, involving creativity, mental reviews, the manipulation of data and ideas, along with design possibilities, and then synthesising the process toward the end solution. In looking closely at the foregoing, it can easily be deduced that the limitations of the foregoin g are represented by the breathe of experience, exposure and mental foundation bank of the designer. This thus further explains why Mathias (1993) makes his statement that the more time designers spend on ‘drawing, visualising as well as re-evaluating designs, the more they, in general, generate new information through multiple reviews and analysis, the more they see other approaches, solutions and ways in which to accomplish the task, thus heightening their creativity. The explanation of the design process foregoing represents the use of non-creative facets, such as a systematic approach to the design issues and problems (Browne and Smith, 1993, pp. 1209-1218). Hertz (1992, pp. 396) brings forth what he terms as the mental synthesis-creation cycle, which represents the process of exploring alternatives in the development of the design that solves the end product and or building / structure. This represents the same approach, in general conception, as offered by Lawson (1980, p. 6). Chapter 3 Creativity Creativity, as stated by Turner (1994, p. 21) represents â€Å"†¦ the bringing forth of an original product of the human mind †¦Ã¢â‚¬ , which also has what he terms as its â€Å"†¦ mundane side as well†. The creative process is present in all of us. It represents our approach to problem solving for issues that we have not experienced before, through utilising past knowledge combined in new ways to result in a solution (Turner, 1994, p. 21). In equating creativity Weisberg (1986, p. 10) tell us that a solution is creative if it has significant novelty, and is useful. In order to qualify as creative, the new approach, and or solution must be new as well as different from those that preceded it, and, those differences need to be significant (Weisberg, 1986, pp. 12-13). The utility, usefulness, is the second facet present in a creative solution, it must solve the problem in a new, and better manner than those that preceded it, that can include at less cost, fewer parts, faster response time, etc. (Weisberg, 1986, pp. 12-13). In the design process, Cross (1986, p. 15) advises that the special ways in which designers think is embedded in their visual thinking process. Their process of creativity is based in lines, relationships, drawings and formulas representing their approach to problems (Cross 1986, p. 17-18). It must be noted that Dorst et al (1991, pp. 39-40) brought forth that the field of study in terms of design thinking was found lacking in three important areas. Dorst el al (1991, p. 42) identified the preceding as 1. a lack of research clarity, 2. lack of consistency in the tools, methods and theories utilised, and 3. the lack of a common unifying purpose. In defining design thinking, Dorst et al (1991, p. 43) advise that it represents the totality of cognitive activities during the design. The preceding is called ‘design reasoning that is distinguished from inituition as a result of the conscious as well as predictable use of rules representing inference for the outcomes of using and mani pulating design information. The preceding brings forth the facet of intuition as an important part of the process (Dorst et al, 1991, p. 46). It, intuition, resides in the subconscious, which represents the synthesis of experiences, ideas, new approaches and concepts to result in approaches (Dorst et al , 1991, p. 46). In subjecting the preceding to experimentation, Dorst et al (1991, p. 46-48) utilised four designers in a reasoning task that was comprised of a series of architectural drawings for buildings of modest size containing 9 errors. The designers had to locate the errors in a think aloud mode to let their processes be known, which was being recorded, and also making sketches, along with marking the drawings (Dorst et al, 1991, p. 46-48). Later analysis of the recordings resulted in the formulation of two groupings. One represented the mental process of new design generation through changes in the drawings and designs (Dorst et al, 1991, p. 46-48). The second category revealed that the verbal statements made led to new information generation that built upon prior statements they uttered aloud (Dorst et al, 1991, p. 46-48). Their prior histories and experiences represented the database to ascertain the errors, and pose solutions. In commenting upon this Dorst et al (1991, p. 46-48) noted th at the resulting changes were not novel, nor creative, but did solve the errors. The purpose of the foregoing is that the designers were only given a limited time frame in which to conduct their reviews, which demonstrated visual thinking as well as visual reasoning processes (Dorst et al, 1991, p. 46-48). The importance of the preceding is that it brought forth the manner in which designers use visual thinking to stimulate their processes. Wiggins and Schon (1992, pp. 45-51) provide illumination to this direction in advising that drawings and representation represent the manner in which designers communicate, not only with themselves, they also use it to communicate with others in furtherance of their ideas. Important in the preceding, is that designers employ visual thinking that consists of three types of visual imagery. The preceding is represented by what they see, what they imagine, and what they draw (McKim, 1980, p. 26). The foregoing is a highly important point in this examination, thus the rationale for the exploration these areas. Drawings and other visual representations aid in the