PEST and PESTEL Analysis

PEST and PESTEL Analysis The PEST analysis is a tool for assessing the broad environment in which a firm operates and is trying to compete, and the model is probably best-known for providing a virtual alphabet soup of acronyms. PEST is an acronym for Political/Economic/Sociocultural/Technological; other variants include PESTEL (Political/Economic/Sociocultural/Technological/Environmental/Legal), STEP, SLEPT, PELTS, LE-PEST-C (which adds Competitive Forces to the PESTEL model), and SPECTACLES (Social/Political/Economic/Cultural/Technological/Aesthetic/Customer/Legal/Environmental/Sectoral). Apart from different degrees of breadth and the suggestion that some factors can be prioritized in different ways depending on how the acronym is arranged, there is no fundamental difference among these variations. Defining PEST Factors Political: The political environment consists of the laws, regulations, and policies that currently – or in the foreseeable future – affect the company’s operations and objectives. Economic: Economic factors are those of the wider macroeconomic environment (which is to say, practically all of it, one way or another) that affect the company. Inflation and interest rates, equity and commodity market trends, and other indicators such as unemployment or job creation rates all have an impact on the company by determining what stage of the business cycle the company’s particular market is currently in; obviously, if the company is pursuing a strategy that is not supported by its economic environment, that would be a problem. Sociocultural: Cultural characteristics and traditions, the social structure of a population in the company’s market, ethical and moral norms, and other factors such as age, education level, and language are all important factors for the company to understand and respond to appropriately with its products or services. Technological: Technological influences exist on many different levels. The most obvious one is the technology of products, for example, the rapid proliferation of increasingly capable  smartphones and tablets steadily taking market share from ‘traditional’ desktop computers and laptops. Process technology for businesses evolves almost as rapidly  because it is supported by the developing technology underlying consumer products. Managerial technology, the ideas, methods, and processes used to manage businesses competitively, also evolves. The latter is the most likely to be overlooked in an environmental analysis; most firms are fairly competent in identifying the characteristics of their environment, but often do not recognize that the means and methods which they must use to respond effectively to new circumstances need to be updated as well. You may also be interested in: How to Write Critical Analysis Critical Success Factors Analysis Five Forces Analysis How to Understand SWOT Analysis My Assignment Brief Says â€Å"PESTEL† Analysis, so Where’s the EL? Including the Environmental and Legal components of the analysis seems to be current academic fashion; in real-world managerial practice, preferences for more or fewer factors are more or less uniformly distributed – some prefer the longer and more sub-divided format like PESTEL or SPECTACLES, others prefer the shorter version. The pitfall of additional factors is that they are often not distinct enough to warrant separate attention. Environmental concerns, for example, do not exist outside the contexts of social and cultural attitudes towards the environment, political factors that affect the management of the environment, and technological impacts on the environment. Legal issues, such as laws regulating company activities, or laws governing the forming and enforcement of contracts, all derive from political factors, and to some extent, from sociocultural factors; they cannot exist on their own. For the purposes of generating the environmental overview, turning a PEST into a PESTEL or another  variation is not at all difficult. Analyzing the factors, however, becomes more complex the more letters there are in the acronym; careful attention must be paid to how the various factors are related to each other. Common Steps in a PEST Analysis In general, analyzing the factors gathered together in a PEST requires five steps: Step 1. Determine which trends are relevant to the organization.  Past strategies and their outcomes are a good guide to determining which of the factors identified are likely to have an impact on the company in the future; some will be rather obviously relevant or not, but most will require careful study. Once the relevant factors are identified, investigate their behavior over time to identify general trends and patterns that will be continued in the future. Step 2. Identify the interdependencies in the trends.  All of the relevant factors and trends are connected in some way  and either complement or conflict with one another. Using the ‘environment’ example from above, a trend towards stricter environmental laws (a Political factor) would probably be seen to correlate with stronger public attitudes about the environment (a Sociocultural factor) and growth in â€Å"green† products (an Economic and/or Technological factor). Understanding these interdependencies is important to prevent the development of strategic objectives that have unintended consequences. Step 3. Forecast specific issues for the company that the trends will create.  Again, past performance is the best source of evidence for how relevant trends will impact the company. At this point, you should begin to prioritize the trends and the issues that are created from them in order of greatest to least impact on the company and its strategy. Step 4. Develop implications of trends and environmental changes.  The trends and issues should be examined in three contexts: the possible impacts on the industry or sector as a whole; possible impacts on the company’s competitive position; and possible impacts on the position of the company’s direct competitors. Step 5. Conduct a sensitivity analysis.  The particular manner in which this is done depends on the circumstances and priorities of the firm. As a general rule of thumb, if the projected possible negative result of a particular issue is slightly below the ‘worst-case scenario’ result for the related objective, the issue should be considered critical. Advantages Disadvantages of PEST The PEST analysis is a useful precursor to internal analyses  or analyses such as SWOT analysis that combine  internal and external factors. Like the Critical Success Factors analysis, a significant part of the benefits from doing a PEST analysis come from the exercise itself. Key drivers of change in the organization or its market are identified along with their relationships, and this analysis framework provides a sort of â€Å"common language† for managerial decision-making and interaction. On the other hand, PEST does have a number of flaws. The four factors of the basic PEST model are somewhat arbitrary; the assumption that they do significantly affect every business is usually correct, but there is no guarantee of this. And of course, adding more factors to turn PEST into a PESTEL or another  variant comes at the cost of added complexity. The model also makes the assumption that historical behavior and trends predict  the future, which may not always be the case. In addition, determining which trends and factors are relevant to the company and its market is entirely subjective, as is identifying interdependencies among trends to some degree. Various data-management programs can help reduce the uncertainty  but add time and cost to the analysis.  And finally, PEST does not necessarily suggest a course of action; it helps to identify important factors and trends, but not what the organization should do about them.

