Comprehensive Sexual Education Of The United States

Author Bob Smith once said, â€Å"In America, when we decide to ignore a subject, our favorite form of denial is to teach it incompetently. Familiarity without true understanding is not only the basis of our families but of our educational system as well.† Smith refers to the inadequate sexual education of teenagers in the United States. Sexual education is the instruction on issues about bodily development, sex, sexuality, and relationships. Comprehensive sex education teaches about abstinence, condoms, and contraceptives to avoid sexually transmitted diseases (STDs) and unplanned pregnancies. As well as, the skills needed to help young people explore their own values and options. Comprehensive sexual education should be taught in the United†¦show more content†¦A study found that comprehensive sexual risk reduction programs are an effective public health strategy to reduce adolescent pregnancy, HIV, and STDs, (Chin et al.). In addition to teaching the proper use of condoms and contraceptives, comprehensive sex education emphasizes building healthy relationships and preventing sexual abuse. The first step to preventing sexual abuse is knowing the difference between a healthy and unhealthy relationship and being able to communicate about one’s sexuality. A healthy relationship requires positive communication, conflict management, and decision negotiation around sexual behavior. Throughout a person’s life, they should be able to communicate with their parents, friends, and intimate partners about sexuality. These skills are never taught to young people leading to unhealthy and even violent relationships among teens: one in ten high school students have experienced physical violence from a dating partner, (â€Å"Dating Violence†). Comprehensive sex education teaches the abilities to understand, to identify, and to end an unhealthy relationship. This education is key to having successful relationships based on mutual respect of the person and their boundaries. Another major key to making healthy decisions in a person’s sexual life is respect for the bodily autonomy of oneself and one’s peers regardless of sexual orientation and gender identity. In comprehensive sex education, young people are informed that they have the right to say no

Feminist Movement Ellen Pence - 1520 Words

Ellen Pence Ellen Pence was born on April 15th 1948 in Minneapolis, Minnesota (Bradkin, 2016). She had a son, Liam McCormick, with her partner, Amanda McCormick (Bradkin, 2016). Jeffrey Edleson (2010) portrayed Ellen as comical with a dry sarcastic humor and would love teasing people. Battered Women’s Justice Project (2016), depicted Ellen as a critical analyst, a compassionate listener, and committed to social justice. She obtained her Bachelor’s Degree from St. Scholastica (Bradkin, 2016). Ellen later received her Doctorate in Sociology at The University of Toronto (Bradkin, 2016). Her mother, Audrie Pence, was an advocate of the feminist movement (Bradkin, 2016). Ellen was also an activist who contributed to the movement to end†¦show more content†¦The Duluth Model The Duluth Model was created by Ellen and her colleagues, one being Michael Paymar, at DAIP (Edleson, 2010). The Duluth Model is an interventional and educational course for male batterers to shif t the focus from the female victim (Edleson, 2010). The goal of the Duluth Model is to reeducate men on having a healthy nonviolent relationship. Katherine Van Wormer and Susan G. Bednar (2002) mentioned how the Duluth Model is grounded on the idea that men batter to have control, power, and display dominance. In addition, Van Wormer and Bednar (2002) discussed a key part of the course called the Power and Control Wheel. The Power and Control Wheel The Power and Control Wheel is a diagram that was created based on life experiences of 200 battered women (Van Wormer Bednar, 2002). Ellen Pence surrounded the Power and Control Wheel with different approaches men use to sustain power and control in the relationship besides physical violence. Ellen believed that men not only desired power and control, but also felt they had the privilege of deserving power and control due to their gender (Batered Women’s Justice Project, 2016). According to Ellen’s research through the 200 battered women, the methodologies that men use are: coercion and threats, intimidation, emotional abuse, isolation, minimizing, denying and blaming, using children, using male privilege, in addition to economic abuse (Van Wormer Bednar, 2002).Show MoreRelatedDomestic Violence And Public Violence Essay1231 Words   |  5 Pagesalso experience the unimaginable pain of their child/children being abused alongside them. The f act is, domestic violence will affect or touch every person in their lifetime (Pence McMahon, 1999). There are many ground-breaking advocates of reducing domestic violence, though one stands out above the others. Ellen Pence helped build the foundation of batterer programming with the Duluth program. The program forged new ground and bridged the concerns of advocates and criminal justice officials

