Real Photography - Free Essay Example

Sample details Pages: 27 Words: 8088 Downloads: 5 Date added: 2017/06/26 Category Statistics Essay Did you like this example? Introduction The increasingly mediatised culture we live in today has lead us to be dominated by and dependent upon the production and consumption of images. Notions of objectivity and empiricism in the photographic have long since disappeared, but we still locate our sense of à ¢Ã¢â€š ¬Ã‹Å"the realà ¢Ã¢â€š ¬Ã¢â€ž ¢ in images. This dissertation will use many theories and ideas that discuss the role of photography, postmodernism and à ¢Ã¢â€š ¬Ã‹Å"the realà ¢Ã¢â€š ¬Ã¢â€ž ¢ within todayà ¢Ã¢â€š ¬Ã¢â€ž ¢s culture. It will start with a discussion of the reasoning for the initial shift back towards the real. This shift mainly stemmed from postmodernism and the media. Postmodernism dealt with the idea of never ending reference and the fear about postmodern culture was that this never ending reference meant that all grip on reality had disappeared. There was a wish to return to something more stable and basic: à ¢Ã¢â€š ¬Ã‹Å"the realà ¢Ã¢â€š ¬Ã¢â€ž ¢? Due to advances in technology and developments in photography, the new fast changing everyday image led to our relationships and emotions becoming mediatised. We re-live events and experiences through images, which leads to a loss of the real. We remember the image rather than the event. Photographers started to try and return to the purely descriptive photography from the times before the mass referencing of postmodernism. This dissertation will look at how some of these photographers attempted to represent the real and also at how a few decided to play around with the representation of the real. Ansel Adams, for example, believed in simply trying to create a true representation of the landscape he was photographing. He attempted to show scenery at its most natural and realistic, with no visual manipulation or artifice. Andreas Gursky on the other hand began with this view but soon started changing this representation with digital editing so that it was no longer a true representation. Some photographers began attempting to cre ate purely descriptive photography but could not escape referencing earlier work. Justin Partykaà ¢Ã¢â€š ¬Ã¢â€ž ¢s work The East Anglians, for example cannot be described as anything else but descriptive photography. However, his reference to Robert Frankà ¢Ã¢â€š ¬Ã¢â€ž ¢s The Americans in his title, had led him to fall into the postmodernism trap. Can you provide an account without analysis when it comes to photography? Don’t waste time! Our writers will create an original "Real Photography" essay for you Create order This leads onto the main question posed in this dissertation: can we ever (re)find the real? Some would say that even photos that appear to be descriptive cannot escape being subjected to analysis and placed within a context of viewing. Due to postmodernism, we are constantly searching for meaning and analysis in images. Maybe they can never be void of reference and construction? Maybe images can never provide the clear, stable version of reality that we want from them? This constant analysis of images has exhausted our trust and interest in the photograph; there was a need to create images different from the ones we see every day in the media in order to re-find our trust in the image as truth and as art. Older, slower technologies began to re-emerge. The single image produced from these methods of working could bring back the processes of our memory that have been complicated due to the sheer amount of information we get from other technologies. There are a number of strands of pho tography that are concerned with the notion of re-finding the real. What do these methods of photographing have in common? Do any of these strands achieve the stable and basic feeling of certainty that the real exists? Andy Grundbergà ¢Ã¢â€š ¬Ã¢â€ž ¢s phrase à ¢Ã¢â€š ¬Ã‹Å"the crisis of the realà ¢Ã¢â€š ¬Ã¢â€ž ¢ is apt in explaining the context of à ¢Ã¢â€š ¬Ã‹Å"the realà ¢Ã¢â€š ¬Ã¢â€ž ¢ within the photographic; the word crisis inferring both an intense difficulty and a point of departure; a need for immediate change. Defining or attempting to name this period of change is not important, what is important is what it means for photographic practice. Will we continue to be consumed by images, or is there a future beyond the cycle of referencing left by postmodernism?   Can we ever (re)find authenticity, originality and a true form of photography that can direct us to the real? Chapter 1: What caused people to want to return to the real? There are many factors which eventually led to people wanting to return to the à ¢Ã¢â€š ¬Ã‹Å"realà ¢Ã¢â€š ¬Ã¢â€ž ¢ values that were present in art and culture before postmodernism. This chapter will look at what some of these factors are and how they led to the return of the real. It will first deal with postmodernism and how the never ending referencing that was introduced during this time affected photography as an art form, and how the loss of the real that we experienced during the postmodernist era led to a wish to return to something more stable and basic. It will also look at the advances in technology and video that came about at this time, and how these advances changed photographic culture.   It will also explore how our experiences, events, and even our emotions, both on an individual and public scale are heavily mediated, and how as a result of this, it is claimed we have lost any relation to the real. The original shift towards the real came about due to postmodernism. This new form of art focussed on bringing together elements from existing culture, and never making anything new. This new way of working led to photography being used more and more in art. Before, photography had merely been a method of recording and was used mainly in science. Anytime it had been used in art it was considered undeserving and not a true art form.   However, the rise of postmodernism meant that artists were looking for more ways to express themselves. Photography began to be used more and more, and it was becoming a more widely recognised and accepted form of art. As people were using it more and more, new developments in photographic technology were emerging. These new technologies meant that photography became more widely available, and many people who were not considered artists began using it. Photography was now used extensively in art, and in the new postmodern culture. Postmodernism discarded the idea of finding something new and original and instead focussed on recombining elements from existing culture. Nothing new was being created which soon meant that art had become exhausted. The postmodern culture played à ¢Ã¢â€š ¬Ã‹Å"with signs of never ending reference, where the more you played the less anyone seemed to know what reality it was touchingà ¢Ã¢â€š ¬Ã¢â€ž ¢ (Bate, 2004a: 31) and we had à ¢Ã¢â€š ¬Ã‹Å"lost touch with what we thought reality to beà ¢Ã¢â€š ¬Ã¢â€ž ¢ (Bate, 2004a: 31). The constant referencing and re-referencing had led to us being absorbed in representation. We no longer knew what reality was, and what it was not. We were lost. à ¢Ã¢â€š ¬Ã‹Å"The fear about postmodern culture was that there was no longer any anchor to reality at all, and that à ¢Ã¢â€š ¬Ã‹Å"realityà ¢Ã¢â€š ¬Ã¢â€ž ¢ had disappeared into an endless chain of other representationsà ¢ â‚ ¬Ã¢â€ž ¢ (Bate, 2004a: 31). This never ending reference meant that all grip on reality had disappeared. There was a wish to return to something more stable and basic. There was a need for change, for something new to emerge from the endless trail of reference. In this culture, in which reality was discarded in favour of mass intertextual referencing, there was a desire to return to reality. As David Bate says, there was a, à ¢Ã¢â€š ¬Ã‹Å"wish for a grittier, à ¢Ã¢â€š ¬Ã‹Å"closer to realityà ¢Ã¢â€š ¬Ã¢â€ž ¢ relation through realismà ¢Ã¢â€š ¬Ã¢â€ž ¢ (Bate, 2004a: 35). Many people wanted a à ¢Ã¢â€š ¬Ã‹Å"return to the values of modernism (the straight and pure photograph) to contemporary art photography, this is a return to description, originality and actuality à ¢Ã¢â€š ¬Ã¢â‚¬Å" precisely all the things that were strongly rejected by postmodernismà ¢Ã¢â€š ¬Ã¢â€ž ¢ (Bate, 2004a: 33). There were many developments in technology that caused the downfall of postmodernism, along with the introduction of video. Photography was once the only way of à ¢Ã¢â€š ¬Ã‹Å"stopping timeà ¢Ã¢â€š ¬Ã¢â€ž ¢, whereas now a freeze frame can come from any number of sources. Photographs began to be made by pulling them out of existing images; they were now selected from video and film. à ¢Ã¢â€š ¬Ã‹Å"What had once been the sole privilege and product of the photograph is now equally likely to be the result of a cinema or video à ¢Ã¢â€š ¬Ã‹Å"freeze-frameà ¢Ã¢â€š ¬Ã¢â€ž ¢Ãƒ ¢Ã¢â€š ¬Ã¢â€ž ¢ (Bate, 2004b: 34). The development of video was leading to photography becoming redundant.   Photography and video was also now becoming more readily available. Due to new appliances such as DVD players and VCRà ¢Ã¢â€š ¬Ã¢â€ž ¢s, anyone could now create a freeze frame from a video. Even à ¢Ã¢â€š ¬Ã‹Å"cinematic blockbusters can be stilled on domestic appliance devices like DVD and video machine sà ¢Ã¢â€š ¬Ã¢â€ž ¢ (Bate, 2004b: 34). Victor Burgin discussed the advances in film and video in his essay Possessive, Pensive and Possessed. The introduction of VCRs, DVD players, and eventually video editing software on personal computers, meant that à ¢Ã¢â€š ¬Ã‹Å"the order of narrative could now be routinely countermandedà ¢Ã¢â€š ¬Ã¢â€ž ¢ (Burgin, 2007: 198) by the audience whenever they wished. This changed photography, as instead of photographs being of an actual event, they were now selections from the way the event had already been interpreted. Newspapers and news channels were no longer using photographers to capture the perfect picture; they were using video and selecting the image from the video. This enabled the news channels to pick the exact expression or look they required to give a biased representation of the person or thing. They could now create a completely false demonstration and force a public collective opinion. David Bate talks about these freeze-frame imag es in his article After Thought, Part II. He says, à ¢Ã¢â€š ¬Ã‹Å"The possibility of choosing the à ¢Ã¢â€š ¬Ã‹Å"right momentà ¢Ã¢â€š ¬Ã¢â€ž ¢ in such instances is still dependent upon   a person knowing when to push the button, but this is now in the hands of someone selecting a still from an already produced moving image. The selected à ¢Ã¢â€š ¬Ã‹Å"decisiveà ¢Ã¢â€š ¬Ã¢â€ž ¢ moment is chosen from a film or video stream rather than à ¢Ã¢â€š ¬Ã‹Å"realityà ¢Ã¢â€š ¬Ã¢â€ž ¢ itself. Whereas a photograph was supposed to be a à ¢Ã¢â€š ¬Ã‹Å"rectangle ripped out of timeà ¢Ã¢â€š ¬Ã¢â€ž ¢ as John Berger had once dramatically put it, today it is more often via the computer that a print is pulled out of some existing image bankà ¢Ã¢â€š ¬Ã¢â€ž ¢. (Bate, 2004a: 34) Images used to be representations of actual lived events à ¢Ã¢â€š ¬Ã¢â‚¬Å" now these images we see in news and the media are much more likely to be representations from the way the event has already been represented. Video had stolen what makes photography special à ¢Ã¢â€š ¬Ã¢â‚¬Å" the decisive moment. Therefore the specificity and specialness of photography had to find itself in some other attribute of photography. New developments in digital imagery mean that we can now see results instantly; there is no waiting in a lab or until the end of your holiday to see your photographs. Advances in technology, such as mobile phones, email, etc. now allow us to see and share images in a fraction of a second. The person sending these images and the person receiving them can now send and expect results instantly. à ¢Ã¢â€š ¬Ã‹Å"Yet despite the idea that these mobile technologies bring us all closer to each other, we are caught up in a contradiction, since they increasingly mediatise our relationships to one anotherà ¢Ã¢â€š ¬Ã¢â€ž ¢ (Bate, 2004b: 35).   We no longer talk to each other and see each other face to face; we instead communicate through email, mobile text messaging and social networking sites, where we never actually see the other person we are communicating with. This has lead to a loss of the real. As David Bate said, à ¢Ã¢â€š ¬Ã‹Å"To look at something it has to be kept at a distanceà ƒ ¢Ã¢â€š ¬Ã¢â€ž ¢ (Bate, 2004b: 35). Because of the loss of the real that we experienced during the postmodernist era there is a wish to return to something more stable and basic. New art is now made up of redundant processes that are often older and slower, which makes this new art form different from the images we see in everyday media culture. à ¢Ã¢â€š ¬Ã‹Å"If analogue photography is becoming technologically redundant or residual to news and advertising industries, the consequences for art are different. New art is often borne of redundant industrial processes, usually older and slower, by finding a new use and aesthetic within the arts and which comes out of its marking a difference from image uses in everyday media cultureà ¢Ã¢â€š ¬Ã¢â€ž ¢. (Bate, 2004b: 40) Artists were leaving these new fast technologies that were used in the media in favour of older slower ones. These old, redundant methods were considered more real. The traditional, slower, apparently simpler methods seemed to be more linked to the real as they are different from the images in the media. Some people have called this change and shift in the way that photographs are being constructed a shift towards à ¢Ã¢â€š ¬Ã‹Å"the realà ¢Ã¢â€š ¬Ã¢â€ž ¢ values that were present in modernism, before the rise of postmodernism. As Susan Sontag says, à ¢Ã¢â€š ¬Ã‹Å"The cult of the future (of faster and faster seeing) alternates with the wish to return to a more artisanal, purer past à ¢Ã¢â€š ¬Ã¢â‚¬Å" when images still had a handmade quality, an auraà ¢Ã¢â€š ¬Ã¢â€ž ¢ (Sontag, 1977: 221). But, Hal Foster feels that we have not left postmodernism completely, it has just become normalised. The consequence of this is that we change the way we want reality to be constructed. Hal Foster feels that simply, à ¢Ã¢â€š ¬Ã‹Å"postmodernism became dÃÆ' ©modÃÆ' ¨Ãƒ ¢Ã¢â€š ¬Ã¢â€ž ¢ (Foster, 1996: 206). Due to the media, we have become inundated with images and photographs in our everyday life, to the extent that images have become our reality. We no longer separate images from real life, and the two have become blurred. In his book, Comments on the Society of the Spectacle, Guy Debord talks about how developments in photography and the proliferation of mass media images have contributed to what Debord called the society of the spectacle. In the spectacular world, images and representations become our reality à ¢Ã¢â€š ¬Ã¢â‚¬Å" everything exists as and for images. Where images refer to one another endlessly, originality and authenticity are abolished. We become consumed by images and messages. Experience, events, and even our emotions, both on an individual and public scale are heavily mediated. As a result of this, it is claimed we have lost any relation to the real; The spectacle has now spread itself to the point where it now permeates all reality. (Debord, 1990: 9) Our real-life experiences become repressed and events take place in a mediated, pseudo-reality. We can no longer distinguish between real memories, and mediated memories. Victor Burgin explores this in his essay Possessive, Pensive and Possessed. He describes a study done in 1977 where people were interviewed about their past experiences. There were a few people in the study who believed that media events or films were in fact their own memories. People became confused and mixed personal history with scenes from films or media productions. As Burgin says, à ¢Ã¢â€š ¬Ã‹Å"à ¢Ã¢â€š ¬?I saw at the cinemaà ¢Ã¢â€š ¬? would simply become à ¢Ã¢â€š ¬Ã…“I sawà ¢Ã¢â€š ¬?à ¢Ã¢â€š ¬Ã¢â€ž ¢ (Burgin, 2007: 200). Burgin explains how these people were remembering scenes from a film instead of real life, and called these memories à ¢Ã¢â€š ¬Ã‹Å"screen memories;   à ¢Ã¢â€š ¬Ã‹Å"A à ¢Ã¢â€š ¬Ã…“screen memoryà ¢Ã¢â€š ¬? is one which comes to mind in the place of, and in order to conceal , an associated but repressed memoryà ¢Ã¢â€š ¬Ã¢â€ž ¢ (Burgin, 2007: 201). People were remembering images and scenes from films and the media that were similar to their real memories, but were less painful as there were not actual lived recollections. People were using these to cover up and replace genuine, traumatic memories. In the past, events happened but people just didnà ¢Ã¢â€š ¬Ã¢â€ž ¢t know about them as there was no media. It rarely went beyond those involved. Now because of media we all know about every event, and add these events to our memories, even though we have not actually physically experienced them. We forget our real experiences and replace them with things from the media. Thomas De Zengotita, in his book, Mediated; How the media shape the world around us, describes how our reaction to big events such as the 9/11 disaster is to experience and re-live them through images. He calls this bubble of mediated representations à ¢Ã¢â€š ¬Ã‹Å"the blobà ¢Ã¢â€š ¬Ã¢â€ž ¢. In the world of à ¢Ã¢â€š ¬Ã‹Å"the blobà ¢Ã¢â€š ¬Ã¢â€ž ¢, momentous catastrophes such as the 9/11 terrorist attacks are almost poignant enough to burst the bubble, something like that à ¢Ã¢â€š ¬Ã¢â‚¬Å" will feel as if it might be sharp enough, as if it might pierce the membrane and slice the pulp (De Zengotita, 2007: 27). Howe ver, not surprisingly, our reaction to such events is to experience and re-live it through images, adding it to our bank of mediated events.   