Famous Chinese Horse Proverb Sai Weng Lost His Horse

Famous Chinese Horse Proverb 'Sai Weng Lost His Horse' Chinese proverbs (è « ºÃ¨ ªÅ¾, ynyÃ… ­) are an important aspect of Chinese culture and language. But what makes Chinese proverbs all the more extraordinary is that so much is communicated in so few characters. Proverbs generally carry multiple layers of meaning despite the fact that they are commonly only comprised of four characters. These short sayings and idioms each sum up a larger, well-known cultural story or myth, the moral of which is meant to convey some greater truth or provide guidance in everyday life. There are hundreds of famous Chinese proverbs from Chinese literature, history, art, and ​famous figures and philosophers. Some of our favorites are horse proverbs.​ The Significance of the Horse in Chinese Culture The horse is an important motif in Chinese culture and, in particular, Chinese mythology. In addition to the very real contributions made to China by the horse as a means of transportation to military power, the horse holds great symbolism to the Chinese. Of the twelve cycles of the Chinese zodiac, the seventh is associated with the horse. The horse is also a famous symbol within mythological composite creatures like the longma or dragon-horse, which was associated with one of the legendary sage rulers. The Most Famous Chinese Horse Proverb One of the most famous horse proverbs is Ã¥ ¡Å¾Ã§ ¿ Ã¥ ¤ ±Ã© ¦ ¬ (SÄ i WÄ“ng ShÄ « MÇŽ) or SÄ i WÄ“ng lost his horse. The meaning of the proverb is only apparent when one is familiar with the accompanying story of SÄ i WÄ“ng, which begins with an old man who lived on the frontier: SÄ i WÄ“ng lived on the border and he raised horses for a living. One day, he lost one of his prized horses. After hearing of the misfortune, his neighbor felt sorry for him and came to comfort him. But SÄ i WÄ“ng simply asked, â€Å"How could we know it is not a good thing for me?†After a while, the lost horse returned and with another beautiful horse. The neighbor came over again and congratulated  SÄ i WÄ“ng on his good fortune. But SÄ i WÄ“ng simply asked, â€Å"How could we know it is not a bad thing for me?†One day, his son went out for a ride with the new horse. He was violently thrown from the horse and broke his leg. The neighbors once again expressed their condolences to SÄ i WÄ“ng, but SÄ i WÄ“ng simply said, â€Å"How could we know it is not a good thing for me?† One year later, the Emperor’s army arrived at the village to recruit all able-bodied men to fight in the war. Because of his injury, SÄ i WÄ“ngâ₠¬â„¢s son could not go off to war, and was spared from certain death. The Meaning of SÄ i WÄ“ng ShÄ « MÇŽ The proverb can be read to have multiple implications when it comes to the concept of luck and fortune. The end of the story seems to suggest that every misfortune comes with a silver lining, or as we might put it in English- a blessing in disguise. But within the story is also the sense that with what at first appears to be good luck can come misfortune. Given its dual meaning, this proverb is commonly said when bad luck turns to good or when good luck turns to bad.

The Rationale behind the Separation of Powers in the Australian Essay

The Rationale behind the Separation of Powers in the Australian Political System - Essay Example Almost all of them believe that the powers must be exercised by three distinct branches, namely, an executive, a legislature, and a judiciary. The rationale for this separation of powers is in part due to the assumption that it is wise for distinct powers to be used in distinct ways. Nevertheless, most significantly, the separation of powers is a means of regulating power, of preventing any single branch from becoming unduly powerful (Sharma and Sharma, 2000). Moreover, different nations have different thoughts on how to divide these three major government powers. It is not possible for one branch to become fully independent from the others because all belong to a single government. This essay argues that Australia’s partial separation of powers ensures a strong checks-and-balances mechanism and a rigid preclusion of authoritarianism. Overview The separation of the legislature, executive, and judiciary is a constitutional model that is rooted in the assumption that government is more effective if the various areas of governing are scattered among various entities that continue to be independent from each other. Advocates of the assumption normally recognise three government functions, namely, (1) law making, (2) law implementation, and (3) law interpretation-- which are the legislature, executive, and the judiciary, respectively (Smith, Vromen and Cook, 2006). Within the separation of powers, the autonomy of all the government branches is usually safeguarded by an established constitution, in order that no independent branch can lawfully infringe upon the powers of the others. In addition, according to Winterton (2006), such separation is established by prerequisites that constituents of one governmental institution cannot concurrently work in another institution and by safeguarding the term of constituents of one institution from intrusion by another institution. A prominent French scholar, Montesquieu, perfectly illustrated the rationale of the princip le of separation of powers (Sharma and Sharma, 2000, p. 548): â€Å"[T]here is no liberty, if the judiciary power be not separated from the legislative and executive. Were it joined with the legislative, the life and liberty of the subject would be exposed to arbitrary control; for the judge would be then the legislator. Were it joined to the executive power, the judge might behave with violence and oppression. There would be the end of everything, were the same man or the same body, whether of the nobles or of the people, to exercise these three powers, that of enacting laws, that of executing the public resolutions, and of trying the causes of individuals.† The separation of powers is a very old concept; nevertheless, it obtains its current importance from the contemporary interest in regulating governmental powers. Political scholars assumed that the public could be shielded from too much government power if the executive’s decisions had to be approved by an autonom ous legislature and may be questioned in autonomous courts. The contemporary form of separation of powers can hence be viewed as originating mainly from ‘liberalism’ instead of ‘democracy’ (Winterton 2006). Proponents of democracy at times claim that the law is supposed to represent people’s will, instead of representing a more intricate structure of separation of powers (Sharma and Sharma, 2000). In actual fact, political structures differ in the degree to which they divide powers and in the processes by which separation is attained. Contemporary liberal democratic regimes are influenced by the separation of powers principle. The separation of the three branches is a constitutional way of mitigating the existing difficulties of guaranteeing democratic governance. It contributes to a better