Chieftest Mourner free essay sample

FordThe short story focuses on Filipino conventions during the wake of loved ones. Its also a twist of Filipino stereotypes regarding social conventions such as the kablt or the second wife/mistress, as compared to the first wife. The story is narrated in a somewhat unbiased. childlike tone but Its actually flavored with insight and Implicit descriptions that shows the protagonists maturity. There is a good balance of insight, as If to give the other characters a benefit of doubt and a seemingly unbiased arration. The narration was cleverly done; the events are divided through the protagonists recollection and as-the-event-happens retelling of the wake Itself. When the story began, the protagonist is already in college, as specified in the text, shes only in her freshman year which puts her age to 16. She reveals her close relationship with her uncle through her childhood memories of him which also reveals to us aspects of her uncles personality. We will write a custom essay sample on Chieftest Mourner or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page One event that has significantly Influenced her percepuon of the uncle despite her aunts words Is what transpired after the uncle broke off with his first wife. A little girl shares a shot with her uncle and they share a common bond despite the slew of differences between them. Its not directly stated that uncles special lemonade is an alcoholic drink but its implied from her aunts reaction when she got back home. So what do they have in common? What bonds a little girl and a grown man together?

Vocaloid Technology and Japanese Anime Culture Essay Example For Students

Vocaloid Technology and Japanese Anime Culture Essay In modern Japan, popular musics are always related to idols as being one of the Japanese social mainstreams. For the consumers, most of the idols are popular due to their stage appearances and visual attractions rather than their musical or vocal skills. However, there is one additional technique that Japanese use to produce unique idols and tend to distinguish them from other common idols. They are manufacture idols, which are good examples of how Japanese make new innovations in their pop culture. Manufacture idols system is a combination of anime-like characters and the technology in Japan. Both of these factors are huge in Japan and are well combined in other field of works. With the great novelty and the visual attractions behind the idea, manufacture idols become very popular in Japan; and because anime and technology are two widespread cultures in Japan, their combination make the manufacture idols system carry a very uniquely Japanese style. Japan has huge technological industries as its recent technology fast developed. The Japanese are likely and even proud to use technological productions, and many of the creative ideas are based on their technology. We will write a custom essay on Vocaloid Technology and Japanese Anime Culture specifically for you for only $16.38 $13.9/page Order now Similarly, Manufacture idols came from a technological software called â€Å"Vocaloid†. Vocaloid is originated from the singing synthesizer system which dates back to â€Å"a research by Kelly et al in 1962 when there have been various singing synthesizers proposed since then, whether they are commercial or noncommercial† (Kenmochi, 2012). However, Kenmochi (2012) also indicates that â€Å"those singing synthesizers have not been widely used in musical creation, although some musicians experimentally utilized them in their music. Later on, Japan became one of the countries that tended to develop this type of technology. â€Å"Since 2007, there has been a big boom of musical contents using singing synthesis software especially in Japan† while â€Å"amateur musicians use singing synthesis software to create their original compositions. (Kenmochi, 2012). Vocaloid was developed by Yamaha Corporation which is a Japanese multinational corporation, and it came out as a commercial singing synthesis software and are widely used in Japan. Yet, According to Kenmochi and Ohshita’s article (2007) Vocaloid is not released by Yamaha Corp. â€Å"Yamaha licenses the technology and software to third-party companies. Those companies develop and release their own singer library bundled with the Vocaloid software. Since 2004, five products have been released with Vocaloid version 1 so far: â€Å"Leon†, â€Å"Lola†, and â€Å"Miriam† from Zero-G Limited, UK, and â€Å"Meiko† and â€Å"Kaito† from Crypton Future Media, Japan† (Kenmochi Ohshita, 2007). These first released Vocaloid characters (known as Vocaloid 1) have different voices and appearance, and they are divided to different language categories as some of them