In other words, they become part of the spectacle. Chapter 2: Realism in Landscape Photography This chapter is going to explore how photographers attempt to represent the real, and if you can create a purely descriptive photograph. It will discuss photographers that try to represent the real, and also photographers that play around with the representation of the real, to create something completely different. I will specifically be looking at landscape photography, as this is the area of photography were photographers have really attempted to create authentic representations of the real, to show the landscape. It is also the area of photography that I am particularly interested in. To attempt to show the real in landscape photography, you need to show the scenery at its most natural and realistic, with no visual manipulation or artifice. There is also the argument that no message, meaning or reference may be conveyed at all. Considering it is the view of some people that photographs are analysed and given meaning as soon as they are viewed, is this possible? In this chapter, select works of four photographers will be looked at. It will consider how each photographer has attempted to show the real, either as an exact representation, or by manipulating the representation to give it a different meaning, and will discuss whether they have managed this. The photographers that are going to be observed are Ansel Adams, Andreas Gursky, Doug Aitken and Justin Partyka. Ansel Adams is an environmentalist and photographer who makes landscape photographs to essentially document and record the beauty of nature. Adamà ¢Ã¢â€š ¬Ã¢â€ž ¢s love of nature began when he was a child, after having problems fitting in at school and eventually being home taught. He would go for hikes through nature, and this is where his fascination with nature was set in motion. Adams began his photographic career by using the Kodak No. 1 Box Brownie his parents had given him to record his travels through the Yosemite Valley. He soon joined the Sierra club, and held his first solo exhibition at the clubà ¢Ã¢â€š ¬Ã¢â€ž ¢s headquarters in 1928. The work created by Adams is done using a large format camera, so as to capture as much detail as possible. The image I will be looking at is called Mt. Clarence King, Pool, Kings Canyon National Park, California (1925). It is a landscape image taken in Kings Canyon National Park in 1925. The image is a black and white image, of a scene, with large mountains in the background and a pool in the foreground. There is a lot of gravelly earth around the pool and some trees and bushes between the mountains and pool. This image is an authentic representation of the landscape, and is not trying to be anything else. Adams wanted to purely represent the landscape, and this is what he has done. à ¢Ã¢â€š ¬Ã‹Å"Adams began to pursue straight photography, in which the clarity of the lens was emphasized, and the final print gave no appearance of being manipulated in the camera or the darkroomà ¢Ã¢â€š ¬Ã¢â€ž ¢ (www.anseladams.com, 2009). Adams only ever tried to create accurate representations of the landscape.   However, you could argue that the fact that he works in black and white indicates that this image is not a true representation, as the world is not in black and white. This non use of colour is ther efore a message, rendering the images more than pure description. Andreas Gursky is one of the rare photographers who began attempting to create vast, clear representations of the real, but then moved on to openly digitally manipulating his images. I will be looking at some of his work pre 1990à ¢Ã¢â€š ¬Ã¢â€ž ¢s, as this is before he started to digitally manipulate his images. Gursky was trained and influenced by Hilla and Bernd Becher, who are known for their straight, scientific style of systematically cataloguing industrial machinery and architecture. This may be compared to the similar methodical approach that Gursky has to his own work. Gursky generally photographs landscape in large colour format (although a lot of his work is urban landscape, both interior and exterior). The image I will be examining is Fishermen, MÃÆ' ¼lheim a.d. Ruhr, taken in 1989. This is a landscape image of Gurskyà ¢Ã¢â€š ¬Ã¢â€ž ¢s taken in 1989. It is of a river running through the city of MÃÆ' ¼lheim. The river is wide and flat, with trees covering both banks. You can just make out a few small groups of fishermen on the banks of the river, and a bridge in the distance. This is before he used any digital manipulation, and was purely trying to represent the real. Gursky has not attempted to conceal or change anything in this image to give it a meaning or a reference. He has named the image what it is, Fishermen, MÃÆ' ¼lheim a.d. Ruhr, which is simply what is it, fishermen on a river in MÃÆ' ¼lheim, so has not tried to imply meaning through the name of the image. This image is meant to be purely descriptive, and a genuine representation of the real. Other photographers and writers have agreed with this, for example David Bate says à ¢Ã¢â€š ¬Ã‹Å"What Gursky and Evans both share (with different techniques of course) is an à ¢Ã¢â€š ¬Ã‹Å"awesomeà ¢Ã¢â€š ¬Ã¢â€ž ¢ description. The effects of these anecdotal descriptions is primarily to evince reality through the photographic instant of à ¢Ã¢â€š ¬Ã‹Å"here it isà ¢Ã¢â€š ¬Ã¢â€ž ¢ and à ¢Ã¢â€š ¬Ã‹Å"this is how it isà ¢Ã¢â€š ¬Ã¢â€ž ¢. The picture throws at the audience a defiant description where the accumulation of anecdotal detail actually inhibits the communication of a specific messageà ¢Ã¢â€š ¬Ã¢â€ž ¢. (Bate, 2004a; pg 33) Bateà ¢Ã¢â€š ¬Ã¢â€ž ¢s view is that the vast amount of detail in the image actually inhibits a message being conveyed by the image. He feels Gurskyà ¢Ã¢â€š ¬Ã¢â€ž ¢s plan is to be as authentically descriptive as possible à ¢Ã¢â€š ¬Ã¢â‚¬Å" à ¢Ã¢â€š ¬Ã‹Å"this is how it isà ¢Ã¢â€š ¬Ã¢â€ž ¢ à ¢Ã¢â€š ¬Ã¢â‚¬Å" and not to hide or imply any other meaning or reference. This may have been Gurskyà ¢Ã¢â€š ¬Ã¢â€ž ¢s plan, to attempt to create a pure representation of the real, but this does not change how we view images. We still attempt to create a meaning for ourselves, as we no longer feel that sheer description is enough. There must be a referent, a meaning behind the image, and we are constantly looking for it. Gursky was attempting to create a purely descriptive photograph, but we do not see it like that because of the way we now look at and interpret images. Doug Aitken works with a range of material, including photography, sculpture, films, sound, single and multichannel video works and instillations. This essay, however, will just be looking at his photography. Rather than purely representing the real in his images, Aitken plays around with the representation of the image so they are descriptive photographs, but the way they are put together adds a message and reference. Aitken lives and works in Los Angeles, and is one of many new artists to work with the medium of film. Film is Aitkenà ¢Ã¢â€š ¬Ã¢â€ž ¢s main medium for his art work although he does work with still images from time to time. The image I am going to be looking at is called New Opposition III. This is an image made up of four different images. Separately, the images could be considered as descriptive attempts at representing the real. However, the way that Aitken puts them together changes this. If viewed on their own, they would be seen as purely descriptive, à ¢Ã¢â€š ¬Ã‹Å"realà ¢Ã¢â€š ¬Ã¢â€ž ¢ images of landscape. But the way they have been put together suggests something else. They become more like a narrative, showing different places at different times, together; à ¢Ã¢â€š ¬Ã‹Å"I wanted to find a way to blend together different moments in time, different spaces and different locationsà ¢Ã¢â€š ¬Ã¢â€ž ¢ (Aitken, : 62). Aitken feels that the images would not work on their own and rely on each other to create their meaning. On their own, they would be nothing. He says à ¢Ã¢â€š ¬Ã‹Å"The photographs do not work as self-sufficient one-off frames but rely on each other for meaning. The optical tricks that the landscape form when placed together give the impression to the viewer that they are either falling into the centre of the earth or are on top of it looking down as if from the apex of a pyramidà ¢Ã¢â€š ¬Ã¢â€ž ¢ (Aitken, :62). The way the images are placed together is obviously very important to the meaning that Aitken is trying to provide. Aitken is using à ¢Ã¢â€š ¬Ã‹Å"realà ¢Ã¢â€š ¬Ã¢â€ž ¢ images in his work, but playing around with the representation so that they are no longer considered real. He purposefully adds a meaning and a message to his images, rather than leaving it to the viewersà ¢Ã¢â€š ¬Ã¢â€ž ¢ imagination. This is different from somebody like Gursky, who does not give a message, as the image is just supposed to be an authentic representation. Any meaning given to Gurskyà ¢Ã¢â€š ¬Ã¢â€ž ¢s images is given by the viewer, in contrast to Aitkenà ¢Ã¢â€š ¬Ã¢â€ž ¢s images where the meaning is given for you. Viewers are now so used to images having a meaning, and that meaning being told to them, that they now look for a meaning in everything. Justin Partyka is a photographer whose work explores the importance of place, culture and identity, and the roles that tradition and landscape play in these themes. He is currently working on three long term projects; The East Anglians, The Carnivalesque of CÃÆ' ¡diz, and Saskatchewan. The project I will be concentrating on is The East Anglians. The work, The East Anglians, is a collection of documentary photographs of rural life in East Anglia. Partyka attempts to create à ¢Ã¢â€š ¬Ã‹Å"realà ¢Ã¢â€š ¬Ã¢â€ž ¢ images, in a documentary style. His photographs are often very à ¢Ã¢â€š ¬Ã‹Å"straightà ¢Ã¢â€š ¬Ã¢â€ž ¢ with no messages or signs. The image I am looking at is one from the East Anglians series, but the title is unknown. This image is of an old barn in East Anglia. As the image is untitled, it suggests that Partyka did not want to imply any meaning at all, not even naming the place or image. The barn is quite old and rusty, and appears to be in a state of disrepair. There is a lot of grass in the foreground in front of the barn, and fields behind it. The photograph is an attempt at a à ¢Ã¢â€š ¬Ã‹Å"realà ¢Ã¢â€š ¬Ã¢â€ž ¢ representation of the scene. However, Partyka has called this series of photographs, The East Anglians. This is a quite obvious reference to Robert Frankà ¢Ã¢â€š ¬Ã¢â€ž ¢s, The Americans. Although Partyka has created purely descriptive images, he has referenced other work in his title. Partykaà ¢Ã¢â€š ¬Ã¢â€ž ¢s work, although essentially descriptive, cannot deny the presence of such referencing. What we have here is an image that is subjective in narrative, with referencing to earlier photography, and yet undoubtedly descriptive. à ¢Ã¢â€š ¬Ã‹Å"I see photography as very much a desc riptive mediumà ¢Ã¢â€š ¬Ã‚ ¦ but obviously this description is an edited one based on the choices made by the photographer in where they point the camera and when they press the shutterà ¢Ã¢â€š ¬Ã¢â€ž ¢ (Partyka, 2009). Partyka has acknowledged that his photographs are descriptive, and that photography is a descriptive medium, but can a photograph ever be a pure representation of the real? As Partyka says, the description of an image is based on the photographerà ¢Ã¢â€š ¬Ã¢â€ž ¢s choice of where to point the camera and when to press the shutter, which immediately adds reference to the image. We canà ¢Ã¢â€š ¬Ã¢â€ž ¢t help but look at what a photograph means. Photographs are placed in a context of viewing, and are subjected to analysis and interpretation at the very instance of looking. So, although Partyka has undoubtedly created very descriptive images, the referencing in his title, and the fact that images are analysed as soon as they are placed in a context of viewing, means h is photographs are no longer purely descriptive. Can we ever have an account without analysis? It seems that we cannot. Even photographs that are meant to be purely descriptive are analysed and given meaning and reference as soon as they are placed within a context of viewing. This is similar to the Observer Effect popular in current interpretations of Quantum Mechanics.   This theory puts forward the postulate that by merely observing an object, the very nature of the object itself is changed: à ¢Ã¢â€š ¬Ã‹Å"One of the most bizarre premises of quantum theory, which has long fascinated philosophers and physicists alike, states that by the very act of watching, the observer affects the observed realityà ¢Ã¢â€š ¬Ã¢â€ž ¢ (www.sciencedaily.com, 1998). Could it therefore be said that an image may remain purely descriptive as long as it is never viewed, and therefore never interpreted and given meaning? Possibly, but then we also have to discuss whether a photograph is made more than a pure representation when it is taken. When a photographer decides where to point their camera, when to press the shutter, what to cut out of the image and what to include, it could be said that in that instant the photographer is not making an exact representation of reality, but an edited one. Therefore, it could also be said that we can never provide a purely descriptive representation of the real through photography. Chapter 3: Can we ever get back to the real? This brings us to the question; can we ever get back to the real? Were we even there in the first place?   Does descriptive realism actually exist in photography? This chapter will look at the theories and ideas of many photography theorists, as well as my own, and will attempt to answer these questions, and others. It will use work from various photographers, as well as several essays and books to endeavour to explore the notions of the real in relation to photography and contemporary culture, and to investigate if we can find, or re-find the real. Does descriptive realism exist? We canà ¢Ã¢â€š ¬Ã¢â€ž ¢t help but look at what the photograph signifies and means. Even photographs that appear to be descriptive cannot escape being subjected to analysis and placed within a context of viewing. Everything in an image is symbolic once we begin to interpret it, and this begins at the very instance of looking. This is, as Roland Barthes says, à ¢Ã¢â€š ¬Ã‹Å"great scorn for the à ¢Ã¢â€š ¬Ã…“realistsà ¢Ã¢â€š ¬? who do not see that the photograph is always codedà ¢Ã¢â€š ¬Ã¢â€ž ¢ (Barthes, 2000: 88). Photographs can never be void of theoretical underpinnings, and any photographs that do appear to be purely à ¢Ã¢â€š ¬Ã‹Å"realisticà ¢Ã¢â€š ¬Ã¢â€ž ¢ only do so in accord to what we expect a descriptive or realistic image to be like. Debord explains this perfectly in his discussion of theory; what is so droll, however, is that all the books which do analyse this phenomenon, usually to deplore it, cannot but join the spectacle if theyre to get attention (Debord, 1990: 5). Evidently we continue to encounter an endless cycle of referencing, which cannot be traced simply to the accepted beginnings of postmodernism. Photographs are analysed as soon as they are viewed. Perhaps they never were, and never will be void of reference and construction? Maybe they can never provide the clear, stable version of reality that we want from them? Conceptual photography attempts to show the truth by highlighting this dilemma. It attempts to parody the common notions of indexicality and truth in photographic representations, and in doing so, reveals this as the real. In their essay From Presence to Performative: Re-thinking Photographic Indexicality, David Green and Joanna Lowry look at notions of indexicality and truth in photographic representations. They discuss how photographs are indexical not just because light is recorded in an instant on a piece of photosensitive film, but also, because they were taken: à ¢Ã¢â€š ¬Ã‹Å"the very act of photography, as a kind of performative gesture which points to an event in the world, as a form of designation that draws reality into the image field, is thus itself a form of indexicalityà ¢Ã¢â€š ¬Ã¢â€ž ¢. (Green and Lowry, 2003: 48). They discuss how conceptual photography attempts to parody the common notions of indexicality and truth in photographic representations, and in doing so, r eveal this as the real: à ¢Ã¢â€š ¬Ã‹Å"[conceptual photographs] point to the real while reminding us that photography can never represent ità ¢Ã¢â€š ¬Ã¢â€ž ¢ (Green and Lowry, 2003: 60). They claim that it is photographyà ¢Ã¢â€š ¬Ã¢â€ž ¢s problematic indexical status that has led to the attempt to recuperate that particular engagement with reality that photography seems to offer (Green and Lowry, 2003: 47). Pointing us towards the truth by demonstrating what is not offered up in the photograph is key to other photographers such as Joan Fontcuberta, who stated in his lecture Datascapes that à ¢Ã¢â€š ¬Ã‹Å"only through trickery can we achieve the visual truthà ¢Ã¢â€š ¬Ã¢â€ž ¢ (Fontcuberta 2009). This is one of his images, taken in 1984, from his Herbarium series. At first we assume this to be an innocent, objective record, but what Fontcuberta reveals to us through the collection and his texts, is that this is a purely fictional specimen created from found objects and litter. His aim through this series is to examine the truthfulness of photography, and his images are a parody of the truth that photography is assumed to provide. Fontcuberta pushes the extent to which we can believe in the fictional image. In the book Joan Fontcuberta, Fontcuberta is quoted as saying, à ¢Ã¢â€š ¬Ã‹Å"look out- ità ¢Ã¢â€š ¬Ã¢â€ž ¢s photography so ità ¢Ã¢â€š ¬Ã¢â€ž ¢s probably falseà ¢Ã¢â€š ¬Ã¢â€ž ¢ (Caujolle, 2001: 3). His work is an experimentation of the commonly believed notion that photography is truth, and is à ¢Ã¢â€š ¬Ã‹Å"realà ¢Ã¢â€š ¬Ã¢â€ž ¢. Through his work, specifically the series Herbarium, Fontcuberta is trying to direct us towards the reading that fiction is the only route to revealing reality. His work reveals that the à ¢Ã¢â€š ¬Ã‹Å"realà ¢ â‚ ¬Ã¢â€ž ¢ itself is a construct. Photographys role then may be to demonstrate this, but it is hard to imagine that in doing so will not evade the trap of referencing and messaging that we are intent on discarding. David Green and Joanna Lowry describe the à ¢Ã¢â€š ¬Ã‹Å"tenuous hold that the photograph has over the real and the instability inscribed in the very notion of the photograph as an objective recordà ¢Ã¢â€š ¬Ã¢â€ž ¢ (Green and Lowry, 2003: 49). They discuss a series of photographs made by Robert Barry in 1969, entitled Inert Gas Series, and how Barryà ¢Ã¢â€š ¬Ã¢â€ž ¢s images succeed in showing us that photography cannot record the truth. Here is one of his images, Helium. Sometime during the morning of March 5, 1969, 2 cubic feet of Helium will be released into the atmosphere. Barryà ¢Ã¢â€š ¬Ã¢â€ž ¢s images consist of a number of photographs along with text which describes his actions when releasing various invisible gasses in specific locations in Los Angeles. Of course, nothing can be seen in these images apart from the location at which he has chosen to release the gas. So although the photograph claims to show these events, nothing can be seen to validate the claims made by the accompanying text. Barryà ¢Ã¢â€š ¬Ã¢â€ž ¢s images are carefully made to show the limits of documentary photography. à ¢Ã¢â€š ¬Ã‹Å"While providing us with the indexical trace of the moment of the gasà ¢Ã¢â€š ¬Ã¢â€ž ¢s release they also gesture towards the impossibility of recording it, and our attention shifts instead towards the act of photography itself as the moment of authenticationà ¢Ã¢â€š ¬Ã¢â€ž ¢ (Green and Lowry, date Pg 50). Barryà ¢Ã¢â€š ¬Ã¢â€ž ¢s aim is not therefore to show us the gas being released, but to point out that photography cannot represent it. As Andy Grundberg states in Crisis of the Real, what postmodernism art finally tells us is that things have been used up, that we are at the end of the line, that we are all prisoners of what we see (Grundberg, 1999: 17).   We are now consumed by images and messages, to the point where the notion of the real is unreachable. It seems there is no exit point from postmodernism, as there is no way to look back on it and critically assess. Descriptive realism, along with conceptual photography, cannot be distanced from the principles of a postmodern culture.   If the case then is that we cannot escape, can we continue to churn out images, to make new meanings from within our bubble of mediated society? What role does photography have as a documenter of reality? Published in 2007, Thomas De Zengotitas Mediated deals with the postmodern condition and as he describes it; virtualizations edgeless quality and ability to engulf our culture within a bubble of mediated representations (De Zengotita, 2007: 17). The term he uses for this is the blob. De Zengotita, similarly to Grundberg, maintains that there is no escape from perpetual reflexivity, stating, There is no going back to reality just as there is no going back to virginity. (De Zengotita, 2007: 11) He claims, representation and reality fuse into a field of options and it is due to this infinite availability of options that we lose our grasp of the real. In essence, De Zengotita suggests we can choose anything to believe in, any method with which to re-present ourselves and act out our emotions. There is an excess of choice. Taken further, this could mean we can choose what to believe as our reality, anything could be real, or more, anything could be a representation (to any degree) of the real. This idea that reality is what we choose it to be is also discussed by Susan Sontag, in her essay Photography in Search of Itself. The suggestion that à ¢Ã¢â€š ¬Ã‹Å"photographic realism can be à ¢Ã¢â€š ¬Ã¢â‚¬Å" is more and more- defined not as what is à ¢Ã¢â€š ¬Ã…“reallyà ¢Ã¢â€š ¬? there, but is what I à ¢Ã¢â€š ¬Ã…“reallyà ¢Ã¢â€š ¬? perceiveà ¢Ã¢â€š ¬Ã¢â€ž ¢ (Sontag, 2007: 217) is one that is particularly interesting when trying to decide if we can ever get back to the real, or if indeed it was even there in the first place? Maybe photographs have always been à ¢Ã¢â€š ¬Ã‹Å"realà ¢Ã¢â€š ¬Ã¢â€ž ¢ in accordance to how we personally decide how reality is composed? In the world of à ¢Ã¢â€š ¬Ã‹Å"the blobà ¢Ã¢â€š ¬Ã¢â€ž ¢, as described by De Zengotita, momentous catastrophes such as the 9/11 terrorist attacks are almost poignant enough to burst the bubble, something like that à ¢Ã¢â€š ¬Ã¢â‚¬Å" will feel as if it might be sharp enough, as if it might pierce the membrane and slice the pulp (De Zengotita, 2007: 27). However, our reaction to momentous catastrophes, such as 9/11 terrorist attack, is to experience and re-live it through images. This adds to our bank or mediated events, and dilutes it. Maybe the only way to make events retain a status of significance is to make sure they are un-photographed, un-videoed and un-discussed à ¢Ã¢â€š ¬Ã¢â‚¬Å" left only to the individualsà ¢Ã¢â€š ¬Ã¢â€ž ¢ memory as opposed to a collective global memory (De Zengotita). Everything exists in an image reality and in order to become events, everything including terrorist attacks, need to be played out under our terms of visibility. The 9/11 terrorist attacks w ere constantly shown in news and media, and added to this effect. These events could have retained a status of significance and could have at least interrupt[ed] the Blobs progress through the universeà ¢Ã¢â€š ¬Ã¢â€ž ¢ (De Zengotita, 2007: 27) if they had not been turned into image spectacles. Maybe objects, images and even events need to remain outside the visible realm to retain any originality and significance. It is the presentation and analysis of images that places and fixes them within our visual spectrum, therefore we would assume that our trust and interest in the photograph would be truly exhausted, signalling the death of photographic practice. In his essay Safety in Numbness: Some Remarks on Problems of Late Photography, David Campany discusses the work of Joel Meyerowitz. He looks at the images of Ground Zero, taken by Meyerowitz with a large format camera over a month after the 9/11 terrorist attacks. This contemplative, post-event photography seems to be re-instating photographys status as authoritative documenter of history. This is one of his images, The North Wall, October 26th 2003. This is a seductive image, and, as Campany says, à ¢Ã¢â€š ¬Ã‹Å"[Meyerowitz] knows what makes a good photo and canà ¢Ã¢â€š ¬Ã¢â€ž ¢t avoid the beautifulà ¢Ã¢â€š ¬Ã¢â€ž ¢ (Campany, 2002: 131). The atmospheric light and colour work towards creating a melancholic and enigmatic image. The photograph cannot, however, detach the subject from its context, particularly one so poignant and political, nor the reading of the image from its photographic context. This is problematic, as rendering the subject sublime and detaching it from the event is à ¢Ã¢â€š ¬Ã‹Å"no guarantee of an enlightened position or critical stanceà ¢Ã¢â€š ¬Ã¢â€ž ¢ (Campany, 2003: 132). This photography leads us to experience the event in a detached and à ¢Ã¢â€š ¬Ã‹Å"aestheticizedà ¢Ã¢â€š ¬Ã¢â€ž ¢ way, however, this does not mean it brings us any closer to the truth. Photography had lost its status as the official and truthful recorder of events, due to the increased use of video and film in the media. This led to the older, traditional methods of photography becoming used more, and this has reinstated photographyà ¢Ã¢â€š ¬Ã¢â€ž ¢s status as an illustrator of truthfulness and legitimacy. Photography seems to have regained status according to the very terms by which it was overshadowed by video journalism in the first place. David Green and Joanna Lowry comment on the death of photography in their essay From Presence to Performative: Re-thinking Photographic Indexicality. Their view is that the rise of the digital image and image manipulation meant the death of photography, as it showed it to be false. Conversely, this led to people, especially from younger generations, wanting to re-find photography as an arbiter of truth. They began to go back to the older, slower methods of photography, and were creating images with these qualities that were lost with the digital age. There was an à ¢Ã¢â€š ¬Ã‹Å"attempt to recuperate that particular engagement with reality that photography seems to offerà ¢Ã¢â€š ¬Ã¢â€ž ¢ (Green and Lowry, 2003: 47) Photography, in the traditional sense, has not become extinct, but, its role has changed according to the development of other mediums. In his essay, Safety in Numbness: Some Remarks on Problems of Late Photographyà ¢Ã¢â€š ¬Ã¢â€ž ¢, Campany discusses the photographs of Ground Zero by Joel Meyerowitz (see fig 7). This work is exemplary of a type of slow, contemplative, post-event photography that is emerging. Considering in previous decades that it was speed and instantaneity that were considered to be most truthful, it is ironic that this à ¢Ã¢â€š ¬Ã‹Å"late photographyà ¢Ã¢â€š ¬Ã¢â€ž ¢ appears to be re-instating photographyà ¢Ã¢â€š ¬Ã¢â€ž ¢s status as an authoritative documenter of history; there was a suggestion that photography rather than television might be the better medium for official history (Campany, 2003; 123). Campany also discussed the theory of collective memory. The mediated events that we see in the news are added to our collective memory, even if we personally have not experienced or lived them. We therefore all have the same memories, but due to the way these memories have been made from video, they are very hard to recall. It was thought that a single image can bring back the processes of our memory that have been complicated by other technologies. Campany stated that photography can rescue the processes of our memory that have been made so complicated by the sheer amount of information we assimilate from [a] diverse [range] of technologies. (Campany, 2003; 126) Rather than photography becoming extinct and only aiding the progress of à ¢Ã¢â€š ¬Ã‹Å"the blobà ¢Ã¢â€š ¬Ã¢â€ž ¢, there is an idea that its muteness and slowness means it can save us, providing a fixed à ¢Ã¢â€š ¬Ã‹Å"stillà ¢Ã¢â€š ¬Ã¢â€ž ¢ point at which to locate our sense of the real. There are a number of strands of photography that are concerned with the notion of re-finding the real. What do these methods of photographing have in common? Do any of these strands achieve the stable and basic feeling of certainty that the real exists? All have a tendency to reveal, intentionally or not, the à ¢Ã¢â€š ¬Ã‹Å"realà ¢Ã¢â€š ¬Ã¢â€ž ¢ through the fact that they cannot capture it. The act of re-presenting, only fixes their existence in our postmodern melting pot, helping to confuse and complicate our relationship to, and our understanding of, what is real. Instead of pre-senting the world to man from the real, images now re-present it from an existing bank of images. Writing in 1984 Vil ÃÆ' ©m Flusser sums up this whole debate perfectly; Images are meant to render the world accessible and imaginable to man. But, even as they do so, they interpose themselves between man and the world. They are meant to be maps, and they become screens. Instead of pre-senting the world to man, they re-present it, put themselves in place of the world, to the extent that man lives as a function of the images he has produced.The world becomes image-like, a context of scenes and situations. This reversal of the function of images may be à ¢Ã¢â€š ¬Ã…“idolatryà ¢Ã¢â€š ¬?à ¢Ã¢â€š ¬Ã‚ ¦ Man forgets that he produces images in order to find his way in the world; he now tries to find his way in images. He no longer deciphers his own images, but lives in their function. Imagination has become hallucination.   Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚     Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚     Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚     Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚     Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚     Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚     Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚     Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚   (Flusser, 1984:7) What Flusser is saying, is that people are now consumed by images to the extent that we now use these images to show us the real, without looking at the real itself. The Images have become more real to us, than the thing they are representing. Conclusion As discussed in chapter 1, there are many factors that eventually led to people wanting to return to the à ¢Ã¢â€š ¬Ã‹Å"realà ¢Ã¢â€š ¬Ã¢â€ž ¢ values that were present in art and culture before postmodernism. The loss of the real that was experienced during postmodernism led to a wish to return to something more stable and basic, such as the values of modernism. There was a wish to return to description, uniqueness and authenticity, which were precisely all the things that were strongly rejected by postmodernism. There was also a change in how people started creating art images. There was a desire to create images that were different to the images that we see every day in the media, so photographers were returning to the older slower methods of photography that were used before the significant rise of media imagery. The sheer amount of images in the media also caused people to want to return to more à ¢Ã¢â€š ¬Ã‹Å"realà ¢Ã¢â€š ¬Ã¢â€ž ¢ values. This was because people were now re-liv ing events- even ones that they have not personally experienced- through images instead of memories. This essay has also discovered that it seems we cannot create an image without analysis, through discussing attempts at descriptive photographs by different photographers. This is due to the fact that images are analysed as soon as they are placed within a context of viewing. As said in the Observer Effect, by merely observing an object, the very nature of the object itself is changed. Therefore, just by viewing an image, the nature of it changes. But, it goes even further than this. Even if a photograph is never viewed, it can still never be purely descriptive. This is because when a photograph is taken, choices are made by the photographer so that in that instant they are not making an exact representation of reality, but an edited one based on these choices that are made (where to point the camera, when to press the shutter, what to include and what not to include in the image). Therefore, based on this information, it could be said that we can never provide a purely descriptive r epresentation of the real through photography. Is this the case though? Is it just the fact that we are so consumed with images, and so lost in representations of the real that we are making excuses to explain that the images are not representations of the real, to distance ourselves from them. For example, if looking at an image changes the nature of it, surely looking at reality also changes the nature of reality? What is to say that the thing that is changed is not the same in both the real and the representation of the real (the image), therefore making the image an exact representation of the real? We are so consumed by images that the notion of the real is now unreachable. There appears to be no exit point from postmodernism, as there is not a way to look back and critically assess. Descriptive realism cannot be distanced from the principles of postmodern culture, so we cannot escape. The reason why we feel that there are no à ¢Ã¢â€š ¬Ã‹Å"realà ¢Ã¢â€š ¬Ã¢â€ž ¢ images is because we are now conditioned to look for the message, as we cannot escape from postmodernism which initially instilled these values in us. If this is the case, can we continue to churn out images and make new meanings from within our bubble of mediated society? Will photography ever have a role as documenter of reality? Currently, photography cannot have a role as a documenter of reality as we are stuck in the referencing from postmodernism. However, if we manage to find a way to escape from the postmodern melting pot, photography may be able to reinstate its status as a documenter of reality. So presently, the popular opinion is that the real is not possible. But maybe the real is infinitely possible? It seems that the notion of the real is as unstable, adaptable and malleable as the photograph itself.