stimulation process. It is the combination of these factors that are utilised by designers in the process of creating new designs and creative solutions. Further elaboration on this process is important in understanding the manner in which visual representations aid the design, and creative processes. Wiggins and Schon (1992, pp. 102-122) tell us that drawings help the designer in seeing, interpreting what can be potentially moved, re-evaluated, and or transformed. Tovey (1989, pp. 26-31) argues that seeing is an important part of the design process as it aids the designer in imaging, which prompts creativity and drawing. The preceding three processes work together to encourage visual thinking. The connection between the use of computers as an aid in this process will be further explored to draw upon examples that either support or refute if generative design impacts the designer, and if it aids or diminishes creativity. Herbert (1988, pp. 26-40), in his exploration of the design process states that once a designer begins to perceive the task, images, and or pictures representing solutions start to be generated in the designers mind. He adds that in the beginning of the process, these images, pictures, ideas and thoughts are not really well defined, thus needing further development (Herbert, 1988, pp. 26-40). The next stage on the process moves towards more refinement as potential solutions, a means to these ends and the routes and ideas as to how to arrive there start to develop (Herbert, 1988, pp. 26-40). The foregoing was brought forth by Mathias (1993) who advised that designer tends to utilise drawing as a means to move to developing their first ideas, and in later stages of the process, drawings are utilised for synthesis. This is what Mathias (1993) describes as stepping back and then forward in the mental processes to be engaged, and then reflect on what has been thought, to re-engage the pro cess again. Mathias (1993, pp. 113) diagrams the preceding as follows: Diagram 1 Designers Framework for Idea Development (Mathias, 1993, p. 113) Analysis of problem statement Holistic solution concept Problem Solution concept Convergence Exploration Validation Solution Mathias (1993) and McKim (1980) follow the same conceptual foundation in terms of imagery (drawings), representing a foundational facet in the design process. The preceding is part of the creative mental synthesis process whereby ideas begin as a result of engagement with the project. Verstijnen (1997), conducted experiments based upon the research methods of Finke (1990) as well as Helstrup and Anderson (1993). The six experiments conducted by Verstijnen (1997) used undergraduate industrial design engineering and psychology students to investigate emergent figures and drawing / sketching relationships. The experiment called for some students to utilise sketching and drawing, and the others to use mental processes only in resolving the problem of wire frame drawings that had figures embedded (Verstijnen, 1997). The second experiment represented the investigation of creative mental synthesis tasking asked to generate shapes that were creative based upon a cube, sphere and cone. The results indicated that the restrictions of memory was not a motivating factor in sketching as an aid in creative mental synthesis experiments (Verstijnen, 1997). In the reinterpretation of shapes, the task proved difficult based upon the utilisation of imagery alone, thus suggesting an aid was needed, drawing (Verstijnen, 1997). She added that sketching for use in synthesis may not play a significant, and or important role, however in creative mental synthesis, sketching helped to yield a higher number of creative forms (Verstijnen, 1997). A comparison of the engineering students, and non-students was not included in her study (Verstijnen, 1997). From the foregoing, the data thus far reviewed seemingly indicates that visual thinking represents an important facet of creative mental synthesis, which is important in the design of new objects. The foregoing also seems to point to the fact that the manipulation of visual images in a mental mode is an important aspect of mental creative synthesis. In addition, the preceding seems to also point to the fact that drawing is important in supporting the process of creative synthesis in new design. The use of the word seemingly and seem are utilised as there is little to no empirical evidence to support the preceding, thus the views are based upon the views as expressed by a number of authors and researchers. Chapter 4 Generative Design In generative design, the description and design of relationships and components is accomplished by the use of powerful algorithms (MacDonald et al, 2005). These algorithms permit users to manipulate geometry and dynamically model through the application of rules that capture relationships in geometric features, along the defining of complex forms (MacDonald et al, 2005). Under a generative design program, the designer, utilising a CAD tool that specifies parameters and the restraints, the program then generates a number of outcomes that the designer then utilises as input, and or for another generation of shapes, forms or approaches, solutions (MacDonald et al, 2005). The generative design approach is applicable in the whole design process, once the parameters have been input and modified (Gatarski and Pontecorvo, 1999). Generative design has been employed in the development of cars, cell phones, structures and other areas. CAD and Design Automation software has long been utilised to optimise the assembly of differing design elements. Through the use of visualisation software, designers are able to see the results without having