History of Baking Soda free essay sample

Its basic, fundamental and modest. Preparing soft drink is essentially sodium bicarbonate, a substance discovered normally in mineral stores, seas and lake dregs as trona metal. Sodium bicarbonate is likewise fabricated in the human body, where it assists with keeping up the right pH of the circulatory system, kills stomach acids and plaque acids, and conveys carbon dioxide from substantial tissue to the lungs. Heating soft drink is a white crystalline powder (NaHC03) better referred to physicists as sodium bicarbonate, bicarbonate of pop, sodium hydrogen carbonate, or sodium corrosive carbonate. It is named a corrosive salt, shaped by joining a corrosive (carbonic) nd a base (sodium hydroxide), and it responds with different synthetic substances as a gentle soluble base. At temperatures over 300 degrees Fahrenheit (149 degrees Celsius), preparing soft drink decays into sodium carbonate (an increasingly steady substance), water, and carbon dioxide. Sodium bicarbonate was found by two laborers at a school of medication in Berlin in the year 1800. We will compose a custom paper test on History of Baking Soda or then again any comparative theme explicitly for you Don't WasteYour Time Recruit WRITER Just 13.90/page At the time there was a ton of enthusiasm for the properties and conduct of what was called fixed air (carbon dioxide). This abnormal material created the air pockets in aging brew pound, could be made by adding corrosive to oda (sodium carbonate) or pearl debris (potassium carbonate), and was some way or another made in the lungs of creatures from the segment in common air, oxygen. Imported from England, heating soft drink was first utilized in America during provincial occasions, yet it was not created in the United States until 1839. In 1846, Austin Church, a Connecticut doctor, and John Dwight, a rancher from Massachusetts, set up a plant in New York to fabricate heating pop. Dr. Churchs child, John, claimed a factory called the Vulcan Spice Mills. Vulcan, the Roman divine force of manufacture and fire, was spoken to by an arm and hammer, and the new heating soft drink organization received the rm and mallet logo as its own. Today, the Arm Hammer brand of heating soft drink is among the most generally perceived brand names. The local synthetic and physical properties of preparing soft drink represent its wide scope of utilizations, including cleaning, freshening up, and buffering. Preparing soft drink kills scents artificially, instead of covering or engrossing them. Subsequently, it is utilized in shower salts and antiperspirant body powders. Its capacity to tabletize makes it a decent bubbly fixing in acid neutralizers and dental replacement cleaning items. Sodium bicarbonate is additionally found in some enemy of plaque mouthwash items and toothpaste. When preparing soft drink is utilized as a cleaner in glue structure or dry on a soggy wipe, its crystalline structure gives a delicate scraped spot that assists with expelling earth without scratching touchy surfaces. Its gentle alkalinity attempts to turn up unsaturated fats contained in earth and oil into a type of cleanser that can be broken down in water and flushed without any problem. Preparing soft drink is likewise utilized as a raising operator in making heated merchandise, for example, bread or flapjacks. At the point when joined with an acidic operator, (for example, lemon Juice), carbon dioxide gas is discharged and is consumed by the items cells. As the gas notwithstanding its many home uses, preparing soft drink additionally has numerous modern applications. For example, preparing soft drink discharges carbon dioxide when warmed. Since carbon dioxide is heavier than air, it can cover blazes by keeping oxygen out, making sodium bicarbonate a helpful specialist in fire dousers. Different applications incorporate air contamination control (since it ingests sulfur dioxide and other corrosive gas emanations), grating blastings for expulsion of surface coatings, concoction producing, cowhide tanning, oil well boring liquids (since it accelerates calcium nd goes about as an oil), elastic and plastic manufactu

Essay Writing Australia

Essay Writing AustraliaEssay writing Australia is an idea that seems to be in existence since the inception of the country. However, they have existed as long as there have been wars and nations fighting for land and fighting for capital. During times like this, people would build more than one or two, which might be a reason for the generation of essays writing Australia.In order to begin writing an essay, you must first select a paper type. This could either be an A4 or even an A5 format; however, these formats are not mandatory. The only reason they are necessary is because that they give you a better grip of the workings of the English language.The paper you write should give your teachers or college professors something to go on when quizzing you about your knowledge; therefore, the majority of high school students are required to take one or two of these essays. Essays are needed to help propel their academic career. If they are passed with a passing grade, it will be very help ful in the future when applying for a job.The essay has two sections, which are the introduction and body. Introduction should be extensive enough to make sure that you get a well-written introduction to your thesis statement. A well written introduction will increase the chance of the professor writing you a recommendation letter.Next, the body of the essay has to answer the question, 'What is the thesis statement?' It needs to demonstrate why your paper should be graded as well as providing a concise explanation on the topics of your paper. Therefore, the essay should be helpful to both the teacher and yourself as a student.Remember that the world of writing is a world of knowledge; therefore, there will be information to gain from your previous education. Therefore, you should take the time to explain that information in a way that it is understandable and memorable to both the professors and students. The reason is that the professors will be more likely to grade you higher beca use they want to make sure that they have a good grasp of what the class is all about.The learning process is based on the process of practicing, which means that you can only improve your skills by taking notes and writing out the material. While doing this, you should also be making note of the questions that are asked and make sure that you know the answers to them. This will not only help you make sure that you know the information, but it will also help you analyze the answers.The essay writing Australia does not really vary much; however, the format can differ. However, most of them are very similar, and they all start with an introduction. Remember that an introduction is very important, and therefore, make sure that you provide one.