Psychological Thriller Media Studies - 1263 Words

WHAT IS PSYCHOLOGICAL THRILLER? I chose to pick a genre, and I chose to do psychological thrillers. What are psychological thrillers? A psychological thriller is a subgenre of horror and thriller fiction that relies on characters fears and emotional instability to build tension. However, this genre often incorporates elements from the mystery and drama genre in addition to they typical traits of the thriller genre. ALso. occasionally this genre will border into the, also wide-ranfing, horror genre. The elements of psychological horror focuses on the inside of the characters mind, their mental state. This includes emotions, personality, mental attitude of individuals, inhumane acts and conspiracies. The aim is to get you confused with†¦show more content†¦The locations, in where all the nasty events begin to take a step forward or where the events of a characters first bad experience originated from, is comment introduced in dark, serene place. For example, a lake or a dark house or in a forest where childr en used to play. Setting could also be used to show how well or badly the character is progressing to overcome their fear. A characters feelings can also be shown through the weather, rather than in their facial expression and body language. Since a psychological thriller is not only supposed to manipulate the characters mind but the audiences as well, these tactics concerning setting have deep meaning and hidden messages which amplify and twists plots to confuse the audience and keeps them on the edge of their seat. Setting should be treated and cautioned in order to not deliver the wrong messages to the audience. connotes FLASHBACKS are are often used, not only in psychological thriller but in many movies, but really contribute to the story line of a psychological film. A flashback is a time disorientation of a characters past. 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There is a tough competition between movies, so promotion is most important part. New media is the latest platform to market moviesRead MoreFight Club Film Analysis1551 Words   |  7 Pagescommonly thought of as a ‘departure from modernism’. It relies heavily on the increased speed of communication and the sharing of ideas; its codes are made up by self-conscious uses of pre-existing artistic styles and media conventions. It also depends on modern society being defined by media culture. In this essay, I will be examining Fight Club (David Fincher, 1999) and how it can be categorised as postmodern. I will be defining what a postmodern film is and review the term using historical examplesRead MoreThe Mutation Of The Horror Genre1916 Words   |  8 PagesKalmina (Alex) Wu Josh Jackson Media Studies 10 30 September 2014 The Mutation of the Horror Genre Horror can be defined as a genre meant to psychologically trigger individual fear with the presence of certain supernatural or abstract characteristics. The genre is dependent on people’s fascination with unrealism and the sensation that comes from experiencing fear personified into tangible elements on a screen. Horror films have thrilled audiences for decades, revealing stories of the more sinisterRead MoreThe Voice of Michael Jackson: Shattering the Dichotomies of Race1918 Words   |  8 Pages1968 at the age of 10 as a member of The Jackson 5, Jackson’s rise to fame had been largely influenced by his invaluable contributions to the music, dance and fashion industries (Michael Joseph Jackson). Hailed as the ‘King of Pop’, his solo album â€Å"Thriller† remains â€Å"the best-selling album of all time†, with global sales of â€Å"over 51 million copies to date since 1982† (Guinness World Records ). Michael Jackson’s one-of-a -kind songs have also earned him over 700 awards, including 13 Grammy Awards as wellRead MoreA False Romance1236 Words   |  5 Pagestry to create the most ideal scenario that the majority of people would find appealing. This opinion is supported by a high school teacher named Cheryl L. Dickson who deals with love struck teenagers on a daily basis. â€Å"Automatically, I blame the media. With teen movies like Shes All That and television programs like Dawsons Creek, its no wonder adolescents have unrealistic views of love. Teens watch these programs for a number of reasons. Most viewers enjoy the fantasy world they can enter, or

Why Corporal Punishment Is No Longer Justifiable i Essay Example For Students

Why Corporal Punishment Is No Longer Justifiable i Essay n Discipling Children In the Old Days, corporal punishment was justifiable, because the children were expected to act like little grown ups. The children had to walk in straight lines down the halls, use proper table manners, et cetra, in order to avoid being beaten. Grown ups had little respect for the children, making them do slave labor at home, and display best behavior in school. When looking back, I can see why corporal punishment was allowed to be used. The year is 1991, the students are all rebels without a cause. .. If corporal punishment was used today, it would fail. Kids no longer are expected to act like they are in church for their complete childhood. If a child is caught talking in class, the teacher does not whip or beat them like years ago, instead: writing the childs name on the board, or giving them detention does the job. Strange enough, most of the children in Jr. High and High School are larger than the teacher, and one would think that the teacher would be injured gravely if the child was threatened with bodily harm. Sure, I would like to see some of the little trouble makers get hit with a stick or whip when they are naughty, but in America today, this will never work! In my short composition, I believe that I have shown some evidence suggesting that corporal punishment would not work in America during this point in time. Lawsuits, and hospital stays come to mind immediatly. I think that the government will agree with me when they vote whether or not to reinstate corporal punishment. .