were released by the British company and others were released by the Japanese company. The voices of these characters were not completely artificial. Instead, the producers collected the sample voices from certain singers or voice actors first, and then produced the singer library. Musicians with certain musical knowledge and technique could make musics by using Vocaloid, and they could choose to make musics for certain characters based on their preference on looks or voices. Vocaloid consists of three parts. Score Editor provides an environment in which the user can input notes, lyrics, and optionally some expressions; Singer Library, mentioned previously, is a database of samples (mostly diphones) extracted from real people’s singing; and Synthesis Engine receives score information, selects necessary samples from Singer Library and concatenates them. Kenmochi Ohshita, 2007) Later on, more and more characters came out in Japan released either by companies such as Crypton Future Media or on the Internet. These new characters are known as Vocaloid 2 and the second generation of Vocaloid software, and they embodied the same technology used in Vocaloid 1. Eventually, in 2007, Vocaloid technique and its characters became a huge boom in Japanese pop culture. Many music production teams in Japan started to make songs for these characters, and these producers are known as characters’ masters. Moreover, as the first Vocaloid 2 character Hatsune Miku came out followed by various Vocaloid characters, more and more amateur musicians (especially those who like electronic musics) joined to make Vocaloid musics; more anime fans started to support such products; and more other audiences appeared to be interested in such innovations. Different characters came out with different Vocaloid software and are released by different companies and medias. The productions began to play a big role in the music market in Japan. Like Goto says in his research â€Å"As music synthesizers generating various instrumental sounds are already widely used and have become indispensable to popular music production, it is historically inevitable that singing synthesizers will become more widely used and likewise indispensable to music production† (Goto). How technology naturally involved in Japanese music is indeed incredible. As we perceive in the naming of Hatsune Miku which could translated to â€Å"the first sound from the future†, we simply discover how Japanese producers and audiences strongly pursue the advanced technology. However, the fascination of the technology is not only manifested in the scientific technique that is used in Vocaloid, but is also displayed in the way people make the anime characters doing vivid musical movements and expressions like humans. As Hatsune Miku and other Vocaloid characters were developed to music and game market, besides the technological success in some human-like elements reflected in their singing such as breathiness, portamento, etc. hey are required to have dance movements, gestures and even facial expressions. Nevertheless, as she sometimes appears in 3D image, Hatsune Miku is very different from both real humans and most of two dimensional anime figures. Thus, she is like a robot on the computer that is more likely to be stiff, and it is very hard to make her and other characters move as smooth and lively as humans or two dimensional anime characters do. Yet, creators took efforts to make their characters mimic the musical gestures and expressions of humans. .ua72cdfef41455d89e34d59399e918c7a , .ua72cdfef41455d89e34d59399e918c7a .postImageUrl , .ua72cdfef41455d89e34d59399e918c7a .centered-text-area { min-height: 80px; position: relative; } .ua72cdfef41455d89e34d59399e918c7a , .ua72cdfef41455d89e34d59399e918c7a:hover , .ua72cdfef41455d89e34d59399e918c7a:visited , .ua72cdfef41455d89e34d59399e918c7a:active { border:0!important; } .ua72cdfef41455d89e34d59399e918c7a .clearfix:after { content: ""; display: table; clear: both; } .ua72cdfef41455d89e34d59399e918c7a { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ua72cdfef41455d89e34d59399e918c7a:active , .ua72cdfef41455d89e34d59399e918c7a:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ua72cdfef41455d89e34d59399e918c7a .centered-text-area { width: 100%; position: relative ; } .ua72cdfef41455d89e34d59399e918c7a .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ua72cdfef41455d89e34d59399e918c7a .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ua72cdfef41455d89e34d59399e918c7a .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ua72cdfef41455d89e34d59399e918c7a:hover .ctaButton { background-color: #34495E!important; } .ua72cdfef41455d89e34d59399e918c7a .