Security Vulnerabilities of an organizations operating system Research Paper

Security Vulnerabilities of an organizations operating system - Research Paper Example These systems have the ability to automatically authenticate, audit, log, or manage their own configurations but they are compliance objects, subject to safeguarding (New York University (ITS), 2010). In this essay, we are going to discuss by analyzing three common ways of preventing operating system attacks or violations concerning their ease of application, their associated management issues, and thereafter rank them in order of their effectiveness. Authentication This is the act of verification of a user’s identity before they can log into a system and be able to execute any programs or do any changes to data in it. Authorization is important in that it keeps away malicious or illiterate users from accessing otherwise vital resources in a computer system therefore preventing potential damage to the computer systems or the data stored inside. In simple terms, it is a means by which a computer system knows that the user trying to log into any of its systems is not a stranger or a malicious subject. Authentication is of multiple ways such as use of passwords in combination with usernames, swiping smart cards, using eye or voice recognition and so on. Identification is crucial in safeguarding integrity, privacy, and availability of any information technology infrastructure or system (Lakshmana, 2007). Advantages In the case of using OS authentication (authentication when first logging into the computer after start up), one does not have to memorize multiple username-password combinations when logging into other databases within the computer but this order is the administrator’s preference (Arcgis Server). It is cheap in the case of the OS authentication where no additional devices or installations are necessary. It is a one-off measure in that once established, the user only has to remember the authorizing credentials. Disadvantages It is an intermediary system security measure, meaning it is somehow prone to bypassing. When using the OS authentica tion and the login combination leaks, then it is easy for the logged-in user to access and interfere with all other systems within the computer system (Arcgis Server). Additional protective mechanisms like voice recognition are quite expensive. Program threat detection An operating system’s kernels and processes perform tasks, as manufacturers’ instructions require of them. A certain command given directs them to do a specific task as per the OS manufacturers’ programming. However, some malicious users (hackers) create programs called program threats that confuse the kernels and processes leading to their malfunction. For instance, there are program threats that destroy operating systems, others alter or destroy data, and others interfere with execution of programs and so on. However, there are measures of preventing and tackling such insecurities such as installing security software, downloading from trusted sites, and regularly updating the operating system (N ew York University (ITS), 2010). Advantages Purchasing and regularly updating trusted security software from recommended manufacturers who understand operating systems gives one peace of mind because single installed security software protects against all the above stated threats in some cases without the user knowing (Stewart, Tittel &