Dominican Republic Essay Research Paper Mike BengsSo free essay sample

Dominican Republic Essay, Research Paper Mike Bengs So. St. B3 Jan. 7th, 1997 Dominican Republic The Dominican Republic is located on the island of Hispanola located in the Caribbean Sea. It takes up approximately 2/3 of the island which it portions with Haiti. Dominican Republic # 8217 ; s entire country is 48,734 square kilometres. The Dominican Republic Jas a tropical maritime clime. The temperatures are moderated though by the ocean currents and year-around trade air currents. The mean temperature is around 720F and 800F, it barely of all time drops below 600F and it besides barely of all time riser above 900F. It isn # 8217 ; t uncommon though to acquire frost in the higher lifts. Dominican Republic # 8217 ; s rainy season is between May and November rainfall is the heaviest in the North and E of the state. Although agribusiness is the most of import resource in the Dominican Republic it has many mineral resources. Some of these resources are nickel being the taking export every bit good as bauxite, gold, and stone salt. We will write a custom essay sample on Dominican Republic Essay Research Paper Mike BengsSo or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The population of the Dominican Republic is about 7.8 million. Close to 40 % of that population is under the age of 16. More and more Black friars are migrating to the metropoliss for a better opportunity at life. This has greatly effected the rural population by shriveling it steadily. About half of the entire population is located between Santiago de los Caballeros and San Pedro de Macoris. Another 1/3 of the population is located in the capitol metropolis of Santo Domingo and between the metropoliss of La Romana and San Cristobal. The one-year growing rate is estimated to be at 1.71 % for the following twosome of old ages until the twelvemonth 2000. Mulattos form the largest cultural group in the Dominican Republic being approximately 73 % of the population. The following largest group is 16 % Caucasic and 11 % Black. The life anticipation from birth is for males 65 old ages and for females 69 old ages. Out of 100,000 unrecorded births 61.4 % of the babes die. The start faith for the Dominican Republic is Roman Catholicism. Over 90 % of the population is Catholic. Free public instruction is offered through the high school degree and attending is compulsory through the 6th class. A batch of the Dominicans don # 8217 ; t finish school for assorted grounds. Although 3/4 of the occupants start school merely approximately 1/3 coating. Some of the urban households send their kids to private schools called colegios. As for after high school there is universities and trade schools. The Dominican Republic presently has about 1 telephone per every 24 people in the state. There are approximately 16 million long distance calls and 5 million international calls made in the state every twelvemonth. There is 11,400 Km of roads in the Dominican Republic and 49 % of that sum of roads are paved. There is a railroad in the Dominican Republic but it rarely transports people. The railway is chiefly used for the transit of sugar. The system of authorities used is Parliamentary democracy and the caput of province and caput of authorities is President Joaquin Balaguer. The Vice President is Carlos A. Morales Troncoso. There are three major political parties in the Dominican Republic. They are: the Social Christian Reformist Party, the Dominican Revolutionary Party, the Dominican Democratic Party, and the two minor parties: the Movimiento Popular Dominicano and the Movimiento de Intergracion Democratica. The armed forces is headed by the President as supreme commanding officer. The entire strength of the armed forces is around 20,800 people. Out of those people 13,000 belong to the Army 4,000 belong to the Navy and 3,800 belong to the Air Force. The national military outgos were estimated to be 61 million in 1989 which was 1.2 % of the GDP. The US has a kind of confederation with the Dominican Republic providing them with goods and assisting the state when things get unsmooth. The currency used in the Dominican Republic is the Dominican Republic Peso. The per capita income rate is about 790 American dollars a twelvemonth. The mean rising prices rate is 1.7 % . Of the entire land country of the Dominican Republic 49 % is classified to be farming area used for agribusiness. The agribusiness in the state produces 15 % of the GDP. The chief industry of the Dominican Republic is nutrient processing of all sorts of different merchandises but chiefly sugar. The fabrication histories for 17 % of the GDP. The Dominican Republic # 8217 ; s chief imports are crude oil, crude oil merchandises, groceries, and machinery. The states chief exports are sugar and ferronickel. The US is the Dominican Republic # 8217 ; s chief trading spouse but it besides trades with Venezuela, Mexico, and the Netherlands Antilles.

Alex Proyas Dark City - Science Fiction Noir essays

Alex Proya's Dark City - Science Fiction Noir essays Alex Proyas the director of Dark City takes ideas and ambience from many movies and integrates them all neatly in his visually amazing film. A cross between science fiction, film noir, dark comics, classic horror and early German films, Dark City fails to belong to any one category. This mixture is what makes the film creative and different along with its multi-layered symbolism. Mostly a science fiction story, Dark City deals with a man, John Murdock, struggling to overcome a great mystery as aliens interfere with his life. The aliens are known as Strangers, and do not wish to destroy the human race, but learn from it to survive. Proyas has created a very unique movie based on his use of signs to detail scenes. His film is dark physically and psychologically. In this film, Proyas creates a dark city similar to Gotham City in the original "Batman". There is nothing futuristic or imaginary about the city. Everything in it is a mix of different decades. This amazes the audience because we arent use to observing structures seen in the movie. The intentional mixture of culture throughout the different eras really contributed to the mystery and confusion of the movie. Every shot of this movie screams quality because of intense detail. The way the production design achieves a unique look is through its layout of the cityscape, lighting, details and points of view. The most of the movie is dark and shadowy living up to its title. Proyas visual style is dark and eerie. As the film moves along the atmosphere builds up. The scenery and visual effects are fantastic and add to the atmosphere of fear, confusion, and suspense. At one point a man on a balcony gets crushed between two itinerant high-rises. During the final and visually stunning showdown, The Strangers send laser beams and bolts of lightning around. Proyas' direction is so dark that it adds to the mystery and ...

Best Podcasts for Law Students

Best Podcasts for Law Students Blogs can be helpful for new law students, but many people enjoy listening to podcasts as well. Podcasts can be a great way to get information and give your very tired eyes a break from reading online. To help you update your podcast subscriptions, here is a list of some of the best podcasts for law students. Best Law Podcasts Enchanting Lawyer Podcast: This podcast is hosted by Jacob Sapochnick who runs his own solo practice and focuses on helping lawyers understand how to run and grow a business. Tips will be shared for using social media to grow your business and general marketing tips. Gen Why Lawyer Podcast: This weekly podcast is hosted by Nicole Abboud who interviews Gen Y attorneys who are accomplishing great things in their legal careers. She also talks to non-practicing attorneys who are using their legal knowledge to explore other ventures. Law School Toolbox Podcast: The Law School Toolbox podcast is an engaging show for law students about law school, the bar exam, legal careers, and life. Your hosts Alison Monahan and Lee Burgess offer practical tips and advice on academic matters, careers, and more. You might not always agree with them, but you won’t be bored listening. The goal is to impart useful, actionable advice in an entertaining manner. Lawpreneur Radio: This podcast is hosted by  Miranda McCroskey  who hung out her shingle over ten years ago to found her own firm. Her goal is to create a community where members are both lawpreneurs who’ve figured out how to successfully start their own firm and the vendors who support them. If you are ever thinking of hanging out your own shingle, check this out. Lawyerist Podcast: The  Lawyerist  is a popular legal blog and is also a podcast. In this weekly podcast, the hosts Sam Glover and Aaron Street chat with lawyers and interesting people about innovative business models, legal technology, marketing, ethics, starting a law firm, and much more.​ Legal Toolkit Podcast: This podcast is a  comprehensive resource for professionals in law practice management. Your hosts Heidi Alexander and Jared Correia invite forward-thinking lawyers to discuss the services, ideas, and programs that have improved their practices. Legal Talk Network:  The Legal Talk Network is an online media network for legal professionals that produces a large number of podcasts on a variety of different legal topics. The programs are available on-demand through various channels, including on the Legal Talk Network website, iTunes, and iHeartRadio. The flagship show called  Lawyer 2 Lawyer  has over 500 shows for you to listen to and download. If you are looking for a podcast to fill some extra commute or downtime, this may be the one for you. Resilient Lawyer: This podcast is hosted by Jeena Cho who offers mindfulness training for lawyers and is the author of The Anxious Lawyer. Jeena interviews a number of attorneys who share their stories about practicing law and finding a path to happiness. Thinking Like a Lawyer: This podcast is brought to you by the folks at Above the Law. Your hosts are Elie Mystal and Joe Patrice. They discuss a variety of topics, promising an entertaining and fun listen for those interesting in talking about the world through a legal lens.

Business Law Essay Example | Topics and Well Written Essays - 250 words - 17

Business Law - Essay Example e scenario Abigail has no actual financial or other damages as a result of the contract, she might have been awarded damages if she had sued and won against the seller. Since the seller had failed to deliver the new car to Abigail as agreed in the contract, he would have been liable for material breach which would have permitted Abigail to either compel him to performance or collect damages as a result (Stone 25). Abigail would have been awarded special damages; special damages are awarded to a claimant as a result of a breach for the quantifiable monetary losses that he or she may suffered as a result of the breach. This would have included compensation for direct loss or consequential losses if she would have proved that failure by the seller to deliver the car had caused her economic loss. Basically, the damages would have either sought to compensate her for direct loss or to place her in the position she would have been if the contract had not been breached (Stone

Surveillance Security research assingment Essay

Surveillance Security research assingment - Essay Example Introduction In this global technological evolution of information systems, every organization protects the network by firewalls, intrusion detection systems and other dedicated hardware. The widespread implementation of these network defense equipments facilitated the organizations to be more secure. However, the other side of the picture demonstrates that it has also maximized opportunities for hackers to breach in the systems. Security is essential part of any computer network that is operational. Security measures are mandatory as ‘www.businessdictionary.com’ covers the basics and states it as â€Å"Prevention of and protection against assault, damage, fire, fraud, invasion of privacy, theft, unlawful entry, and other such occurrences caused by deliberate action†. Another definition in the context of network security stated as â€Å"Network security covers such issues as network communication privacy, information confidentiality and integrity over network, co ntrolled access to restricted network domains and sensitive information, and using the public network, such as Internet, for private communications †. Organizations spend enormous funds only for implementing advanced security devices and security applications The reason for doing large investments in order to protect networks is understandable as the impacts of security breaches are also equivalent. Security breaches related to data theft, hacking, unauthorized access etc. impacts on organizations reputation in the market as customer data is exposed to hackers, who can use it for many purposes for financial gain. Likewise, this will also lead in severe revenue loss. The current network of 1-Click Mobile Phones Ltd has only a firewall to combat all the threats. No internal access policies are implemented, no advanced security appliances are present, and no surveillance security framework is implemented. 1-Click Mobile Phones Ltd has recognized the importance of securing the net work and hence decided to equip the network with a surveillance security cameras and biometrics, advanced security appliances, wireless security and internal access policies. The objectives of this report are to identify and prevent Unauthorized Access, Monitoring Employee activities by surveillance, Monitoring critical server, database and equipments by surveillance and Preventing Wireless access. Although, advanced firewalls support packet-filtering technology to analyze every packet before granting access. Moreover, ‘computer security incident response teams’ are deployed to perform recovery whenever an incident generates on the network. Physical Infrastructure Policy The physical infrastructure policy will add surveillance security to the current network. There are no definitions available for video surveillance security apart from this one that states it, as â€Å"Intelligent Video Solution is a system of hardware and software that aids the security executives in performing their daily tasks. An intelligent video solution can be from a single manufacturer or it can be a compilation of components (both hardware and software) from a variety of manufacturers. The net end result is that it is the sum of all of its parts performing the tasks they were designed to do† (Elliott 2010). For the current network of 1-Click Mobile Phones Ltd, a cost effective network video recording surveillance solution s required. The ‘VS-8024 VioStor NVR (Network Video Recorder)’ will fulfill all the requirements of the network as it