The eNotes Blog Top Ten Love Lines From Literature for YourValentine

Top Ten Love Lines From Literature for YourValentine With regards to Valentines Day, do you wind up thinking about the staying dozen or so cards left at the drugstore, attempting to choose whether the cat with the googly-eyes shouting Youre purrrrrrrrrrrrrrfect! is any preferred or more regrettable over the curiously large card with a creepily cheerful train chugging out the words, I chooo-choo-pick YOU! ? All things considered, dont despair. Here are ten relationship-sparing feelings for you to get. Locate a pleasant, clear card, keep in touch with one of these lines inside, and purchase the book that it originated from. Wrap it up, and, utilizing your best toe-in-the-sand look, say, Honey, I thought of you the subsequent I read this. Hello, please its kind of evident 1. â€Å"I love you without knowing how, or when, or from where. I love you basically, without issues or pride: I love you along these lines since I don't have a clue about some other method of adoring however this, wherein there is no I or you, so personal that your hand upon my chest is my hand, so private that when I nod off your eyes close.† ― Pablo Neruda, 100 Love Sonnets 2. â€Å"To love at all is to be helpless. Love anything and your heart will be wrung and conceivably broken. On the off chance that you need to ensure keeping it unblemished you should offer it to nobody, not in any case a creature. Wrap it cautiously round with side interests and little extravagances; keep away from all traps. Lock it up safe in the coffin or final resting place of your narrow-mindedness. In any case, in that coffin, protected, dull, still, airless, it will change. It won't be broken; it will get unbreakable, invulnerable, irredeemable. To cherish is to be vulnerable.† ― C.S. Lewis, The Four Loves 3. â€Å"Perhaps all the mythical serpents in our lives are princesses who are just holding back to see us act, only once, with magnificence and mental fortitude. Maybe everything that alarms us is, in its most profound embodiment, something powerless that needs our love.† ― Rainer Maria Rilke 4. â€Å"I convey your heart with me (I convey it in my heart)I am never without it (anyplace I go you go,my dear; and whatever is finished by just me is your doing,my sweetheart) I dread no destiny (for you are my fate,my sweet)I need no world (for wonderful you are my world,my valid) what's more, its you are whatever a moon has consistently implied and whatever a sun will continually sing is you here is the most profound mystery no one knows (here is the foundation of the root and the bud of the bud and the sky of the sky of a tree called life; which develops higher than the spirit can expectation or brain can cover up) what's more, this is the miracle that is keeping the stars separated I convey your heart (I convey it in my heart)† ― E.E. Cummings 5. â€Å"If there is no affection on the planet, we will make another world, and we will give it dividers, and we will outfit it with delicate, red insides, from the back to front, and give it a knocker that resounds like a precious stone tumbling to a gem dealers felt so we ought to never hear it. ― Jonathan Safran Foer, Everything is Illuminated 6.â â€Å"The intensity of a look has been such a great amount of mishandled in romantic tales, that it has come to be questioned in. Barely any individuals dare presently to state that two creatures have become hopelessly enamored on the grounds that they have taken a gander at one another. However it is along these lines that affection starts, and thusly only.† ― Victor Hugo,  Les Misã ©rables 7. â€Å"Love is a definitive bandit. It just wont stick to any standards. The most any of us can do is to sign on as its assistant. Rather than vowing to respect and comply, perhaps we ought to promise to help and abet. That would imply that security is not feasible. The words make and remain become improper. My affection for you has no hidden obligations. I love you for free.† ― Tom Robbins, Still Life With Woodpecker 8. â€Å"I love you, Buttercup said. I know this must come as something of a shock to you, since all Ive at any point done is disdain you and debase you and insult you, however I have adored you for a few hours at this point, and consistently, more. I thought an hour back that I adored you more than any lady has ever cherished a man, yet a half hour after that I realized that what I felt before was nothing contrasted with what I felt at that point. Be that as it may, ten minutes from that point onward, I comprehended that my past affection was a puddle contrasted with the high oceans before a tempest. Your eyes are that way, did you know? Well they are. How long prior right? Twenty? Had I brought my emotions up to at that point? It doesnt matter. ― William Goldman, The Princess Bride 9.