to build prototypes. In the generative design methodology, outcomes are rendered after a detailed and high level of input specification, thus saving time over the CAD and Design Automation approach that requires time in that each instance of an idea has to be imagined, manually expressed, and evaluated (Gatarski and Pontecorvo, 1999). On the most basic level, generative design systems consist of four elements (Gatarski and Pontecorvo, 1999): design representation, generation engine, expression engine, mechanism for evaluation and selection of the new generated specifications The following, further explains the workings within these steps (Gatarski and Pontecorvo, 1999): design representation, The design representation are input as a set of parameters, along with the corresponding constraints. In the preceding, the parameter sets represent the genetic design elements, defining the form as well as structural aspects. The constraint set controls the aesthetic as well as the fabrication facets, meaning the limitations as afforded by the material dynamics to be utilised. The foregoing constraints, and rules thus place a limit on the range of the generated design. generation engine This aspect of the generative design process represents the internal process that generates the new design descriptions. It represents a set of prototype design descriptions that are also termed as ‘parents, and then utilises the algorithm to take the parameter sets and combine them into new descriptions, or children. In general, the algorithms use operations that are based upon the concepts found in the mutation and crossover aspects found in genetics. The preceding thus ensures that the descriptions, children, are drawn from the parameter values as contained in the prototype set. expression engine In the process of generative design, the expression engine interprets the descriptions, rendering them into a structure or model. The process can be set so that it is modular, thus permitting it to be able to support a host of alternative interpretations. mechanism for evaluation and selection of the new generated specifications The generative design approach is based upon having an objective function that evaluates the fitness output of the specifications of the design. In creative design area this facet is usually embedded in the human using the system. The foregoing is termed the human user in the loop as it provides a more intelligent and analytic capability as opposed to computed functions. The preceding is described as being a better match for the ranges of possibilities offered by the generative approach. Generative design offers the ability for designers to try as many ideas as possible, a critical facet when time is a constraining factor. It permits designers to thus present a variety of solutions that can thus be evaluated internally and or through focus group testing to refine the process and move to the final design variables. The foregoing recognises the fact that the design process has always been a process that is subject to the acceptance of the end user, which is either the client, or the general public. It, generative design, thus represents a means to work through a wide variety of approaches to achieve faster approximations of what will work. Chapter 5 The Role of Computers If computers are potentially limiting, and or taking away design creativity, it would seem appropriate to example the role of computers in the design process and attending questions. In the pragmatic sense, unlimited time to render and use a design is not a function of the design process. Whatever the function, be it architecture or products, there is a limited time frame for the design process to take shape, evolve, become proven through mathematical, structural, component material and cost / build considerations. The preceding represent constraints on the process that are real as well as binding. Computers have advanced the process of design through software such as CAD that enable users to perform a number of functions in time saving fashion. The preceding takes in such functions as (SAP, 2006): wire frame geometry creation, solid modelling, 3D parametric, freeform surfaces, automated assembly design, engineering drawings from solid models, re-utilisation of design components ease on design modification and the generation of multiple versions, automated generation of design components, design simulation without prototype building, data exchange, as an aid in visualisation process for areas such as rotation, shading, etc., design studies as a few of the more important, or used functions. In equating this segment of the examination, the question of creativity resurfaces. As previously mentioned by Turner (1994, p. 21), creativity brings  ·Ã¢â‚¬ ¦ forth of an original product of the human mind †¦Ã¢â‚¬ . In the design process, it aids in the production of multiple view, as well as ideas. Gero (1991) indicates that there are, in his view, five creative design processes that result in the introduction of new variables in the design prototype. These are (Gero, 1991): Combination Mutation Analogy First Principles, and Emergence The following sets forth the preceding in more detail Combination Gero (1991) tells us that ‘combination represents the combining of two or more prototype designs, with the new resulting variable introduced into the original from the former. Within this process, mutation represents the alteration of variables as accomplished by external agents (Gero, 1991). Mutation Within the preceding process, mutation represents the alteration of variables as accomplished by external agents (Gero, 1991). Through mutation, new variables can result due to extrapolation, and or combination of the variables (Gero, 1991). Analogy This is also known as ‘case-based reasoning, representing structural elements applied by one prototype design into another design problem, as well as the use of past processes for a new design problem (Gero, 1991). First Principles The above is a process whereby new relational knowledge is logically derived from the behaviour of existing structures without the knowledge of the prototype (Gero, 1991). Emergence The process of inferring structural elements that are new through the extension of elements that exist, represents emergence (Gero, 1991). Indurkhya (2002), in defining creativity from a different perspective, provides insight into Geros (1991) concept of new variable introduction. H