The Nature Versus Nurture Debate Essay Example for Free

The Nature Versus Nurture Debate Essay What makes you who you are? This question is the essence behind the nature versus nurture debate. It is also a question that has plagued scientists for centuries, and philosophers before that. Recently, the debate has raged over which of two major factors has the biggest impact on one’s development. With advancements in genetics, such as the mapping of the human genome, scientists have a better understanding of what traits are inherited. Obviously, certain physical characteristics, such as hair, eye, and skin color, are defined by genes passed on from one’s parents. However, the line is not so clear when it comes to psychological conditions, behavior, and intelligence. The environment in which a child is raised also includes a number of influences, such as their parents (or lack thereof), relatives, socioeconomic status, and resources. The debate had centered on how much of those characteristics are determined by genetics or from one’s environment. Advances in modern science suggest neither nature nor nurture is exclusively responsible in favor of an interactive relationship between our genes and environmental influences. While this proposed compromise would be immensely complex, where one helps to shape the other in ways scientists have yet to completely understand, it would essentially end the debate once and for all. The term â€Å"nature versus nurture† was coined by Sir Francis Galton in 1871, but the debate actually dates back to ancient Greek literature and philosophers who questioned the nature of fate versus free will (Lewis). Galton referred to the phrase as a â€Å"convenient jingle of words, for it separates under two distinct heads the innumerable elements of which personality is composed† (M.  S. , M. B. ). The mindset of this phrasing stuck with the debate, carrying the notion of two separate and opposing scientific views, and extending his influence long after his controversial work had been published. Many of the theories Galton developed were heavily influenced by his cousin, Charles Darwin, whose works on evolution and natural selection were controversial in their own right. At the time, the most commonly held idea was that â€Å"a child was born into the world a blank slate, a ‘tabula rasa’ in the words of British Empiricist David Hume† (Lewis). This belief, also known as environmentalism, is synonymous with what became the nurture side of the debate. Galton’s Hereditary Genius became a source of controversy by resisting this notion and claiming that biodeterminism was responsible for the most eminent, or intelligent, men of his day. By applying Darwin’s theory of natural selection to human intelligence, Galton’s ideas gave birth to the debate as well as a number of other brands of science, such as genetics, psychology, and eugenics. With the scientific developments in genetics over the past century, the debate is cast in a much different light today. Although Galton and Darwin’s ideas were highly controversial and not well-received immediately, they grew in popularity towards the second half of the 19th century. Scientific understanding of genetics and inheritable traits grew over the next century with Abbot Gregor Mendel’s work establishing the principles of genetics (Lewis). Scientific development during this time laid the ground work for processes, such as genetic recombination and genetic mapping, which have become increasingly important in recent decades. The Human Genome Project was completed in 2003 by an international team of scientists, but there is still much to learn in the field of genetics. Scientists continue to study how genes interact with each other and influences from external stimuli and conditions. One such emerging, yet controversial, field in modern genetics is eugenics, or the ability to engineer a baby’s DNA to promote or suppress certain traits or inherited conditions. By the 1920’s, Galton’s ideas about eugenics had begun to gain considerable ground both here in the United States and in Europe. His claim about the inheritance of intelligence among the eminent men of society naturally led to plans to consolidate this genetic advantage in order to improve the human gene pool, falsely giving racism and discrimination some scientific backing. The culturally biased IQ testing of immigrants began to become more frequent. Essentially, the field could be divided into positive eugenics, which seeks to promote good genes, and negative eugenics, aiming to suppress less desirable genes. There were several horrific applications of negative eugenics during the early 20th century, most notably the Holocaust, in which Nazi Germany sought to eliminate the entire Jewish people and pursue their version of a pure race. Today, negative eugenics has fallen out of favor, but genetic screening and engineering has given positive eugenics a new and growing application. In addition to the advent of genetics, psychology developed in order to study the behavioral and personality impacts from both genes and the environment. Perhaps the most controversial of Galton’s claims was that intelligence was an inheritable trait, and thus passed down from the elite of society. He conducted a number of surveys and studies to better understand human intellect and also coined the term mental test† (Lewis). This belief about intelligence, while not as prominent, still exists today in underlying notions about immigration policy and social discrimination. There are many who attribute up to 80 percent of an individual’s I. Q. o genetics, leading some to believe certain racial stereotypes about intelligence, while others attribute those trends to social inequalities (Glass). Today, scientists have made a great deal of progress in understanding how certain mental disorders and personality traits can be transmitted genetically or through environmental stimuli. However, there is still a great deal to learn about the causes of psychological disorders and conditions, including how to prevent them and wheth er nature or nurture is responsible. While developing from these relatively new scientific fields, the nature side of the debate has been promoted by those who believe heredity is ultimately responsible for an individual’s characteristics. Modern science has identified a number of physical characteristics which can be definitively tied to specific genetic phenotypes, or genetically-controlled trait, such as blood type and eye color. Those who adopt an extreme heredity position, or nativists, basically assume â€Å"that the characteristics of the human species as a whole are a product of evolution and those individual differences are due to each person’s unique genetic code† (McLeod). They believe that behavioral tendencies and personality traits that even emerge or mature later in life are merely the result of genetic expression tuned to a sort of biological clock, much like puberty in adolescents. This belief supports the notion that certain people are born not only susceptible to hereditary diseases but also behavioral or psychological conditions, such as alcoholism or violent tendencies. While this stance is controversial for many scientists and psychologists, it lends support for positive eugenics’ pursuit of identifying and eliminating these negative traits by genetic engineering means. In many ways, this view is the modern extension of ancient philosophers’ thinking about free will. It brings up a number of difficult questions about genetic fate with few or no clear answers. For example, how many of our everyday decisions are made of our own free will or just an expression of our innate genetic tendencies is a murky subject. Additionally, whether or not it is possible to overcome these influences is another gray area. If genes are solely responsible, then there exists a sort of genetic predetermination, in that who we become has already been determined before we exit the womb. Conversely, if the environment is solely responsible, then everyone starts essentially as the same blank slate and our unique experiences then make us who we are. At this other end of the spectrum is the nurture side, who believe that we are shaped by a number of environmental factors. Proponents of this approach are the environmentalists or empiricists â€Å"[whose] basic assumption is that at birth the human mind is a tabula rasa and that this is gradually ‘filled’ as a result of experience (e. g. behaviorism)† (McLeod). A person’s personality and any behavioral conditions are then acquired or learned from their surroundings. Perhaps the most important environmental factor in terms of influence on a child’s development is parenting. Many levels of infant development come from imitation of and response to its parent or guardian. For example, an infant forms an attachment in response to the love and attention it receives from its mother. Later on in life, broader cultural and social stimuli help shape children according to the norms of the society in which the child was reared. To learn more about the extent of these stimuli versus genetic influences, scientists have turned to a variety of studies and experiments. In order to learn more about the extent of genetic and environmental influences on one’s psyche, geneticists and psychologists alike have searched for a means to isolate one from the other. Identical twins provide a unique opportunity to study the effects of environment on a child’s development by serving as a control, in that their genes are constant. â€Å"When raised together, both identical and fraternal twins (who on average share only half their genes) come as close as any two people can to sharing the identical home environment† (Glass). However, when reared apart, they would share no environmental influences; therefore, any differences that develop between the genetically identical twins would be the result of the different postnatal environments in which they were raised. Theoretically, if there was a â€Å"well-authenticated case of identical twins reared apart between whom a dramatic difference appears should be enough to invalidate the hypothesis that ‘heredity is destiny’† (Gruber). However, finding such a definitive case has proven difficult for researchers, who have struggled to find significantly different environments and unbiased cases. Most separated twins come from low-income families and are often raised under similar socioeconomic conditions. There is also disagreement with what constitutes similarities in both qualitative and quantitative studies of the twins, such as personality and I. Q. tests. These difficulties have not stopped scientists from continuing to pursue research of identical twins in hope of finding conclusive evidence one way or the other. Some of the essential findings from the case studies on identical twins have revealed a number of expected tendencies, as well as a few surprising trends. Behavioral geneticist Nancy Sega has found that twins raised apart are just strikingly similar in personality to twins raised together, and that biological siblings reared apart are also more similar than adoptive siblings raised together (Glass). Julia Glass’s article references a famous long-term study of Minnesotan twins reared apart who shared almost bizarre similarities: Jim Springer and Jim Lewis, who met for the first time at age 39-and discovered they both drove the same type of Chevrolet, chain-smoked Salem cigarettes, and, as sports fans, liked stock-car racing and football. Both had married women named Linda and then, after divorcing, married women named Betty. One Jim had named a son James Alan; the other Jims son was James Allan. As kids, each of the twins had a dog theyd named Toy; as adults, each had vacationed at the same three-block strip of Florida beach, practiced woodworking in his basement, and put up a circular white bench around a tree in his front yard. Although this is a very unique and special case, some researchers would argue that some of their similarities are coincidental and overlook quite a few differences between the twins. Many critics point out that even identical twins raised together differ, sometimes significantly, especially in personality and temperament. Dr. Susan Farber believes this is a special process, known as twinning, which takes place in the unique environments that twins raised together create for one another. Often, twins deal with their unique identity problems by accentuating similarities and cultivating differences (Gruber). She also believes that twinning can occur between twins reared apart if they know of the others existence through letters or another means of communication. But even Dr. Farber has stated that the best case of twin studies leaves much to be desired in terms of conclusive evidence favoring either genetics or the environment. The studies likely have ruled out any complete responsibility from one side or the other in favor of a broader debate focused on how much each is responsible during development. While the debate has shifted from exclusive responsibility to degrees of influence, other scientists have been studying how genes and environmental factors may interact and influence each other. They have researched how the environment interacts with DNA, from drugs to psychotherapy, in order to determine whether someone will suffer from psychological disorders. This field, known as epigenetics, has finally begun to address gene interactions that were once against conventional biological wisdom. It was believed that such molecular changes occur in fetal cells but not in mature cells. Recent studies are starting to show evidence that certain environmental stimuli can lead to epigenetic changes that could trigger several psychiatric diseases (Steinberg). Understanding and measurement of these changes could eventually indicate how the environment influences the genetic chemistry that underlies many human behaviors and psychological conditions. The two major psychological disorders being studied in the field of epigenetics are schizophrenia and depression. These conditions have been known to run in families and typically arise in adults or adolescents after puberty, when a change takes place in how the responsible gene is expressed. What causes this change is still an unknown, early studies suggest a number of environmental influences may act as a trigger (Steinberg). Evidence has also shown physical changes in the brains of patients suffering from depression. Antidepressants have been developed to help counteract the chemical imbalances that result from these changes. However, there is still much about the treatment of psychological disorders using drugs that scientists do not fully understand. â€Å"Applying epigenetics to the brain is just beginning, but the field is ramping up as technologies to monitor molecular changes improve† (Steinberg). Ultimately, biology and genetics have proven that neither nature nor nurture is exclusively responsible for our development. While many physical traits have definitive genetic ties and growing up in a certain culture certainly has an impact on one’s personality, modern science has shown that the interactive relationship between these influences is extremely complex. Hans Kummer gave a great analogy of the debate by saying that â€Å"trying to determine how much of a trait is produced by nature/genes and how much by nurture/environment is as useless as asking whether the drumming we hear is made by percussionist or instrument† (M. S. , M. B. ). The majority of scientists have come to accept this notion of two intricate and inseparable influences that make us who we are. The historical nature versus nurture debate is over because science had proven the relationship to be far more complex than many scientists imagined and the phrase simply does not do that justice. The term itself has been outgrown by progress in genetics, and can no longer be simply separated into one versus the other. This lagging behind in the language of genetics has kept the futile debate alive for a long time, and often providing fuel for social agendas. Today, scientists hope that new language can better reflect modern science, and allow new questions to be presented in more productive ways.