â â€Å"I became hopelessly enamored with her fearlessness, her genuineness, and her blazing sense of pride. What's more, its these things Id put stock in, regardless of whether the entire world enjoyed wild doubts that she wasnt all she ought to be. I love her and it is the start of everything.† ― F. Scott Fitzgerald 10.â â€Å"Maybeyoull experience passionate feelings for me once more. For hell's sake, I stated, I love you enough at this point. What would you like to do? Ruin me? Indeed. I need to demolish you. Great, I said. That is the thing that I need too.† ― Ernest Hemingway, A Farewell to Arms

Josh (College Days)

His face was beautiful when he wouldlaugh with me. The brightness of his eyes, the curious sound of his voice, the sparkle of the metal which covered his teethwhen he'd smile at me. Oh! How he loved to live ...and then he left.His face is disturbing when he looks at me, now. The deep purple of the circles under his eyes, the serious sound of his all-knowing voice, the way his unsmiling lips hide perfect teethwhen he looks disapprovingly at me. Oh! How I miss him ...even when he is here.

Participation Is Not A Tool - 1433 Words

However, participation is not a tool. Management cannot simply ask the various parties involved in change to participate. In order for this to work, there already needs to be an existing culture of respect and consideration towards employees’ opinions and towards the workers themselves as people. Studies show that in companies where employees are encouraged to discuss their problems and offer their opinions to management and are given the opportunity to measure their performance, the risk of resistance to change is significantly lower. If management decides to deploy participation just in times of change, as a way of getting people to accept it, then the employees will doubt the honesty and good intentions behind this initiative. Thus,†¦show more content†¦In contrast, if the transformational initiative is carried out by change agents with whom employees are used to relate and with whom employees have developed certain customary work relationships, then the workers wi ll be willing to help with implementing the change, will not display resistance, and will be open to more change. The fact that people tend to resist the change in human relationships and not the technical change was observed and confirmed by the above mentioned study as well as numerous others. If participation in change will be perceived by employees as a continuation or part of a normal, day-to-day behavior, then there will be no resistance. In conclusion, even if there is a perfectly valid reason for technical change, the social implications must be dealt with at every step in the process and not ignored. Even if a new work method is initiated with the best of intentions and it makes sense for management, it might have adverse effects from a social standpoint (e.g. employees might lose the satisfaction they found in the work they performed). There are also other measures that can be taken to overcome resistance such as providing trainings to employees to help them develop new skills, giving people time off during the change if their work is very demanding, and providing emotional

AvantGarde Essay Research Paper Avantgarde films all free essay sample

Avant-Garde Essay, Research Paper Avant-garde movies all start with the belief that movie is more interesting as art than as narrative. Not surprisingly, the first people to believe this manner were creative persons. In Germany after World War I, Swedish-born painter Viking Eggeling and Berliner Hans Richter collaborated on coil pictures which they took to UFA studios in the hope of reproducing them as animated movies. Richter agreed to fix a coil utilizing simpler square forms, and the energizers produced his one-minute abstract movie Rhythmus 21 ( 1921 ) ; Eggeling, who kept to his original designs, fastidiously made his ain alive short, Diagonal Symphony ( 1922 ) , but died non long after. The American-born Dadaist-turned-surrealist Man Ray was populating in Paris and made his first movie in 1923, Le