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ua72cdfef41455d89e34d59399e918c7a .ua72cdfef41455d89e34d59399e918c7a-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ua72cdfef41455d89e34d59399e918c7a:after { content: ""; display: block; clear: both; } READ: Japanese Gardens in the United States EssayFrom my perspective, this process is very similar to another scientific process relates to movements of musical robots although it is easier to make 3D characters do human-like movements than a real robot. Similar to the Vocaloid characters, Japanese also concern about the vividness among the robotic movement of musical robots. â€Å"Humanoid robots are polyvalent, and thus are perfect platforms for synthesizing the work from specialized, disparate domains. The idea is to develop a general ‘emotional intelligence’–an ability to express emotion in music as well as speech, gesture, and other modalities. (Lim, Og ata, Okuno, 2012) For instance, musical robots should imitate some natural habit of human musicians when they are playing music. â€Å"Human musicians naturally use visual cues such as eye contact and instrument movement to coordinate with fellow ensemble players, similar to conductors who use their batons to indicate beats. In fact, a study on clarinetist’s movements found that â€Å"movements related to structural characteristics of the piece (e. g. tempo)† were consistently found among player subjects. Movements included â€Å"tapping of one’s foot or the moving of the bell up and down to keep rhythm. Although we do not claim that all musicians use movements when performing, we believe that identifying common, natural gestures is a starting point to using vision as a human-robot interface. † (Lim, Mizumoto, Cahier, Otsuka, Takahashi, Komatani, Okuno, 2010). Likewise, Vocaloid characters are required to do human-like gestures when they are singing and dancing in games and perform at concerts. In this case, Japanese producers did a good job on creating dancing movements and facia l expressions for these characters by using advanced animation technology. They led the Vocaloid character (especially Hatsune Miku) to be on the stage like real idols by using the advanced 3D technology, and unfolded the vivid impressions of characters before their audiences’ eyes. â€Å"Although Hatsune Miku is a virtual singer, she has already had live concerts with human musicians in Japan, USA, and Singapore† (Goto). Although these characters have not reached the state of doing movements and expressions exactly the same as real humans, they appeal to their consumers very positively for their almost lively human-like characteristics. Moreover, the advanced animation technique in Japan definitely helps Japanese producers approach the goal, as the anime culture being one of the most popular social phenomenons in Japan’s market. Vocaloid characters are popular not only because of their unique singing style that is distinguished from humans’ voices, but also because of their anime appearance. For example, Hatsune Miku, the most representative Vocaloid character in Japan, was actually just a simple print on the Vocaloid software package at the beginning. However, such simple illustration has enough visual attractions to Japanese due to Japan’s widespread anime culture. Before games and concerts of Vocaloid characters came out, people had very few information about these characters. The only information they gained was the characters’ personalities which is portrayed in some typical published songs written by these characters’ â€Å"masters†. Therefore, amateur anime artists made videos of characters dancing and singing, and sometimes they tended to post their work on some popular website in Japan. People draw and post different illustrations of Hatsune Miku. Then people started to create videos, such as promotion videos for musicians, with such original songs and drawings. Some people even create 3D models of Hatsune Miku and create 3D animation videos. † (Hamasaki, Takeda, Nishimura, 2008). Apparently, it was not the production companies who promoted the idea of making the characters visually alive; it was the audiences who involved into animation works and advanced computer technology at first. Such phenomenon reflects that how Japanese, especially the younger generation, are highly involved in modern technology and animation as two of their social mainstreams. After such a huge impact happened to the consumers of Vocaloid characters, many more corporations and companies were involved to various productions of making animation images of Vocaloid characters. Some game companies such as PENTA and Tones Studio made Hatsune Miku a game character or made her sing one of the background songs in the games. Other CD company such as Frontier Works recorded some