Things Fall Apart By Chinua Ac :: essays research papers

Chinua Achebe wrote the novel, Things Fall Apart, which is a great piece of African literature that deals with the Ibo culture, society, and history. One place where the Ibo religion is practiced is in the village of Umuofia in Africa, where the story takes place. On the other hand, Christianity is a very common religion that is practiced all over the world. Although Christianity and Ibo are both types of religions, they have many differences. One way the religions are different is the Ibo practice polytheism and Christians practice monotheism. A second difference is the Ibo believe in animate Gods unlike Christians who believe in an inanimate God. Another contrast is the Ibo practice polygamy unlike the Christians who practice monogamy. A final contrast is the afterlives of the two religions. First of all, the Ibo practice polytheism and Christians practice monotheism. Polytheism is the belief in more than one God, and monotheism is the belief in one God. Christians believe in one supreme creator of the heavens and the earth, who is called God. In contrast, the Ibo have various gods who they worship. The conversation between Mr. Brown, a Christian missionary in the village of Umuofia, and Akunna, a member of Umuofia, explains the Ibo religion very well. Akunna said that the Ibo believe in one supreme God also, but they call him Chukwu because â€Å"he made all the world and the other gods.† Mr. Brown made the comment that the Ibo worship carved wood and Akunna replied by saying,†The tree from which it came was made by Chukwu, as indeed all the minor gods were.† Akunna also said that the Ibo â€Å"make sacrifices to the little gods, but when they fail and there is no one else to turn to they go to Chukwu.† (179-180). Another god, besides carved wood, that the Ibo worship is the Oracle of the Hills and the Caves. The Ibo believe they must do whatever the Oracle of the Hills and Caves says or they will be punished. An example of this is when the Oracle of the Hills and Caves pronounces that Ikemefuna, the boy living with Okonkwo, be killed. Since the Oracle of the Hills and Caves had said it must be done, the men of Umuofia took the boy outside the village and killed him. (57). Another god the Ibo worship is the snake, which is called the sacred python.