Retour? La Raison, uniting superimpositions and shootings of Mobiles with his ain rayograms ( registering objects on movie by puting them on the photographic surface and exposing them to visible radiation ) . The following twelvemonth, France s great Cubist painter Fernand L? ger made the first photographed abstract movie, Le Ballet M? canique, in which he wildly edited shootings lit in utmost contrasts. Besides in 1924, Ren? Clair made the zany Entracte, with creative persons Man Ray, Marcel Duchamp, and Francis Picabia looking onscreen. The late 1920s saw a turning international motion of daring film. Richter used colour and hand-painted the lines and squares of his Rhythmus 25 ( 1925 ) ; he made Film Study in 1926, uniting filmed images in surrealist associations, and so continued to work in movie ( Inflation, 1927 ; Ghosts Before Breakfast, 1928 ) . Man Ray made two surrealist trunkss, Emak Bakia ( 1927 ) and L ? toile De Mer ( 1928 ) , every bit good as the capricious Les Myst? res Du Ch? teau Du D? ( 1929 ) . In Hollywood in 1927 and 28, French-born Robert Florey directed low-budget characteristics, was adjunct manager on big-budget movies, and made experimental trunkss: The Life And Death Of 9413 # 8212 ; A Hollywood Extra ( co-directed with Slavko Vorkapich ) , The Loves Of Zero, Johann The Coffin Maker, and Skyscraper Symphony. In Rochester, New York, James Watson and Melville Webber made an experimental version of Poe with The Fall Of The House Of Usher ( 1928 ) . Soviet manager Dziga Vertoz made 23 editions of his one-reel intelligence magazine Kino-Pravda from 1922 to 25, utilizing complex, original redacting techniques. His characteristic Kino-Glaz ( 1924 ) consisted largely of footage of people changeable unawares, and his best-known work, Man With A Movie Camera ( 1929 ) marshalled all his advanced techniques for a portrayal of Moscow. Spanish surrealists Luis Bu? uel and Salvador Dali wrote and directed the landmark short Un Chien Andalou in 1928. Avoiding narrative or symbolic logic, they filled the screen with amusing and lurid imagination ( including a close-up of Bu? uel cut downing an orb with a razor ) . They clashed over their sound follow- up, LAge DOr ( 1930 ) , which Bu? uel took over. Widely banned for its anti-clericism, this authoritative characteristic introduced Bu? uel s vision of obsessional erotism and black comedy. Poet and artist Jean Cocteau made his first movie, Le Sang DUn Po? Te ( 1930 ) , a personal dream journey as loaded with camera fast ones as a M? Li? s abruptly ; subsequently he d return to personalise, imaginatively-shot surrealism with Orph? vitamin E ( 1950 ) and Le Testament DOrph? vitamin E ( 1960 ) . In Germany during the 1920s Oskar Fischinger had made his soundless Studies, a series of abstract alive trunkss ; he won international acclamation with his sound movie Composition In Blue ( 1935 ) and came to America, where he d do Radio Dynamics ( 1942 ) and Motion Painting No. 1 ( 1947 ) . Vertoz used sound creatively in Enthusiasm ( 1931 ) and Three Songs About Lenin ( 1934 ) , but Stalinist repression demanded simpler movies. Europe darkened with the growing of fascism and the at hand war, and by the terminal of the 1930s Bu? uel, Richter, and Ray had left for America. After the war, Richter would do Dreams That Money Can Buy ( 1946 ) , an American characteristic with sequences scripted by himself, Ray, L? ger, and their fellow creative persons Max Ernst, Marcel Duchamp, and Alexander Calder. ( Subsequently he d besides make the episode movie 8 Ten 8 ( 1957 ) with Jean Arp, Duchamp, Ray, Yves Tanguy, Calder, Ernst, Dorothea Tanning, and Cocteau. ) In the States, Watson and Webber made their inventive and titillating Lot In Sodom ( 1933 ) merely to happen that there were few locales where they could test so make bolding a movie. The creative person and sculpturer Joseph Cornell began doing movies in the late thirtiess. His celebrated Rose Hobart ( 1937 ) took footage of the titular actress from her low-budget jungle film, East Of Borneo ( 1931 ) , and collaged it into an elegant jubilation of Hobart. His ulterior movies, some of which went unfinished for decennaries, include the trilogy Cotillions # 8212 ; The Children s Party # 8212 ; The Midnight Party ( edited in 1968 from footage shooting in the 30s ) and A Legend For Fountains ( shooting in 1957 but unreleased until 1970 ) . Mary Ellen Bute, hiting objects in utmost close-ups with a assortment of lenses, made