old songs, but some of them were sung by Hatsune Miku. Additionally, as more and more people continue using Vocaloid characters to sing their favorite or original songs, some amateur singers even sing the characters’ original songs and post them online. The website that receives most of these posts is called Nico Nico Douga, which is the most popular video sharing website in Japan. The websites’ basic service mostly resembles that of YouTube, besides most of the posts are animation work as â€Å"Douga† means animation in Japanese. What is more interesting than YouTube, is that â€Å"a user can add comments about a specific playback time at a specific position in the video which gives people a sense of sharing the viewing experience virtually. Furthermore, the creator can instantly know which specific moment or specific scene is appreciated by a viewer† (Hamasaki, Takeda, Nishimura, 2008). Videos relates to Vocaloid stuff are usually categorized as â€Å"hot topic† on this website. Such popularity on an animation website implies that Vocaloid system manifests the interaction between audiences and Japanese anime culture. Moreover, Characters like Hatsune Miku are always engaged with Japanese anime culture even they do not have any story or background. Anime fans can easily create stories, images and even personality for them according to the contexts among their well-known songs. â€Å"voice-generating software called Vocaloid, which makes anime-like songs in the voice of an imaginary character called Hatsune Miku (lit. â€Å"first sound of the future†), inspired fans to develop images, stories and videos around the synthetic voice. .u6b7866e8ca6348177d28302e26bb228f , .u6b7866e8ca6348177d28302e26bb228f .postImageUrl , .u6b7866e8ca6348177d28302e26bb228f .centered-text-area { min-height: 80px; position: relative; } .u6b7866e8ca6348177d28302e26bb228f , .u6b7866e8ca6348177d28302e26bb228f:hover , .u6b7866e8ca6348177d28302e26bb228f:visited , .u6b7866e8ca6348177d28302e26bb228f:active { border:0!important; } .u6b7866e8ca6348177d28302e26bb228f .clearfix:after { content: ""; display: table; clear: both; } .u6b7866e8ca6348177d28302e26bb228f { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u6b7866e8ca6348177d28302e26bb228f:active , .u6b7866e8ca6348177d28302e26bb228f:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u6b7866e8ca6348177d28302e26bb228f .centered-text-area { width: 100%; position: relative ; } .u6b7866e8ca6348177d28302e26bb228f .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u6b7866e8ca6348177d28302e26bb228f .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u6b7866e8ca6348177d28302e26bb228f .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u6b7866e8ca6348177d28302e26bb228f:hover .ctaButton { background-color: #34495E!important; } .u6b7866e8ca6348177d28302e26bb228f .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u6b7866e8ca6348177d28302e26bb228f .u6b7866e8ca6348177d28302e26bb228f-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u6b7866e8ca6348177d28302e26bb228f:after { content: ""; display: block; clear: both; } READ: Today, Telecommunications Technology Affects Lives To A Greater Degree EssayThere is even a blog that tracks the best fan-made music videos featuring this character† (Condry, 2009). Such enthusiasm among anime fans reflects the connection between Hatsune Miku and Japanese anime culture. In Japan, it is very common to consider a virtual idol like Hatsune Miku as popular even though she does not have any musical or vocal skill. Japanese audiences always have obsessions with visual attractions. Not every idol have to be good at singing or instruments, but popular idols are always good-looking, cute or sexually attractive. Hatsune Miku, with cute anime looking, is attractive to a lot of Japanese heterosexual male fans. However, as she being an anime character, she is still different from other living idols. For one thing, Hatsune Miku is never separated from the engagement with the consumers. To be more specific, living idols engage with their audiences when they perform on the stage or acting certain roles, but they separate from their public images when they come back to their private life. â€Å"stars have an existence in the world independent of their screen/ â€Å"fiction† appearances, it is possible to believe. hat as people they are more real than characters in the stories. † (Dyer, 1998) On the contrary, as a virtual character as most of anime characters are, Hatsune Miku has devoted everything to her fans. She does everything that satisfies her consumers and keeps her pure and ideal image. Such characteristic is very common in Japanese anime culture and is quite fascinating for a nime fans and especially for otaku. â€Å"Otaku, which translates