Alias Tutorial

Learning Autodesk AliasStudio 2008 Level 1 A hands-on introduction to the key tools & techniques of Autodesk AliasStudio 73415-050000-5001A Copyright and trademarks AliasStudio 2008 documentation by: Pat Anderson, Marie-France Roy, Kerry Kingston and Damien Fleury  © Copyright 2002-2007 Autodesk, Inc. All rights reserved. This publication, or parts thereof, may not be reproduced in any 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 SUCH MATERIALS AVAILABLE SOLELY ON AN â€Å"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 OUT 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 revise and improve its products as it sees fit. This publication describes the state of this product at the time of its publication, and may not reflect the product at all times in the future. 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The following a re 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, Stone, Wire. All other brand names, product names or trademarks belong to their respective holders. Third-Party Copyright Notices This product includes software developed by the Apache Software Foundation. Macromedia Shockwaveâ„ ¢ Player and Macromedia Flashâ„ ¢ 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 work 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 Use, duplication, or disclosure by the U. S. Government is subject to restrictions as set 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 date: 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 user. Finding help on AliasStudio features If: Try this You want information about installing AliasStudio Follow the on-screen instructions on the installation CD. For more detailed instructions, see the install. pdf file on the top level of the CD. You are new to AliasStudio ? Read Getting Started, the booklet included in the kit. ? Browse through the information on the main documentation page (index. html) ? Read the About†¦ section of the online documentation. If you prefer, you can print off the book full of this information, which is called AliasStudio Fundamentals. ? Work through these tutorials in Learning AliasStudio. These are basic lessons that will teach you about working in 3D in AliasStudio. They are also the prerequisite for more advanced AliasStudio courses. Use the How To†¦ section of the online documentation to learn how to perform specific operations within AliasStudio, like drawing curves, making four-sided surfaces, and using masks while painting. ? Visit www. autodesk. com/estore to find out about learning tools such as Learning Alias AliasStudio | Beginner’s Guide aimed at the novice user. You are upgrading from a previous version of StudioTools ? See the What’s New in AliasStudio document, available by selecting Help > What’s New in AliasStudio, or on the documentation CD as a PDF file. ? Look at the What’s New tab in the default sh elf provided with the application. iv You are looking for detailed nformation about a tool or feature ? Look in the â€Å"Tools and Menus† section of the online help ? Choose Help > What’s this and then click on the tool or menu item ? Use the right mouse button on the background of any option window to see help for that tool or operation. You want to learn new techniques for using AliasStudio ? See Learning AliasStudio 2008 ? See Technical Surfacing ? Visit www. autodesk. com/estore to find learning tools 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 know what the eyboard shortcuts are in AliasStudio ? Choose Help > Keyboard shortcuts from within AliasStudio, or click Keyboard Shortcuts on the main online help page. You want a Quick Reference card ? Print the Quick Reference card file provided in the PDF directory on the do cumentation CD. v Finding AliasStudio training resources If†¦ Try this†¦ You want to obtain in-depth training ? See the learning materials and training courses available 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’ Interface Manual to learn the object-oriented programming 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 [email  protected] com. vi Finding support 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 t he 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 need a license, check the executable license file on the top of your installation CD. If your license isn’t 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 AliasStudio If you create concept designs ? Read about our new concept design workflow ? Work through the modeling and rendering tutorials in Learning Studio If you build 3D models based on sketches ? Work through the modeling tutorials in Learning AliasStudio If you build 3D models for manufacture ? Read About Curves and About Modeling ? 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 â€Å"If you create rendered images† section ? Read About Animating ? Work through the animation tutorials in Learning Studio ? Check the community site for tips and tricks. viii ix CONTENTS Lear ning 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 described in this book to sketch, render, or animate. Getting help on AliasStudio iii Finding help on AliasStudio features iii Finding 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 Basics 5 Using Tools 11 Changing Your View of the Model 25 Understanding the object lister 33 Introduction to 3D 37 Part 1: Beginning a Model 38 Part 1: Creating 3D objects 41 Saving your work 45 Part 2: Building the lampstand 47 Part 3: Organizing the model 54 Part 4: Building the lampshade 58 Part 5: Assembling the desk lamp 65 Part 6: Posing the Lamp Model 68 Conclusion 70 Quiz 71 On your own 72 x Contents Quiz Answers 74 Modeling a Joystick 75 Introduction 75 Part 1: Creating the Joystick Handle 77 Part 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 button 120 Part 8: Visualizing the Model 123 Conclusion 126 Quiz 127 On Your Own 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 187 Modeling an MP3 Player 189 Introduction 191 Part 1: Creating the Casing Curves 192 Part 2: Creating the Side Surfaces 197 Part 3: Completing the Casing 202 Part 4: Creating the Screen Recess 209 Part 5: Centre Navigation 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 Bottle 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 to Rendering 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 path 364 Part 3: editing a motion path 367 Part 4: animating the camera 369 Conclusion 372 Quiz 373 On Your Own 374 Quiz Answers 375 More animation techniques 377 Part 1: Creating an exploded view 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 shows 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 three dimensional modeling, rendering, and animating. AliasStudio offers a complete solution for the creation of digital content in fields such as industrial design, automotive design, and consumer product design. About the Learning AliasStudio Tutorials A general overview 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 accomplish your concept design tasks. The first six tutorials introduce modeling tools to build your experience level. We recommend that you start with the first tutorial and proceed sequentially through the modeling tutorials, because they build on each other. The next two 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 can view movies (in Flash format) demonstrating each tutorial in the online documentation. In order to view these movies, you may need to install a Flash player. You can download Flash plug-ins for your browser for free from www. macromedia. com. Disclaimer: There may be slight discrepancies in procedures between the movies and the written documentation. If you 2 How to use this book encounter a discrepancy, use the written ocumentation version because it will be the most current. 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 will not teach you everything th ere 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 shot, we ighlight the important area and darken the rest of the image. For example, in the picture shown, we have marked the location of the close box on the Action Window. To indicate a click, we use this symbol. For example, in the picture shown, we have indicated that the Open command should be clicked. In the text of the instruction, we will refer to this as File > Open. The first word or term is the name of the menu or palette; it is followed by an arrow 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 opened, a box appears after the tool name, like Surfaces > Skin ?. When we ask you to choose a tool, we show the tool’s icon next to the instruction. Terms Explains terms used in the tutorials. Click: Move the mouse pointer over an object and press and release a mouse button once. Double-click: Move the mouse pointer over an object and press and release a mouse button twice fast. Drag: Move the mouse pointer over an object and hold down a mouse button, then move the mouse with the button held down. Then release the mouse button. Click-Drag: Move the mouse pointer over an object, ress the mouse button, and move the mouse pointer to a final position before releasing the mouse button. The Scene: The 3D â€Å"world† inside the view windows. 3 How to use this book The Model: The curves, surfaces, and points that make up the object you are creating. Note about Window Names AliasStudio 2008 brings a change in Stu dio and DesignStudio to the names of the Front and Side orthographic windows. Some of the tutorials in this book (Modeling a Shower Gel Bottle, Modeling an MP3 Player, and Rendering Basics) 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 marking 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 represents the scene and the model (both externally and internally), and how you use menus and tools to create and edit model data. Installing the tutorial co urseware files Each 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 AliasStudio, 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 drive into your user_data folder. On Windows systems this is typically: C:Documents and Settings[userid]My 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 you’ll require to perform the tutorials can 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 C:Program FilesAutodeskAliasStudioPLE2008Help. 2 Copy the CourseWare directory from the Help directory to your account’s user data directory. On Windows systems this is typically: C:Documents and Settings[userid]My 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 choose 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 again, the default product starts and the Application Launcher does not appear. You can change the default settings anytime by choosing Application Launcher from the Start menu. 3 Click Launch. The chosen product should start. 