The Role of Teachers in Preventing Child Abuse :: Schools Role in Preventing Child Abuse

There are various strategies used within schools to tackle child abuse. In order to discuss the strategies fully there is a need to define what exactly is meant by child abuse. It is also necessary to be aware of what advice and guidance there is offered through Government documentation and circulars to schools on their role in preventing child abuse. Having put child abuse and the school's role into context, then the strategies used by the school as a whole and by the teacher within the classroom can be discussed. Therefore what exactly is meant by child abuse? There is a tendency to automatically assume that abuse means sexual abuse. The 1986 draft report by the Department of Social Security [DHSS], Child Abuse - Working Together defined child abuse as falling into six categories: physical abuse, physical neglect, failure to thrive, emotional abuse, sexual abuse and potential abuse. The present definition for child abuse according to Department for Education and Skills [DfES] Circular 10/95 has been narrowed down to include only four categories: Ø sexual abuse -physical signs or a substantial behaviour change Ø emotional abuse -excessive dependence or attention seeking Ø physical abuse - regular broken bones, bruises, lacerations and burns Ø physical neglect - inadequate clothing, poor growth, hunger, or apparent deficient nutrition These are the guidelines from which schools work. However, what we as a society perceive as abuse may in other cultures/societies be seen as normal practice. There are many cultures for example where young girls, twelve years of age are taken as brides. Much publicity has been given recently to the plight of Muslim women under the Taliban regime. Females have been treated as property, not as equal citizens and suffered as a consequence. The guideline produced by Liverpool City Council for its schools actually contains within it a policy on female genital mutilation [Liverpool City Council, 2000]. This form of 'abuse seems totally abhorrent to our society, but again is an accepted form of behaviour by other

Performance Pay at Safelite Essay

Safelite was the largest nation-wide auto glass company in the United States with about 500 stores, more than 3000 employees and 3000 trucks. The company has started mobile services and gained 12% of market share. Although Safelite offered mobile service from virtually all of its stores by the early 1990s, the main focus of the company was to serve the customers at their place and the trend of the stores was decreasing so forth. The incentive was $1000 to open a new store as bonus. So every employee tried to open a new store rather working hard and improving the production. The employees of the Safelite were required to work for eight hours and according to the CEO John Barlow, they were only putting in windshields for two and a half hours. They were not putting their complete efforts and loyalty to the company. Wasting their times and not working for what they were paid. The other reason of the low productivity was the popularity of mobile service, which decreased the demand of the store-based services, and the customer’s trend was changing to mobile service rather than store services. The other reasons includes the customer was not at the location where the mobile truck was called when the technician arrived or the technician was given the bad directions of the technician failed to understand the direction given by the customers. The employees didn’t put their complete efforts to the work and they were not working hard. Another reason was the problem understanding of the customers. Many of the technicians were not able to understand the complete problem of the customers. They came to know the problem when they reached the customers place. Sometimes the technicians were not carrying their appropriate tools, which were needed in the repairing for the customers. The mobile truck was liable to travel to the location where customer calls them. The reason of that was stores were not easy to find. It was because the stores were not well located; they were simply opened for the sake of adding more locations and were not always located in the prime service areas. John Barlow also added that if the location is not well located so why a customer bothers to find and go to the store. The fleet of the trucks became unable to justify its own cost. The company was seeing one repair job per truck per day to be maintained but they thought that this is a little expense. Individual technicians were installing an averag e of only 2.5 glass unit a day. It was the very bad performance than that of they had expected. Since the installation of a single windshield generally took less than an hour to complete. And lastly, some DCC managers didn’t cared to hustle and assigned jobs equitable rather than funneling more jobs to those technicians who worked the fastest.