to the English term nerd, was a slang term used by amateur manga artists and fans themselves in the 1980s to describe weirdos (henjin). The original meaning of otaku is your home and, by association, you, yours, and home (Kinsella, 1998). When normal anime fans like to talk to each other about their common interests, anime otaku people prefer just engaging with two dimensional or virtual anime characters. Although otaku culture is strange from an American perspective, it is still somehow considered as a symbol of contemporary Japanese society, as it reflects a popular phenomenon in Japanese younger generation. Otaku came to represent a younger generation so intensely individu-alistic they had become dysfunctional, a generation of ‘isolated people who no longer have any sense of isolation. ’ The dysfunctionality of otaku proved the unhealthy nature of individualistic lifestyles† (Kinsella, 1998). In this case, Vocaloid characters are tied to otaku culture because of their two dimensional or virtual images. â€Å"the virtual idols very clearly ties together the otaku obsession with computer technolo gy, animation technology, robotic or otherwise artificial bodies and the kind of femininity presented by the living idol† (Black, 2012). Male anime otaku are usually obsessed with bishojo(pretty girls in Japanese) in animation works like Hatsune Miku, because â€Å"the virtual idol can satisfy fan desires in the way that living idols can not† (Black, 2012) Thus, Vocaloid certainly has an attractions towards anime fans and otaku, which can be another engagement between Vocaloid and anime culture. On the other hand, for anime fans or even other audiences, the gender interpretation appears to be more ideal on virtual characters. Choo mentioned that anime girls are more ideal with big eyes and smooth skin, and sometimes they involve in sexualized images in the contexts. In addition, anime boys are more attractive for female consumers because of their slim bodies and pretty faces (Choo, 2008). Therefore, with the same gender oriented attraction, Vocaloid characters gain more attentions from their heterosexual fans, and have more advantages because of their anime imagery. In conclusion, Vocaloid is an extremely representative symbol of Japanese pop culture. Among many music forms in Japan, Vocaloid music reflects how Japanese is good at making innovations, as they blend advanced cyber technology and Japanese anime culture. However, the novelty inside this music form is explicit not only due to the genius combination, but also due to the reactions from the Japanese consumers. As we watch Hatsune Miku’s 3D image dancing on the stage with hundred thousands of living fans, we can simply realize how Japanese audiences support their technology and anime culture. Bibliography: Black, D. (2012). The Virtual Idol: Producing and Consuming Digital Femininity.Idols and Celebrity in Japanese Media Culture, 209. Choo, K. (2008). Girls Return Home: Portrayal of Femininity in Popular Japanese Girls’ Manga and Anime Texts during the 1990s in Hana yori Dango and Fruits Basket.  Women: a cultural review,  19(3), 275-296. Condry, I. (2009). Anime Creativity Characters and Premises in the Quest for Cool Japan.  Theory, Culture Society,  26(2-3), 139-163. Dyer, R., McDonald, P. (1998).  Stars. BFI Pub.. Page 8. Goto, M. Grand Challenges in Music Information Research}}.  Multimodal Music Processing},  3, 217-226. IEEE. Hamasaki, M., Takeda, H., Nishimura, T. (2008, October). Network analysis of massively collaborative creation of multimedia contents: case study of hatsune miku videos on nico nico douga. In  Proceedings of the 1st international conference on Designing interactive user experiences for TV and video  (pp. 165-168). ACM. Kenmochi, H. (2012, March). Singing synthesis as a new musical instrument. In  Acoustics, Speech and Signal Processing (ICASSP), 2012 IEEE International Conference on  (pp. 5385-5388). IEEE. Kenmochi, H., Ohshita, H. (2007). Vocaloid–commercial singing synthesizer based on sample concatenation.  Proc. Interspeech 2007, 4011-4010. Kinsella, S. (1998). Japanese subculture in the 1990s: Otaku and the amateur manga movement.  Journal of Japanese Studies, 289-316. Lim, A., Mizumoto, T., Cahier, L. K., Otsuka, T., Takahashi, T., Komatani, K., Okuno, H. G. (2010, October). Robot musical accompaniment: integrating audio and visual cues for real-time synchronization with a human flutist. InIntelligent Robots and Systems (IROS), 2010 IEEE/RSJ International Conference on  (pp. 1964-1969). Lim, A., Ogata, T., Okuno, H. G. (2012). Towards expressive musical robots: a cross-modal framework for emotional gesture, voice and music.  EURASIP Journal on Audio, Speech, and Music Processing,  2012(1), 3.