4 If the main AliasStudio window appears, AliasStudio is installed. The Start-up Process The first time you run AliasStudio, you may be presented with a choice 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 click Go. Next, you’ll be presented with a workflow selection. 2 For the purpose of these tutorials, choose 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 won’t 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 exited the application. AliasStudio shows a splash window 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 workspace window opens. 7 Interface Basics Overview of the AliasStudio Interface The main parts of the AliasStudio interface are: ? the Palette, located on the left ? the Menu Bar, located at the top the Window Area, taking up most of the interface and located in the middle (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 become more and more fami liar with the AliasStudio interface. Using 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 It’s easy to get help on any tool or menu item in the interface. Just follow the steps below. 1 Click the Help menu, located at the right end of the menu bar. 2 In the Help menu, click What’s 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 Click 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 close the browser window. Menu Bar Shelves Control Panel Window Area Palette 8 Interface Basics Arranging Windows Performing Menu Commands To use the menus to choose a window layout Click the title 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 â€Å"Studio† layou t: Top, Front, Right, and Perspective. 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 dragging the mouse down the menu and releasing on the item you want. Window Controls Use these controls on the borders of view windows to move, close, and resize the window: The view windows have more controls across the top, but for now you will concentrate on the close box, title bar, maximize, 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 left corner of the Top view window. ? Click the Top view window’s 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 maximize 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 outline of the view window follows the mouse. 3 Release the mouse button. The corner of the window snaps to the new size. 4 Try dragging the resize corners in the other corners to see how they resize the window. ? Often you will want to work in one large window to see more detail. Use the maximize box to temporarily make 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 box 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 window’s 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 Perspective view window to move it in front of the other windows. The windows are probably a little disorganized at this point. You can quickly reset 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 current 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 choice of windows that you plan to use repeatedly, you can save the set by choosing Layouts > User windows > Save Current Layout. Youâ€℠¢ll 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 Using Tools Using Tools Describes how to use the AliasStudio interface, such as selecting tools and creating shortcuts. Tool Basics To orient yourself in the Palette window Find the Palette window on the left 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. It’s the seventh palette from the top of the window. If you can’t see the Surfaces palette, use the scroll bar on the left side of the palette window to scroll up or down until it’s visible in the window. 3 Hold the cursor over a tool. Th e name of the tool appears in a small 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, choose the ToolTips option in the Interface section of the General Preferences window (Preferences > General Preferences – ? ). Now 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, spheres, 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 > Sphere too l. A red outline appears around 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 some 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 middle 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 p romptline. 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 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 palette’s menu. 2 Click the right mouse button on the Surfaces palette’s title tab to open the palette’s 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: â€Å"In the Surfaces 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 palette’s 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, c lick 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 Cylinder 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. T he Cylinder Options window appears. 10 Click Exit to close the options window. Picking and Unpicking Objects Picking 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 Using Tools Unlike most selection tools, Pick > Object Types > All obj/lights does not stay 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 click 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 empty space with the middle mouse button. All objects in the scene are unpicked. ? Remember, the middle mouse button picks only what you click. If you pick â€Å"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 Tools The variety of tools available is the source of AliasStudio’s power, but finding tools in the palette can potentially become time consuming. You can make commonly used tools available 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. Marking 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 shelf window 1 In the Windows menu, choose Shelves. The Shelves window appears. ? The Shelves window provides a floating window in which to keep commonly used tools. 18 Interface Basics Using Tools AliasStudio, however, pr ovides another, even more convenient location for shelves. In these tutorials, you will use the shelf area in the control panel. ? Since you will not be using the Shelves window, you can close it. 2 Choose Windows > Shelves again to hide the Shelves window, or click the Shelves window’s 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 panel’s 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 fit ting 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 CurveFit. 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. N ext, 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 customized versions of 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 tool’s 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 spacing ( parameterization) and degree of the new curve. Make 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 window. 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 shelf’s title tab and press the right mouse button to show the shelf’s 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 Edit Points you dragged to the shelf. If you can’t 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. Let’s now assume that this was a mistake and you wish to remove the tool. 2 Hold the middle mouse button over the tool’s 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 instantaneo us. 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 Keep the left mouse button held down and drag down until the Pick > Object box is ighlighted. A thick black line shows the direction of the mouse pointer. 4 Release the mouse button to choose the highlighted tool. The Pick > Object tool is now the current 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 direction 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 Cont rol 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 will 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. U sing 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 ? AliasStudio’s 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, click 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 Camera’s View There are many different ways to change the camera’s view in AliasStudio. In general, you will only need to learn three camera moves to model effectively: 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 perspective 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 came ra: 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 forward 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 poi nter 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 becomes 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. It’s 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 clearly. AliasStudio provides two additional tools to make it easier to move the camera around a model quickly: the â€Å"point of interest†, and the viewing panel. Changing the Point of Interest 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 Perspective 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 i nterest manipulator. The manipulator moves across the surface of the object. 10 Notice the light blue or yellow arrow extending from the center of the manipulator. This arrow indicates the normal at this point on the surface. The arrow is light 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 forth between two or more areas of interest. The viewing panel lets you â€Å"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 the 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 related 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 manipulator 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 parallel 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 tag 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 Cl ick 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 â€Å"back panel† or â€Å"door handle†. By default, bookmarks are named BM, BM#2, BM#3, 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 Delete 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 illustration as a reminder of the different controls on the viewing panel. The Twist and Azimuth/Elevation tools rotate the view around the point of interest. Open/Close Panel Open/Close