over a twelve abstract movies, get downing in 1936 with Anitra s Dance and Rhythm In Light. Some were shown at Radio City Music Hall as pre-feature attractive forces, but after 1941 she quit doing them. Old ages subsequently Bute made the fashionable features The Boy Who Saw Through ( 1958 ) and Passages From Finnegans Wake ( 1965 ) .In the 1940s, another adult female film maker became a accelerator for the American vanguard. Russian-born Maya Deren, with her hubby Alexander Hammid, made Meshes Of The Afternoon ( 1943 ) , a psychodrama of a adult female haunted by visions of decease. Deren made several noteworthy movies in the 40s: At Land ( 1943 ) , The Private Life Of A Cat ( 1945, besides with Hammid ) , A Study In Choreography For Camera ( 1945 ) , Ritual In Transfigured Time ( 1946 ) , Meditation On Violence ( 1948 ) . By 1946, she was giving showings of daring movies by herself and others and promoting a greater consciousness of experimental film. Deren besides spent several old ages shooting Voudoun rites in Haiti and even became a priestess, but in the last decennary of her life she was unable to redact the footage into a completed work ; her concluding movie was The Very Eye Of Night ( 1955 ) . The psychodrama # 8212 ; puting bare the subconscious in personal, supercharged imagination # 8212 ; became an of import filmmaking manner in the 40s. The teenage Kenneth Anger made Fireworks ( 1947 ) , a homoerotic dream of decease and Transfiguration and went on to go one of the major American vanguard film makers with such classics as Rabbit s Moon ( 1950 ) , a studio-made narrative of Pierrot ; Eaux DArtifice ( 1953 ) , in which sprays of H2O become keen a bstract surveies ; Inauguration Of The Pleasure Dome ( 1954 ) , a hallucinatory assembly of originals ; and Scorpio Rising ( 1963 ) , an insightful and witty dissection of biker mythology. Anger s engagement with ceremonial thaumaturgy informs his eye-popping Invocation Of My Demon Brother ( 1969 ) every bit good as his magnum musical composition, Lucifer Rising ( 1980 ) , a vision of nonnatural forces and existences at work on Earth.Sidney Peterson and James Broughton made their first movie, The Potted Psalm ( 1946 ) , as a coaction. Peterson went on to do such psychodramas as The Petrified Dog ( 1948 ) and The Lead Shoes ( 1949 ) before retiring in the 50s. Broughton s ulterior work includes Mother s Day ( 1948 ) , The Pleasure Garden ( 1953 ) , and The Bed ( 1968 ) ; since the mid 70s he has worked in coaction with Joel Singer ( Together, 1976 ; Shaman Psalm, 1981 ) . Gregory Markopolous began uniting mythology and homoerotic imagination in Du Sang, De La Volupt? Et De La Mort ( 1948 ) , but after Swain ( 1950 ) and Flowers Of Asphalt ( 1951 ) he spent the 50s working on the Grecian production Serenity ( 1961 ) . In the 60s his earlier manner gained a new ocular polish and originality with such major movies as Twice A Man ( 1963 ) , Eros, O Basileus ( 1967 ) , Himself As Herself ( 1967 ) , and The Illiac Passion ( 1967 ) . He besides made movies without people, such as the multiple-exposure authoritative Ming Green ( 1966 ) , and developed a decontextualizing redacting manner in which shootings are glimpsed merely at uneven intervals, with Gammelion ( 1968 ) and Hagiographia ( 1973 ) . Markopolous spent the last old ages of his life cutting together all his movies into the mammoth, 22-film-cycle Eniaios ( 1990 ) .Willard Mass made several gay-inflected psychodramas ; his married woman Marie Menken assisted on Images In The Snow ( 1948 ) , and Ben Moore collaborated with him on The Mechanics Of Love ( 1955 ) and Narcissus ( 1956 ) . Menken s ain movies, incl uding Hurry! Hurry! ( 1957 ) , Go Go Go ( 1963 ) , and Wrestling ( 1964 ) , are prized for her redaction accomplishments. Stan Brakhage began doing movies in the early 50s and by 1955 was doing psychodramas: Contemplations On Black, Way To The Shadow Garden. The undermentioned twelvemonth he made Nightcats, shooting cats in a nighttime pace. The dim visible radiation, decontextualizing angles and composings, and utmost close-ups turned the cats into abstract textures, and since so the prolific Brakhage has made chef-doeuvres with this aesthetic. Normally shuning a soundtrack, he creates rhythms through action, redaction, and movie velocities. The most utmost deformations of focal point or camera motion become ocular poesy, offering a new manner to see non merely cinema but the universe, in such short movies