Tango Music Essay Example | Topics and Well Written Essays - 1750 words

Tango Music - Essay Example And that, of course, was my mistake. He wasn't dancing the rhythm of the music. He was dancing the phrase." The Tango is Argentina's cultural and national contribution to the European world. It has come to show the soul and personality of Latin style. The music emphasizes themes of passion and desire, despair and loneliness, jealousy, and its spiritual and emotional dance moves are memorable for their pictures of intertwined limbs and Latin machismo. There are differing points of view on the origins of the word tango but all researchers agree that it was used in America to help gathering of the black population for social aims. Jorge Novati in "Antologia del Tango Rioplatense" carries these meetings to the late 18th century in Buenos Aires. Alejo Carpentier in "La Musica en Cuba" says that the tango was in Cuba also. Around 1880, in the gambling houses and bars, lonely men spent time drinking, socializing, gambling, and looking for a little romance in the company of women of bad repute, trying to step to the music. This gave rise to the new dance, tango. This proximity of the bodies in public was considered to be impossible and scandalous. The black population in America used and adapted European forms for their entertainment, tradition and rituals. That is why the music and choreographic was transformed by the addition of rhythms and some other elements which were typical for African culture music and dance. One of the most influential genres in the rise and finding its individuality of the early tango was the Cuban habanera. Using the materials of historian and writer Alejo Carpentier, the habanera developed in Cuba from the mixture of African rhythmic influences and the French contredanse. The habanera became a real sensation and was transported back into Spain, where it was known as tango Americano. The habanera came to Buenos Aires in the late 19th century and became very popular there. Musicologist Jorge Novati, who continued the work of Carlos Vega, tells us, that the habanera had two versions: very popular and lascivious and another, more decent, which existed in late 19th century Buenos Aires. The popular version was danced by the African-American population at their gatherings, called tangos. The more acceptable version, meanwhile, was danced in the salons. By the last decades of the 19th century, a distinct dance form of dance was developed, which gathered the inventions of the Afro-Argentines: the corte and quebrada. The corte refers to a sudden stop in the general walk of the dance. During this stop the dancers would show different figures that added to a new vocabulary of dance. The quebrada was an undulation of the hips, and gave erotic character to the dance. It became so popular that it start to influence musicians, they start to incorporate different rhythmic variations into their own music. The music they played was a mix of European popular dance forms, such as the mazurka and schottische, habaneras, and milongas. According to Novati, the milonga had a short but productive existence in Buenos Aires, and is the ancestor of the early tango (tango criollo). It was really a rural poetic form but in the later version it resembled the rhythmic patterns of the habanera and became the main part in the birth of Argentine Tango. Musicians started gathering their repertoire and the first composers of Spanish-tinged tango-milonga and gaucho-influenced

Wireless Body Area Network Technology

Wireless Body Area Network Technology INTRODUCTION A Body Area Network is defined by IEEE 802.15 as a standard for communication in or near the human body that can serve a variety of applications like medical testing, electronics and private entertainment optimized for low power devices and operation [1]. In more common terms, to cooperate for the benefit of the user Body Area Network is a device system in a close contact to a person’s body. A Wireless Body Area Network is capable of establishing a wireless communication link consists of intelligent and small devices implanted or attached in the body. These devices provide health monitoring for continuous and provides feedback to the medical personnel or user which is real time. The measurements can be recorded and used over a long period of time. There are two types of devices can be used for evaluation: sensors and actuators. The sensors, internal or external, are implanted on body to measure some parameters of the human body. For example body temperature, measuring the heartbeat or recording an ECG readings. The actuators can take some specific actions according to the data received from the sensors e.g., any sensor equipped with a built-in reservoir checks the correct dose of insulin to give, based on the glucose level measurements, to a diabetics patient. In body area network for medical purposes, a number of sensors are implanted on patient’s body. These sensors collect the data from body and send collected data to the main sensor. This main sensor analyzes the data and takes specific action. It sometimes consists of actuator which is used for taking required action. For eg. the sensors collect the data from body of a diabetic patient and sends it the main sensor. The main sensor analyzes the data and if it is dropped then it can inject insulin into the body of the patient and make it comfortable till the main medical aid it gets. IEEE 802.15.4 is a standard for low-rate (LR) WPANs. A LR-WPAN network allows wireless connectivity in applications with limited power, low cost and simple communication and relaxed throughput requirements.[4] Ease of installation, extremely low cost, reliable data transfer, short-range operation and a reasonable battery life are the main objective. There are different type of topologies are used in communication system for different purposes and according to our need. Topologies which are used widely are : Star ,Mesh and Cluster, Ring, Bus topology. On the basis of average jitter, throughput, end –to-end delay, traffic bits sent, traffic bits received, we can find out that which topology is good for our system. With different topologies come different routing protocols. The routing protocols to be used with zigbee protocol are AODV, DYMO, DSR etc. In wireless communication, there is no any fixed or dedicated route is assigned between two nodes for communication. Whenever , they want to communicate with each other or any other node they request for route to the system and these routing protocols , according to their properties find out the best route for communication. That route will be shorter in length so that their won’t be any delay. Body area network is being used very widely in today’s high tech world. Mainly for body area sensors detection, health monitoring and for providing assistance to differently able persons. Below are some of the advantages of Body Area Network:- Quick transmission time Reliability Good quality of service Different data rates can be used Compatibility Low power required (as work on battery) Security (because of encryption) Portable As there are many kind of routing protocols and topologies are available for communication. There are routing protocols like AODV, DYMO, Bellman ford ,LANMAR etc but it depends on type of requirement and demand that which protocol is suitable for our purpose. So, in this project we will try to find out that which routing protocol is better for our system with suitable toplogy like star, mesh etc. In this project we have zigbee based wireless sensors for monitoring. It defines the upper layers like physical and MAC layer. It is suitable choice for monitoring medical purpose sensors. Every node will sense the data from body and collected data will be sent to main node. We will design and simulate these systems on Qualnet then we will make comparison between them on the basis of throughput, average jitter, average end-to-end delay etc. The performance of each topology will be compared with every routing protocol. TECHNOLOGY TO BE USED BODY AREA NETWORK Introduction With the invent of new and high tech environment there is need of small, low power, light weight, portable devices with sensors. These devices can be used at low data rates for improving speed and accuracy. A number of these devices can be implemented on body for the monitoring of body sensor networks for applications such as health monitoring. In a body area network , it consists of small, portable devices that can be easily implanted on one’s body and they can establish wireless network link. These devices take the data continuously for health monitoring and provide real time readings to the medical examiners. These readings can be recorded and can be used for long time. A body area network generally consists of actuators and sensors, which can be implanted on or inside the body. These sensors are used to collect data. Like for eg. taking heartbeats, taking readings of ECG or temperature of body etc. The actuators take required actions on the basis of data they receive from sensors or from users. Sometimes these actuators have in-built pumps or reservoirs that keep on checking the dose of insulin and it can inject it inside body if needed. It is helpful for diabetic patients. The communication with other person or user can be done by portable wireless devices such as smart phone or PDA. The body area network works on the principle in which data is received through implanted devices and transmitted to external devices. The sensors implanted in or outside the body interact with one another and to the actuators. The actuator is based on the process of taking action according to the surrounding conditions. All the sensors send their data to main sensor. The main sensor collects the data from each sensor, fuses it and sends it to the particular person via internet. Generally, body area network comprise of small sensors and devices therefore ad-hoc network is best suitable choice for this kind of network. The IMEC (Interuniversity Micro Electronics Center) working on the principle to get hospital to the nearest location with patient. It is gives the patient the freedom of not going to hospital on regular basis for checking and taking his readings. The patient is now out of worries of regular check-up. The devices itself will take the readings and pass it to the concerned doctor and according to the readings it can take required action too, without the need of any medical personnel, in case of emergency. Architecture A body area network has a network created in or around the human body. The architecture of the body area network is as shown below. Figure 2.1 Architecture of body area network Figure 2.2 Core of body area network The proposed architecture of body area network as shown in figure 2.1 consists of following elements : Sensors: These are used to collect data from the different parts of the body continuously and transmitted this data to main sensor. Main sensor: The main sensors collect the data from other sensors and fuse it together. Then it supplies this data to coordinator. Coordinator: The coordinator analyzes the data and takes suitable action, if required otherwise send this data to PDA being used by the user. PDA or smart phone : These are the devices which get data in the form required from the sensors and transmit over the network to the laptop or desktop, wherever it is being recorded for future purpose. The core of body area network as shown in figure 2.2 consists of several body sensor units (BSU) and one body control unit (BCU). Applications 1. Medical Applications With the invent of new technology and fast processing, there was need of speed, comfortablity and convenience in the field of health monitoring too. So, with the help of body area network, it became possible and easy to monitor the health of patient remotely. 2. Sports Applications In the field of medical, it can check the health of athletes and can give a accurate and clear picture about it to their coaches so that they can determine their weaknesses and strengths. It can be used in measuring many factors during competitions like race. This kind of observation can be done anywhere and there is no need of going to laboratory and running on trademills everytime for taking readings. 3. Entertainment Applications Body area network can be used for entertainment also. It can be used for gaming, multimedia applications, 3D video and video buffering etc. Issues involved 1. Sensors: What type of sensors should be used? The types of sensors to be used depend on the requirement and purpose. 2. Source of power: These devices are to be used for a long time and continuously therefore power source should be continuous and strong. 3. Communication Range: The range of the system should be such that it can give person nearest location help and should not get disconnected even if it is far. 4. Size and weight: The size of the sensor should be small enough to be get implanted on body easily and weight should be as minimum as possible. Because a number of sensors are to be implanted on body so it should not be difficult for the person to carry them over his body. 5. Mounting of sensor: The sensors should be implanted at the correct point of the body so that sensors can take the readings correctly. If they are mounted incorrectly then system may not get the required reading. If the sensors have to count heartbeats then sensors should be placed near heart for taking data. 6. Robustness: There is very less probability of taking wrong readings if the readings are taken incorrectly then it can cause big problems. 7. Synchronization: The sensors should be synchronized with each other and with main sensor. They should be working in real time. 8. Cost: The cost of the system should be low so that more number of persons can use it and could be used for mass production. ZIGBEE PROTOCOL Introduction SIMULATION AND RESULTS Simulation is the main process of finding out the performance of the proposed system. It tells us the ability and efficiency of the particular system when it is used under different system, surrounding and environmental conditions. It tells us that how really our system is going to work in a real environment and what factors should be taken care of while using and designing it .So, instead of designing any factory prototype of system before , it is simulated and ran on software by virtually designing it. In this project we are working for IEEE 802.15.4 zigbee protocol for body sensor network. We have used two topologies : star and mesh. We have used software QUALNET 5.0 for simulation of our scenarios that is star and mesh for different routing protocols such as AODV and DYMO. QUALNET 5.0 is a product of scalable technologies and is a good software for designing and simulating wired and wireless networks such as wi-fi, wi-max, GSM etc. There are a number of protocols available for simulation of different type of systems. It also has 802.15.4 protocol for zigbee which can be used for designing body area network prototypes. Qualnet is chosen because of its accuracy and its available graphical user interface. Using qualnet we designed star and mesh topologies containing PAN co-ordinator, routers and a number of sensor elements and then we developed them for different routing protocols such as AODV and DYMO. After developing them, we tested and compared them for throughput, end-to-end delay, average jitter etc. So that we can find out better performing routing protocol for respective topology used. The simulation results are shown as per respective factor for different topology showing performance on different routing protocol. THROUGHPUT: Any routing protocol in any network can send only a fixed amount of data over the route so if we are having a large bit message then we have to divide that data into a number of packets that can be transferred over the route to the destination. These packets have size which is applicable for the route. When these are sent over the network then some of the packets can get corrupted due to the noise or lost or discarded and not all of the sent packets will be received by the receiver. Then, throughput comes into picture which is the rate of the successful transfer of packets. It is measured in bps that is bits per second. Below are the simulation results for throughput of star and mesh topologies : The above result is shown for the throughput comparison of star topology for AODV and DYMO routing protocol at different nodes . It can be seen from the figure that the throughput is same for both. The above result shows the comparison of mesh topology for AODV and DYMO routing protocol. From the above result we can see that throughput for DYMO is very less than the AODV. So it can be concluded that AODV is better than DYMO for mesh topology. AVERAGE JITTER: When a number of packets are transmitted over a network then there can be some delay (latency) over the network due to which the receiver will receive packet after the expected time. The variability in time can be observed for various networks. This variability in latency is jitter. A network which has no latency or constant latency has no jitter. The above result is shown for comparison of average jitter of star topology for AODV and DYMO routing protocol. It can be seen from the above result that average jitter for AODV is larger than DYMO so it can be concluded that DYMO is better than AODV for star because it has less dealys for packet transmission. Also, it can be concluded that there will be less collision in DYMO because it is taking less time for transmission. The above result is shown for comparison of mesh topology for AODV and DYMO routing protocol for average jitter. It can been seen from the result that DYMO has less jitter than AODV. That means DYMO is better than AODV because it has less latency. Also, it can be concluded that there will be less collision in DYMO because it is taking less time for transmission. Same was the result for star topology so it can be concluded that DYMO is better when it comes to the performance based on the jitter.