On mona lisa smile

The film which is about a young and an idealist teacher who want to change something. The film which involves the reflections of feminism and functionalism. In this essay I analyze these reflections. Firstly,according to the functionalism,everyone in society has a role and everyone play their role contribute to the smooth functioning of society. Children learn and internalize the norms and expectations which are accepted in a society. In this wise,they adopt sex roles. So,gender roles are compatible with sex.Because there are innate differences. N the movie,the girls who study at the college take courses not only physics and art history but also speech and marriage. Because they will graduate in a few years and they will find a good husband and then they will be housewife. They will have responsibilities such as providing comfort a man and care of children. Because gender roles are innate. Gender roles are learned and internalized with the help of agencies such as family,educational institutions. There are these agencies in this movie.Furthermore,functional approach suggest that gender differences contribute to social stability and integration. Namely,the women should concentrate on domestic and family responsibilities while men work outside the home. There are expressive roles for women and instrumental roles for men. The females should provide care and security of children and offer them emotional support. Men,on the other hand,are the breadwinner in the family. For example,in this movie,the girls are given courses about the importance of expressive roles.But there is a unequal division of labor within the Emily. Functionalism believes that this state is necessary for the maintenance of social stability. There are examples of giving importance of this necessity in the movie. Divorce is seen a bad state by people in that society and the mother don't accept her daughter who want to back home. Functionalists emphasize the importance of moral consensus which exis t when most people in a society share the same values and it is important to maintain order for them. In the movie,there is a order and balance in the society.Because there are rules,arrangements,traditions and values which interlink the people. In this way,the moral consensus exist in a society. For instance,there are traditional competitions which are about marriage having a baby in college. Secondly,feminist approaches reject the idea that gender inequality IA natural. Feminism is based on women's freedom. The women should not be representative of their gender roles which are given them in innate. Instead,they should live by their own definition. In the movie,the teacher is defender of feminism.Her opinion is that her students should be more free when they take their own decisions. She provide that the students discuss on the subject in the class. In the way,their ideas will occur and they will not copy other people's opinion. Also,feminist approach emphasizes that there must be equal opportunity between women and men. For example,the range of education. The teacher encourage the student in studying law. To sum up,it is possible to see that the reflections of functionalism and feminism in the movie. Essay on Mona Lisa smile By kickball