as Window Water Baby Moving ( 1959 ) , Door ( 1971 ) , The Riddle Of Lumen ( 1972 ) , and two authoritative characteristics, Dog Star Man ( 1964 ) and Scenes From Under Childhood ( 1970 ) . Brakhage s Mothlight ( 1963 ) consisted of flower petals, moth wings, and blades of grass sandwiched between two clear strips of movie ; he has besides painted on the movie stock itself in The Horseman, The Woman And The Moth ( 1968 ) , Murder Psalm ( 1981 ) , and his characteristic Trilogy ( 1995 ) . In England in 1935, New Zealander Len Lye made Colour Box, painting straight on movie: the first non-camera film. Lye s ulterior work was more traditional, but by the terminal of the decennary, an American adolescent, unaware of Lye, was pulling and etching on movie ; Harry Smith made five trunkss in this mode, stoping with Number 5 # 8212 ; Round Tensions in 1946. He so began snaping life and developed a manner of traveling montages, into which he poured his old ages of analyzing chemistry and the Qabalah, climaxing in 1962 with his authoritative Number 12 # 8212 ; Heaven And Earth Magic. Smith is one of several daring energizers of the fortiess who did their minute st admired work in the 60s. John and James Whitney made abstract animation together starting with their Variations series (1941-43). After 1950 they worked independently: John developed his own films based on the graphics of first the analogue and then the digital computer (Catalogue, 1961; Permutations, 1968); James drew the basic dot-structures for his Yantra (1957) but adapted Johns analogue-computer process for Lapis (1966). Jordan Belson made animated films in the late 1940s and by the late 50s was creating his multi-media Vortex Concerts in San Francisco, the density of which led to his 60s films combining animation and photographic techniques: Allures (1961), Re-Entry (1964), Samadhi (1967), Momentum (1969). In the 1960s gay and transgendered men expressed their imagination and sexuality without the angst of Markopolous or Anger: Taylor Mead was a holy fool in Ron Rices The Flower Thief (1962); the wit and theatricality of Jack Smith are the core of Ken Jacobs Little Stabs A t Happiness (1958/63) and Blonde Cobra (1959/63). Smith made the eras classic, Flaming Creatures (1963), shooting on backdated black-and-white stock and giving the film an exploded, archaic look. This pageant of nudity and crossdressing met with many censorship attacks, much to Smiths horror. His attempts to make Normal Love using backdated color stock were never completed, but Ron Rices Chumlum (1964) offers glimpses of Smith and his cast from Normal Love, as does a short newsreel from an artist making his second try at using a camera: Andy Warhol. Warhol made minimalist films in 1963, silently photographing mundane events from the short Kiss to the six-hour Sleep; in 1965 he made the eight-hour Empire, consisting of the Empire State Building seen from one unchanging angle. But that same year his use of sound brought more character and humor to his work, beginning with his films written by Ronald Tavel, such as Screen Test with drag-performer Mario Montez, The Life Of Juanita Castr o with filmmaker Marie Menken, and Vinyl, a version of Anthony Burgess A Clockwork Orange; in 1966 they made The 14 Year Old Girl [aka Hedy; Hedy The Shoplifter] and More Milk, Evette (aka Lana Turner) with Montez, and Kitchen with Edie Sedgwick. Warhol looked at lust and commerce on Fire Island with My Hustler (1965) and his 1967 follow-ups I A Man and Bike Boy. His 3?-hour The Chelsea Girls (1966) was twelve uncut reels of people from Warhols circle, shown in random sequence, two at a time from two adjacent projectors but with only one soundtrack audible. After Lonesome Cowboys (1968) Warhol turned to producing for writer/director Paul Morrissey, most notably in Flesh (1968) and Trash (1970) with Joe Dallesandro, and Women In Revolt (1972) with Holly Woodlawn, Jackie Curtis and Candy Darling. Other experimental filmmakers also made major works in the 60s — indeed, taken as a whole, the decade is something of a golden age for American avant-garde film. Mike and George Kuchar , identical-twin brothers, began making 8-mm films in the 1950s, and by the early 60s had adapted the situations and language of Hollywood melodramas to their no-budget Bronx-made movies: I Was A Teenage Rumpot (1960), Pussy On A Hot Tin Roof (1961), Lust For Ecstasy (1963). By the mid 60s the brothers worked independently. Mikes films include