Here Lizard Lizard Essay -- essays research papers fc

How the Snake Lost Its Legs In the article "How the Snake Lost Its Legs," Carl Zimmer wrote about the common theory of snake evolution is about to be questioned. All vertebrates that live on land whether mammalian or reptilian are known as tetrapods. In most animals these feet evolved into other limbs, like arms for humans and into wings for birds; however, the snake lost its four feet altogether. The only sign that snakes ever had four feet is a remaining hip located within the rib cage. Paleontologists and herpetologists alike find it difficult to retrace the ancestry of snakes. Because of their scales, eggs, and subtle features of the skull, some scientists believe that snakes are descendants of lizards. However, this still does not explain how snakes lost their legs. In 1970, a three-foot-long creature, Pachyrachis Problematicus, was discovered near Jerusalem. A Hebrew University herpetologist studied the fossil and suggested that even though the animal looked serpentine there was not enough evidence supporting the theory that it was related to snakes. In 1996, Michael Lee and Michael Caldwell studied the fossil more thoroughly. Lee stated that "The first thing that you've got to do is look at every possible animal it could be related to", he and Caldwell concluded that the Pachyrachis had many snake like characteristics.(Zimmer p.32) For example, "the body is long and sinuous: it has 140 vertebrae in its trunk; most lizards have just 25.&q...