A Doll’s House by Henrik Ibsen

The play â€Å"A doll’s house† is written by Henrik Ibsen and was adapted into a film in 1973. It deals with gender discrimination in the Victorian age. It highlights specifically the paths women of the West have treaded to find respect and equality. Ibsen makes it possible to imagine the barbarities that existed within the law and society of those times. Through the years, controversial writings like these, have intentionally or unintentionally forced women to rise up and reclaim their rightful legal and civil rights. In the Victorian Period law dictated that property; children and income belonged solely to men. Divorce or Separation was unthinkable. Women who worked were frowned upon by society. Their status was equivalent to the slaves, criminals or the insane. The main role of a woman was to reproduce children, keep the house clean, and feed the children while their husbands worked. It is sad that although women in the developed world have found equal rights in this century through various equal rights acts and amendments however the women of the developing world still lack basic rights and struggle everyday between gender power relationships. The entire film takes place at Mr. and Mrs. Torvald Helmer’s Apartment. The film is set in Norway in the late 1800’s during Christmas time. This one room shows various shades of hypocrisy, discrimination, arrogance and dishonesty exhibited by society. The room is a microscopic vision of the world. It shows the plight and suffering of every woman in every household all around the world. The fact that Nora does not leave the room throughout the film shows how she is entrapped in this Victorian Doll House. The protagonist of the film is Nora, a Victorian middle class woman. She is ruled by her husband and complete oblivious to her state of unfulfillment. She is thrown into a difficult situation and to protect her husband and family commits forgery. Unaware of the legal consequences she tries dishonestly to obtain a loan. She sits on a puffy pink cloud thinking that her special status would always protect her and her kids in the eye of the state. However, the law expects her to know better. The hypocrisy of the system hits Nora and she tries to break out of her Victorian Doll like shell. She desires a life less frivolous, so she decides to work independently and earn money. She starts enjoying this new found freedom. Her relationship with her husband also spirals downwards and sows the seed of doubt and self reflection. Ibsen broke boundaries when he ended the original play with Nora rebelling against her husband, her father and ultimately the patriarchal society. However, the controversial ending caused shock and disagreement and forced him to change the ending. He later on lived to regret the change. The theme of the play made audiences agree that women should get equal pay for equal work; equal rights to enjoy an independent self sufficient life; rights to child custody and divorce; equal stature in legal matters; Equal access to knowledge. It is unfortunate that Victorian times were so suffocating that Nora had to leave her husband or she would continue to be treated as nothing more than a mere rag doll. She was just an inanimate object, dispensable by others and deserved no respect, rights or esteem. Works Cited Page: Johnston, Ian. (July 2000). On Ibsen's A Doll's House. Johnstonia. Retrieved April 3rd 200. http://www.mala.bc.ca/~johnstoi/introser/ibsen.htm Gillis, G. J. and Westhagen, Jen. SparkNote on A Doll’s House. 2 Apr. 2007 .          A Doll’s House by Henrik Ibsen The play â€Å"A doll’s house† is written by Henrik Ibsen and was adapted into a film in 1973. It deals with gender discrimination in the Victorian age. It highlights specifically the paths women of the West have treaded to find respect and equality. Ibsen makes it possible to imagine the barbarities that existed within the law and society of those times. Through the years, controversial writings like these, have intentionally or unintentionally forced women to rise up and reclaim their rightful legal and civil rights. In the Victorian Period law dictated that property; children and income belonged solely to men. Divorce or Separation was unthinkable. Women who worked were frowned upon by society. Their status was equivalent to the slaves, criminals or the insane. The main role of a woman was to reproduce children, keep the house clean, and feed the children while their husbands worked. It is sad that although women in the developed world have found equal rights in this century through various equal rights acts and amendments however the women of the developing world still lack basic rights and struggle everyday between gender power relationships. The entire film takes place at Mr. and Mrs. Torvald Helmer’s Apartment. The film is set in Norway in the late 1800’s during Christmas time. This one room shows various shades of hypocrisy, discrimination, arrogance and dishonesty exhibited by society. The room is a microscopic vision of the world. It shows the plight and suffering of every woman in every household all around the world. The fact that Nora does not leave the room throughout the film shows how she is entrapped in this Victorian Doll House. The protagonist of the film is Nora, a Victorian middle class woman. She is ruled by her husband and complete oblivious to her state of unfulfillment. She is thrown into a difficult situation and to protect her husband and family commits forgery. Unaware of the legal consequences she tries dishonestly to obtain a loan. She sits on a puffy pink cloud thinking that her special status would always protect her and her kids in the eye of the state. However, the law expects her to know better. The hypocrisy of the system hits Nora and she tries to break out of her Victorian Doll like shell. She desires a life less frivolous, so she decides to work independently and earn money. She starts enjoying this new found freedom. Her relationship with her husband also spirals downwards and sows the seed of doubt and self reflection. Ibsen broke boundaries when he ended the original play with Nora rebelling against her husband, her father and ultimately the patriarchal society. However, the controversial ending caused shock and disagreement and forced him to change the ending. He later on lived to regret the change. The theme of the play made audiences agree that women should get equal pay for equal work; equal rights to enjoy an independent self sufficient life; rights to child custody and divorce; equal stature in legal matters; Equal access to knowledge. It is unfortunate that Victorian times were so suffocating that Nora had to leave her husband or she would continue to be treated as nothing more than a mere rag doll. She was just an inanimate object, dispensable by others and deserved no respect, rights or esteem. Works Cited Page: Johnston, Ian. (July 2000). On Ibsen's A Doll's House. Johnstonia. Retrieved April 3rd 200. http://www.mala.bc.ca/~johnstoi/introser/ibsen.htm Gillis, G. J. and Westhagen, Jen. SparkNote on A Doll’s House. 2 Apr. 2007 .         