Yucca mountain essays

Yucca mountain essays After reading the article, I do not know if the author is qualified to write on the subject of nuclear waste disposal. He seems to know what he is talking about but he failed to put the information in any particular order so that his readers will understand what he is trying to say. He proposes a way of disposing nuclear waste but then proceeds to skip around and not connect his thoughts. He needs to think before he writes. Maybe a rough draft or two would help. The author is trying to propose a method of disposing nuclear waste. He suggests that radioactive waste be incased in lead and then be incased in glass. He says that glass, when properly annealed, would be as hard as steal and virtually indestructible. He also states that the Yucca Mountain Project is not a good choice by telling the reader that on June 14, 2002, a 4.4 earthquake on the Richter scale was experienced. He questioned how safe the site is. The author has very good points but fails to back them with facts. He makes very good points such as the current method of nuclear waste disposal is not safe to the environment at all. Currently, the rods are wraped in lead then they incase them in concrete. After that, we store them at the site or dump them in the ocean or the North Dakota Badlands. He also states that in Norway, a hole is dug and the rods are simply dropped into it. The problem with these methods are that their lifespan is roughly about 200 years and then waste begins to leak. The tone of the article is persuasive. He is trying to convince everyone that his proposal will work. By having a persuasive tone, he than can affect the readers in one strong point. The author tends to use broad generalizations rather then a well thought out analysis. Haddow, like many others, is clearly bias. He believes strongly that he is correct. Writing a biased paper in not wrong but it does not give the other side of the argument which can be a little frustrating if...

What were the cultural and social factors that created the conditions Essay

What were the cultural and social factors that created the conditions for the adoption of radio (wireless) by home users in the 1910s and 1920s - Essay Example The social changes that took place included the rise of mass entertainment in the form of radios as well consumer culture. Various social and cultural factors played a vital role in the adoption of radios by home users in the years 1910s and 1920s as the document discusses (Popular Science Monthly, 1917).   Broadcasting started acting as a crucial instrument in the political and social organization in early twentieth century. The aspect played a very crucial role in enhancing the adoption of radios by home users. At the peak of influence created by this factor, national leaders started making use of radio to address the entire nation. It was because the leaders had come to realize that radios had potential to reach large numbers of the citizens. The factor, therefore, created a necessity of the citizens to own and also adopt a radio so that they would remain updated on any update from leaders. The aspect hence caused many home users to adopt radios after recognizing how significant it was in communication (Hilmes, 2013).   The outbreak of First World War in Europe also triggered the necessity of understanding the activities that were taking place. The factor led to massive adoption of radio by domestic users. The main reason happened to be many people wanted to know the well about of their well about of their relatives in different places of the United States. Towards the final years of the nineteenth century and early twentieth century, radio broadcasting was under strict regulations from the government’s leaders. In 1910s, an Act that gave radio broadcasting freedom was enacted in the United States. One of the factors that got addressed in the Act was freedom of radio stations to be privately owned (Gernsback, 1924). The freedom gave helped the radio broadcasters to air diversified content in terms of news and entertainment. The factor created a sound condition for the adoption radio in homes. Much was available in the radios from

Collaboration and Peer Reviews Essay Example | Topics and Well Written Essays - 500 words - 1

Collaboration and Peer Reviews - Essay Example Also, a project can be completed much faster when collaborating because each team member can focus just on what they are good at. Working as an individual requires someone to be involved in every role; group work means that each person can specialize. On the other hand, collaboration on a project means that some people may slack off because they think that others will do the work for them. Some people are just naturally lazy, so being part of a group allows them to receive a grade that they don’t deserve. Another disadvantage to working as a group is that there can be disagreements among group members. A famous saying that shows this is â€Å"too many cooks spoil the broth.† The same can sometimes be true in collaborating on a project—everyone thinks that they know what is best for the group and they try to impose their views on others. No one is willing to compromise and, as a result, the project turns out to be a disaster. By reviewing my peers’ writing, I have been able to get different views on how to write a paper. Everyone has a different style when it comes to writing, so to learn from someone else’s style can benefit my own writing. Of course, some of my peers’ writing may not be up to scratch; this is where I can offer advice and hopefully improve their writing ability. In doing this, I can think through the thought processes that go into writing and I can adapt my style so that I am a better writer in the long term. The good thing about getting my papers reviewed by my peers is that hopefully they will pick up on something that I may have missed. Because they have attended most of the classes with me, they have been taught the same writing principles that I have. Sometimes, another person can catch something that I haven’t because they are reading it with fresh eyes. A negative to having my peers review my papers is that they perhaps do not have a