Philippine Wildlife Essay

Introduction The Philippine Wildlife has a significant number of plant and animal species that are indigenous in the Philippines. The country’s surrounding waters reportedly have the highest level of biodiversity in the world. The Philippines is considered as one of the seventeen mega diverse countries as well as global biodiversity hotspot. The world’s second largest archipelago country after Indonesia, the Philippines includes more than 7,100 islands covering 297,179 km2 in the westernmost Pacific Ocean. The country is one of the few nations that, in its entirety, both a hotspot and a mega diversity country, placing it among the top priority hotspots for global conservation. But deprivation of the forests due to illegal logging, slash-and-burn farming, and urbanization is stripping the Philippine animals of their natural habitats and sanctuaries. Hundreds of years ago, most of the Philippine islands were covered in rain forest. Deforestation, hunting, and a lack of wildlife management has led to the Philippines being described as conservation â€Å"hotspot†. Fewer natural wildlife habitat areas remain each year. Moreover, the habitat that remains has often been degraded to the wild areas which existed in the past. The country’s wildlife is listed as endangered, critically endangered or facing extinction. Fragile as they are, these wonderful creatures need support in the conservation effort for the environment to ensure that they will co-exist with us humans. Wildlife conservation efforts are aimed in several main areas. These include the creation of nature sanctuaries where wildlife can live protected and free from harm, and where scientific studies can be conducted to better understand the threats to various species and what solutions are needed to ensure their survival. Researchers conducted this research about Philippine wildlife protection because we want to ensure that nature will be around for future generations to enjoy and to recognize the importance of wildlife and wilderness lands to humans. Many government agencies are dedicated to wildlife conservation, which help to implement policies designed for wildlife protection. There are also numerous independent non-governmental organizations who also promote various wildlife protection causes. Researchers are also concerned because wildlife conservation has become an increasingly important practice due to negative human activities on wildlife. Why wildlife conservation is important? Aside from the fact losing the beauty of our country, Philippines, and destroying different creatures, it is important in order to preserve the diversity of biological life upon our country. Statement of the Problem. This thesis seeks to research the effectiveness of the Department of Environment and National Resources (Protected Areas and Wildlife Bureau) in protecting wildlife. Philippines which is one of the world’s most biologically diverse areas has been described by some conservationists as being on the edge of a major wildlife crisis. However, this biodiversity is under threat. Islands once covered in undisturbed forest habitat are now under cultivation to feed the demands of the expanding population. Deforestation, hunting and a lack of wildlife management has led to the Philippines being described as not just as a conservation ‘hotspot’ – an area of concern – but the ‘hottest of the hotspots’. This study shall expound on the effectiveness of wildlife conservation, its significance, and the importance of wildlife in our ecosystem. In these aspects, the researcher seeks to establish an answer to the following questions: 1. Why is it important to conserve and protect wildlife in the Philippines? 2. How effective does the organizations in protecting wildlife? 3. What efforts are being taken to protect wildlife? Hypothesis and Assumptions The efforts exerted by the Department of Environment and Energy Resources- Protected Areas Wildlife Bureau are effective in protecting and conserving the country’s wildlife. The study rests on the following assumptions: 1. Protecting wildlife is important to maintain ecological ‘balance of nature’ and for economic value. 2. Conservation of wildlife is one of the projects that our nation works out. The conservation helps to balance the ecosystem in biodiversity. The efforts that exerted in the organizations tend to facilitate the extinction. 3. Much of the environmental protection that exists today is the direct result of the petitions and other activities of environmental organizations. 4. The efforts exerted by the Department of Environment and Natural Resources are sufficient to protect the wildlife. Scope and Delimitation of the Study The coverage of this study is about the conservation and protection of Philippine wildlife that is being lately mishandled or misused by humans due to negative activities. The study consists of advantage that is being taken to protect or conserve the endangered wildlife in the Philippines. This study is mainly focused on the effectiveness of efforts that are being taken to protect the Philippine wildlife. The study does not cover the climate change and sustainable uses of resources. The study will include the DENR’s ways to protect Philippine wildlife and how they work. It is focused on the study of wildlife wherein they care and conserve Philippine wildlife for future generations. Significance or Importance of the study At the conclusion of this study, the researchers aim to identify the efforts of the Department of Environment and Natural Resources in protecting the Philippine wildlife. This study is important for the researchers to be more knowledgeable about the Philippine Wildlife and to know the effectiveness of the efforts of the DENR in protecting the wildlife. It may also persuade some law Enforcers to specify part of their service such as implementing more laws to protect the Philippine Wildlife. This research informs the general public about the country’s wildlife and help them realize that it is important to conserve our environment. In general, researchers conducted this study for the benefit of the future generation, because the preserved wildlife has a big contribution to peoples’s lives. Definition of Terms Biodiversity – biological diversity in an environment as indicated by numbers of different species of plants and animals Conservation– the protection, preservation, management, or restoration of natural environments and the ecological communities that inhabit them Conservationist – a person who advocates conservation especially if natural resources Critically endangered species– refers to a species or subspecies that is facing extremely high risk of extinction in the wild in the immediate future Ecosystem– a system that includes all living organisms (biotic factors) in an area as well as its physical environment (abiotic factors) functioning together as a unit Endangered Species – refers to a species or subspecies that is not critically endangered but whose survival in the wild is unlikely if the causal factors continue operating Endemic Species – means species or subspecies which is naturally occurring and found only within specific areas in the country Exotic Species – means species or subspecies which do not naturally occur in the country Extinction – the process of eliminating or reducing a conditioned response by not reinforcing it Habitat – means a place or environment where a species or subspecies naturally occurs or has naturally established its population Indigenous– born or endangered in, native to a land or region, especially before an intrusion Indigenous wildlife- means species or subspecies of wildlife naturally occurring or has naturally established population in the country Introduction – means bringing species into the wild that is outside its natural habitat Threatened Species – a general term to denote species or subspecies considered as critically endangered, endangered, vulnerable or other accepted categories of wildlife whose population is at risk of extinction Vulnerable Species – refers to a species or subspecies that is not critically endangered nor endangered but is under threat from adverse factors throughout its range and is likely to move to the endangered category in the near future Wildlife – means wild forms and varieties of flora and fauna, in all developmental stages, including those which are in captivity or are being bred or propagated Chapter 2 Review of Related Literature and Studies This chapter presents various foreign and local materials associated with the subject of this research. These materials aid in the comprehension and analysis of the Effectiveness of Efforts that being taken to protect the Wildlife in the Philippines. State of the Art The literature and studies that were reviewed were found to have bearing on the present study. They served as bases for the conceptualization the study’s research problem, research design and research methodology. Local Literature Roberto V. Oliva, a Forest Law Enforcement Specialist, stated that the Philippines is one of the 17 mega diverse countries in the world in his book entitled, PHILIPPINE FOREST AND WILDLIFE LAW ENFORCEMENT: Situationer and Core Issues. In this book, Oliva describe that the number of species in a country is one measure of biodiversity. The Philippines has 204 species of mammals, of which 54% or 111 species are found nowhere else; 101 species of amphibians, 78% of which is endemic; 258 species of reptiles with 66% endemism; and 576 species of birds with 34% or 195 endemic species. On wild flora, the country has about 14,000 species representing five percent of the world’s flora. These include more than 8,000 species of flowering plants or angiosperms, 33 species of gymnosperms, 1,100 species of pteridophytes, and 1,271 species of bryophytes. According to Oliva, there are many more species that remain unknown to science. Per hectare, the Philippines probably holds more diversity o f life than any other country on Earth. He explained that because of the remarkable diversity in Philippine biological resources, the country is considered as one of the 18 mega diversity countries in the world. Unfortunately, with the loss of the country’s forest cover, the habitat of wild fauna has likewise been lost. In his piece of writing he stated that habitat destruction can be attributed to logging, both legal and illegal, mining and energy projects, land use conversion, kaingin, pest and diseases. While habitat destruction is considered as the reason for wildlife loss, other factors include weak institutional and legal mechanisms, domestication and hybridization, introduction of exotic species, and overexploitation for food and trade. In line with this situation, Oliva also discussed in his book that the government is the responsible for terrestrial and wildlife protection. The government implemented the REPUBLIC ACT NO. 9147, the Wildlife Resources Conservation and Protection Act. on July 30, 2001. In the pursuit of this policy, this Act shall have the following objectives: (a) to conserve and protect wildlife species and their habitats to promote ecological balance and enha nce biological diversity; (b) to regulate the collection and trade of wildlife; (c) to pursue, with due regard to the national interest, the Philippine commitment to international conventions, protection of wildlife and their habitats; and (d) to initiate or support scientific studies on the conservation of biological diversity. According to Oliva, RA 9147 is a good law insofar as it provides for the legal ordinance for wildlife protection. However, Oliva explained further that there are issues hindering its effective implementation. It might be caused by lack of resources for wildlife protection, lack of technical expertise in the DENR, Wildlife Enforcement Officers and LGUs in the proper identification of wildlife, Absence of institutional arrangements with other countries to fight the entry and exit of exotic wildlife species and lastly lack of wildlife rescue centers. In the last part of the book, he recommended some ways to strengthen wildlife protection. Among those recommendations are by setting up all the needed facilities and granting benefits for those who protect the wildlife. His book influenced the mind of all the Filipino readers that the government is ready to provide everything to protect the wildlife in the country. We can assure that if all the Filipino citizens and government or non-govern ment agencies work as a one team, we can prevent the extinction between different species and conserve wildlife for the next generation. Foreign Literature Based from the book of Renee Galang entitled â€Å"A Critical Review of Wildlife Conservation in the Philippines† published in Melbourne, Australia, The country’s marine biodiversity is equally spectacular. According to his previous research the Philippines is considered one of the 17 mega diversity countries which together contain 70% to 80% of global biodiversity (Mittermeier et. al. 1997; DENR PAWB et al.2002). The Philippine biodiversity therefore has global significance. The recent 12th Philippine Biodiversity Symposium titled â€Å"Biodiversity conservation: Learning from the past, working for the future† in Negros Occidental, Philippines was the best opportunity to experience the current conservation activities in the Philippines. . A total of 170 participants from the provincial congressmen and women, to foreign and local conservationists, international and national related foundations, Universities, NGO’s and conservation biology under-graduate and post-graduate students participated. The atmosphere was intensely passionate for the conservation cause and the flow of information and networking was friendly, akin to any collaborative activity of like-minded people. The challenge facing Philippine conservationists to stabilise and/or reverse the current grave ecological crisis is colossal. This is due to the recent acknowledgment that the country is the top of the list of â€Å"mega diverse countries†. â€Å"In relation to the size of its land mass, the Philippines is one of the world’s centres of biodiversity and endemism† (WCSP 1997). The country has 529 endemic vertebrates (DENR-PAWB et. al. 2002) for which many of the endemic mammals and aviafaunas are in endanger of extinction if the current crisis continues. Heaney (1999) asserted that â€Å"it is tragic that the biodiversity of the Philippines and the threat of its impending loss have been discovered simultaneously†. Due to this scenario, Heaney (1999) concluded that the nation is facing stark alternative: either a decline from the biologically richest place on earth to environmental devastation, or recover from the current brush with disaster to a point of stability. The decline of the Philippine forest is primarily due to the Philippine government failure to implement protective policies and the corruption of former administrations. This is especially true on the latter half of last century where the forest declined from 50% in 1950 to less than 20% at present, of which less than 3% is primary forest left. As the publication of the Philippine spotted dear it states that by the self funded nationwide survey of Roger C. Cox, 95% of its natural distribution in 1985 and 1987 is believed to have kick started the present intense conservation action is the Philippines. The Philippine government reacted by passing an Executive Order 192 through the Department of Environment and Natural Resources (DENR) to create the Protected Areas and Wildlife Bureau (PAWB) in 1987. The Bureau’s responsibilities are: to establish and manage the country’s Integrated Protected Area System (IPAS); to formulate policies of the preservation of biological diversity; and to serve as the management authority in the enforcement of the Convention on International Trade in Endangered Species of wild fauna and flora (CITES). PAWB has 4 divisions: Biodiversity management, Natural recreation and extension, protected areas commission, and Wildlife resources. DENR in 1989 established the sustainable development concept as its central guiding principle. The department also formulated the Philippine Strategy for Sustainable Development (PSSD) that incorporated the concept of the Triple Bottom Lines (i.e. economic viability, ecological sustainability and social responsibility) as its central them Related Studies According to Ceferino P. MAALA a visiting professor in Hiroshima University-Japan, the Philippine is high on the list of priority countries in the world for wildlife conservation because of its remarkable biological diversity, large number of endemic animal and plant species, inadequate wildlife protection measures, and high rate of deforestation What are endangered species? According to the definition given by the International Union for the Conservation of Nature and Natural Resources (IUCN), endangered species are plants or animals that are being threatened with extinction due to excessive hunting and large scale destruction of their habitat. Conservationists all over the world are alarmed by the 1996 Report of the International Union for IUCN tating that the number of critically endangered mammals in the world has increased significantly from 169-180, primates from 13-19, fresh water turtles from 10-24, and birds from 168-182. Of the list for endangered mammalian species, nine ar e endemic to the Philippine islands. These are the Golden crowned flying fox, Negros naked-backed fruit bat, Philippine tube-nosed fruit bat, Panay bushy-tailed cloud rat, Ilin hairy-tailed cloud rat, Visayan warty pig, Calamian hog deer, Visayan spotted deer, and tamaraw. Among the critically endangered avian species in the report is the Philippine eagle. Although no endangered marine mammals were mentioned in the report, whale sharks are fast disappearing from Philippine waters (Esplanada, 2000). For example, the Rhicodon typus (also known as pating patola in Zambales, toko in Mindoro, balilan in Cebu and Bohol and butanding in Bicol and Palawan), which regularly visits the waters of Donsol, Sorsogon (located at the tip of Bicol Peninsula) from November to May are rarely sighted in Philippine waters now. These gentle, polka dotted whale sharks are widely hunted by local fishermen for its meat and fins, which are reported to command a high price abroad. To prevent the Richodon typus from completely disappearing from the Philippine waters, the Philippine government in 1998 declared the whale shark endangered; thus, banning poaching and exporting of its 2 Ceferino P. MAALAmeat, which is a delicacy in some Asian countries. Other non-governmental conservation groups such as the World Wildlife Fund Philippines (Kabang Kalikasan ng Pilipinas) and large business conglomerates like Nokia Philippines, Megaworld Corporation and International Container Terminal Services Incorporated have supported the government’s campaign to protect the whale shark. The Philippine Daily Inquirer a leading Philippine newspaper also supports the save the whale shark campaign. Other endangered Philippine species are the Hawksbill turtle (Eretmochelys imbricata), Olive Ridley turtle (Lepidochelys olivacea), Leatherback turtle (Dermochyles coriacea), Philippine crocodile also known as Philippine freshwater crocodile and Mindoro crocodile (Crocodylus mindore nsis), Indo-Pacific crocodile or salt water crocodile (Crocodylus porosus), Mindoro bleeding heart (Gallicolumba platenae), Mindoro bleeding heart (Ducula mindorensis), lesser eagle owl (Mimizuki gurneyi), Philippine eagle owl (Bubo philippensis), silvery kingfisher (Alcedo argentata), Mindoro hornbill (Penelopides mindorensis), celestial monarch (Hypothymis coelestis) and Isabela oriole (Oriolus isabellae). The Philippines – Japan Crocodile Farming Institute (CFI) based in Palawan Island has successfully bred the Crocodylus mindorensis in captivity. Only the endangered terrestial mammals (cloud rats, fruit bats, deers, wild pig and tamaraw) and the Philippine eagle will be described in this paper There are many organizations in the Philippines that are implementing various ways to protect and conserve our endangered wildlife. They are ensuring the health and survival of the habitats, plants and animals, conserving natural areas, protecting vital ecosystem services and providing communities with economically sustainable alternatives to forest destruction. Through these organizations, they assess forestry and agricultural businesses to ensure that they are complying with different environmental standards, which include properly caring for water and soil, monitoring wildlife populations, protecting migratory pathways and prohibiting the hunting and trafficking of wild animals. Organizations help communities establish and support tourism businesses as an alternative to deforestation. Therefore, the different organizations for wildlife take an efforts and takes active part in forming to protect the wildlife. Chapter Three Research Design and Methodology This chapter discusses the research design and methodology of the study. It shows how the procedural operation of the research problem of this study. Research Design This study utilized the observational research design. An observational research is a type of co relational research in which a researcher observes ongoing behaviour. Through this research design, this study will describe the effectiveness of different protective efforts of the DENR-PAWB in protecting the Philippine wildlife. Sources of Data The study has two sources of data, namely; primary and secondary sources. The primary sources of data are through from browsing the internet. The secondary sources of data include the information gathered from the interviews. Instrumentation and Validation This research used data procured from the interviews we conducted to the Protected Areas and Wildlife Bureau (PAWB) and details stated at the Wildlife Resources Conservation and Protection Act. Data Gathering Procedure The researchers sought the permission to interview the two different organizations who protect the endangered wildlife in the Philippines to procure data as regards to the effective efforts to protect wildlife. Chapter Four Presentation, Analysis, and Presentation of Data This chapter presents the analysis and interpretation of the data gathered in this study. Here are some information gathered from the questions that the researches made and answered by the respondents. 1.The primary reason of having wildlife in the country is for ecological balance and it is also to maintain the food web. Food web diagrams the interaction of multiple food chains within a certain ecosystem, showing the mutual dependency of species and the natural balance of habitats that sustain animal and plant life. 2.Because of harmful human activities, urbanization and climate change, some of the species in the country becomes threatened. Another reason is because of the Invasive Alien Species. These exotic species are plants, animals or microorganisms that have been introduced outside their natural distribution area. When IAS enters new habitats, the lack of predators and their ability to compete with native species over the existing food supply can allow them to dominate the local ecosystem. Local species can actually become a food source of the IAS, and drive the former to extinction. 3.The important reason of protecting the wildlife is to save its small population and to sav e them from extinction. 4.Some threatened species are can be found in some of the provinces in Visayas and in the region of MIMAROPA such as Negros, Panay, Leyte, Mindoro and Palawan. 5.There were only about one to two animals that are being rescued every day. These animals are not really endangered. Usually, animals like snakes, turtles and monkeys are being turned over by those who don’t know how to handle these animals. 6.There’s a circumstance that the rescuer are being harmed by the animals that they’re rescuing. Especially when those animals are not used to human activity. Accidents are inevitable in rescuing wildlife animal. 7.There are different ways on how modern technology helps these organizations to protect the wildlife easier. The Geographic Information System (GIS) technology is an effective tool for managing, analyzing, and mapping wildlife data such as population size and distribution, habitat use and preference, changes in habitats, and regional biodiversity. GIS offers an indispensable means of tracking threatened animals to help prevent further harm or even extinction. In the other hand, the Global Positioning System (GPS) device will normally record and store location data at a pre-determined interval or on interrupt by an environmental sensor. These data may be stored pending recovery of the device or relayed to a central data store or internet-connected computer using an embedded cellular (GPRS), radio, or satellite modem. The animal’s location can then be plotted against a map or chart in near real-time or, when analysing the track later, using a GIS package or custom software. But they don’t have enough number of these devices because these devices cost too much expensive. It can be afford if there were sponsors that are willing to help financially. 8.Medical health plans are provided for all the animals. Quarantine tests and annual health assessment are also given for all the animals that they are taking care of. 9. They only provide a temporary shelter. Their main objective is to rehabilitate the rescued animals and they will bring them back to their natural habitat. 10.There are many regional rescue centers all over the country. It is required to have at least one rescue center/sanctuary for the animals every region. According to the Department of Environment and Natural Resources, the Philippine flora has 101 critically endangered species, 193 endangered species and 240 vulnerable species. In the other hand, the Philippine fauna has 299 resident species, 203 migrant species, 421 endemic species, 22 indigenous species, and 7 newly introduced species. Chapter Five Summary of Findings, Conclusion and Recommendations This chapter presents the summary of findings, conclusions and recommendations of the study. This study determined the effectiveness of the different efforts exerted by the DENR in protecting and conserving the country’s wildlife. This sought to answer the following sub-problems. What is the total number of threatened species in the country as of year 2011? What are the factors that the organization does in conserving wildlife? I. Summary In spite of those harmful activities by humans, different organizations strive hard to protect and take care of the wildlife. There are gradually of animals are being rescued a day. Protectors of the wildlife are sometimes put in danger like being harmed by the animals that they are trying to rescue. The DENR- Protected Areas and Wildlife Bureau Rescue Center is established as a temporary shelter for donated, rescued, abandoned and confiscated endemic, indigenous and exotic wildlife from Metro Manila and nearby provinces. All wild animals brought into the center undergo the necessary health quarantine and rehabilitation period. Endemic and indigenous wild animals found physically fit are eventually released back into their natural habitat following standard protocol. Those unfit individuals as well as exotics are displayed in the Mini-zoo to promote public awareness, appreciation and support to the conservation of the country’s wildlife resources and their habitats. The center is also a source of display animals for legitimate zoological parks and research specimens for academic and scientific institutions. It is also a living laboratory for veterinary and biology students and wildlife enthusiasts. Nowadays, modern technology plays a big role in our daily lives to make our job easily. There are some devices that are being used by the DENR to track and detect the threatened animals. Unfortunately these devices are costly that can’t afford and can’t operate continuously. In spite of that, the organizations are trying to bring back the rescued animals to their habitats and also, they provide the entire medical health plan that the animals needed. The medical health plan depends if the animal is suffering from an illness or has been into a hazardous accident. They provide rescue centres all over the country who take temporary custody and care of all confiscated, abandoned and donated wildlife to ensure their welfare and well-being. DENR implemented rules and regulations on conserving the country’s wildlife resource and their habitats for sustainability. It is entitled â€Å"The Wildlife Act: RA No. 9147†. In general, the DENR-PAWB is the primary government agency responsible for terrestrial wildlife protection. They aim to conserve and protect wildlife species and their habitats to promote ecological balance and enhance biological diversity. II. Conclusions From the analysis, interpretations and implications of the findings of the study, the following conclusions were drawn: 1. Unless the extinction doesn’t occur, the efforts exerted by the organizations are still effective. 2. There were many different organizations, different in objectives and efforts. But still they are striving for one goal, to take good care, protect and preserve the natural resources that our country’s can be proud of. 3. Protecting wildlife is to encompass plants and animals. Protecting wildlife will also protect the habitats and therefore help maintain ecological balance III. Recommendations In the light of the findings and conclusions, the following are offered as recommendations for possible action: 1. The government should develop and enhance the laws concerning the protection of country’s natural resources. 2. Increased support from state and central government agencies for the conservation of natural resources. 3. Proper planning of land and water utilization should be done to ensure the protection of wildlife in their natural habitats or in the manmade habitats such as zoos and botanical gardens.