Solution Focused Brief Therapy and Postmodern Social Constructivism

Solution Focused Brief Therapy and Postmodern Social Constructivism General Overview of Social Construction Therapies Social construction theories are considered to be based on certain concepts such as special questions to be asked during individual and group counselling sessions and a strategy based on change process vision. In this respect, constructionist approach presupposes case conceptualisation and treatment goals that differ from merely gaining knowledge and counselling sessions.Advertising We will write a custom essay sample on Solution Focused Brief Therapy and Postmodern Social Constructivism specifically for you for only $16.05 $11/page Learn More Case Conceptualisation Similarities As Solution Focused Brief Therapy approach and the Postmodern Social Construction perspective are very similar, it is necessary to mention that one of the similarities concern the case conceptualisation used in both therapies. As reported by Pichot Dolan (2003), â€Å"understanding of solution-focused therapy would be best viewed as a journey rather than a destination† (Pichot Dolan, 2003, p.5); this can be also applied to Postmodern Social Constructivism approach. In other words, both therapies are aimed at structuring of the process on the level of concepts of what is ‘good’ and what should be changed. Differences The main difference between Social Constructivism and Solution Focused Brief Therapy is that the former therapy uses identifies artefacts and their meaning whereas the latter defines a goal to achieve and outline the methods to use in the process of counselling. Actually, the Solution Focused Brief Therapy is almost based on the concepts invented within the Social Constructivism theory. Treatment Goals Similarities The main similarities of the two therapies mentioned above include the analysis of the current situation rather than analysis of some past events. Moreover, both therapies are aimed at consideration of the situation in a certain social context. Thus, both therapies im plement some structuring of the process. Solution Focused Brief Therapy and Postmodern Social Constructivism approach are goal-focused and are not concentrated on what can be referred to as problem analysis, problem statement. These therapies do not find out what is wrong but rather identify what should be in the end of the therapeutic session. Differences Schaffer (2006) suggests the main peculiar feature of Social Constructivism theory as the one that the approach is not based on mere knowledge but is put into certain environment with its consequences, setting, and context as a whole. In this respect, the Social Constructivism theory is focused more on identification of artefacts and their meaning regarding the social context and analysis of what is ‘wrong’ and should be eliminated.Advertising Looking for essay on psychology? Let's see if we can help you! Get your first paper with 15% OFF Learn More On the other hand, the Solution Focused Brief Therapy does not analyse the wrong and the right. It is aimed at construction of the final result by means of identifying what to achieve and only then outlines the steps including what to keep and what to change. Cases When Each Therapy Can Be Beneficial Each therapy can be beneficial in cases of alcohol and drug addiction; these therapies are very much alike and can be helpful during counselling sessions when a patient is not analysed as the one who did something wrong and the reasons for that. The sessions should be constructed in accordance with the abovementioned therapies because a patient should reach a goal in the end. Change Process and Rationale I think that Solution Focused Brief Therapy most closely reflects my beliefs about the change process when a counsellor helps a patient to transit from the current situation to a desired condition. I think so because this therapy is mostly aimed at reaching the goal instead of analysing the past and concluding. Reference List Pich ot, T, Dolan, Y. M. (2003). Solution-focused brief therapy: Its effective use in agency settings. London: Routledge Schaffer, H. R. (2006). Key concepts in developmental psychology. London: SAGE Publications Ltd.