his science-fiction reinventions Sins Of The Fleshapoids (1965) and Dwarf Star (1974), as well as the abstract Fragments (1967); Georges notable later films include Hold Me While Im Naked (1966), The Devils Cleavage (1973), and Cattle Mutilations (1983). More recently theyve both worked in video, Mike with Purgatory Junction (1994) and George with Cult Of The Cubicles (1987) and The Weather Diary (1990). Swiss-born photographer Robert Frank made the quintessential Beat film with his first effort, Pull My Daisy (1959), written by Jack Kerouac and co-directed by Alfred Leslie; his later films include the feature-length Me And My Brother (1969), with documentary and staged scenes. In 1958, Bruce Conner made a powerful debut editing found footage for his A Movie. He went on to create such major films as Cosmic Ray (1961), which combines found footage with glimpses of a woman dancing naked; Report (1967), a reworking of television news footage of the Kennedy assassination; and Crossroads (1976), about the atomic bomb. Bruce Baillie made several outstanding films, working with real locations in To Parsifal (1963) and Castro Street (1966), and using superimpositions, negative film, and alternate speeds and exposures in Mass For The Dakota Sioux (1964). George Landow (aka Owen Land) creatively used looped footage in Film In Which There Appear Sprocket Holes, Edge Lettering, Dirt Particles, Etc. (1966) and The Film That Rises To The Surface Of Clarified Butter (1968); hed later parody instructional films with Remedial Reading Comprehension (1971) and New Improved Institutional Quality: In The Environments Of Liquids And Nasals A Parasitic Vowel Sometimes Develops (1976). Stan Vanderbeek made accomplished animated collages, such as Breathdeath (1963) and Dance Of The Looney Spoons (1965), and then began using computers with Computer Art (number one) (1966) and his series of Poem Field films, starting in 1968. Lithuanian-born Jonas Mekas, besides working ceaselessly to promote avant-garde cinema, also made the notable films Guns Of The Trees (1961), The Brig (1964), and the film diaries Hare Krishna (1966), Walden (1969), and Lost, Lost, Lost (1976); his brother Adolfas made the comic Hallelujah The Hills (1963) and the macabre Windflowers (1968). Robert Nelson combined humor and social commentary with Oh Dem Watermelons (1965) and The Great Blondino (1967). More austere were the films of Michael Snow: Wavelength (1967), a continuous 45-minute zoom, and the feature-length (1969, [aka Back And Forth; The Double-Headed Arrow]), highlighted by an accelerating back-and-forth pan. Snows later work includes Seated Figures (1988), a landscape shot from a moving car. Minimalism also figured in the films of Robert Huot (Leader, 1966; Scratch, 1967) and Hollis Frampton (Surface Tension, 1968; Zorns Lemma, 1970). In 1969 Ken Jacobs made Tom Tom The Pipers Son, re-editing an old silent short into a commentary on itself. Jacobs began his Nervous System performances in the 70s, using two near-identical prints shown by two projectors capable of single-frame advance and freezes; the slight discrepancies between prints create 3-D effects in such works as The Impossible: Chapters One To Five (1975-80) and Two Wrenching Departures (1989). Tony Conrads The Flicker (1966) is stroboscopic light, from 24 flashes per second to four and back to 24. Paul Sharits adapted Conrads method to include footage of people and objects in Peace Mandala/End War (1967) and N:O:T:H:I:N:G (1968). In Austria, Peter Kubelka worked in a similar vein with Arnulf Rainer (1960), while his Unsere Afrikareise (1966) raised film and so und editing to new heights. Kurt Kren imaginatively cut looped footage in 15/67 TV (1967), and the materialaktions of Otto Muehl used food, paint, nudity, sexual activity, excreta, and violence for such shocks-to-the-system as Sodoma (1969).Czechoslovakias Jan Svankmajer began making stop-motion animation shorts in the mid 60s. Whether using antique dolls (Jabberwocky, 1971), chairs (The Fall Of The House Of Usher, 1981), or sculpted clay (Dimensions Of Dialogue, 1982), his imagination has captivated audiences internationally and led to two highly original features combining live-action and stop-motion: Alice (1988), freely adapted from Lewis Carrolls Alice In Wonderland, and Faust (1994). Equally sensitive to texture, atmosphere, and enigmatic weirdness are the Brothers Quay, identical twins from America who film stop-motion shorts in England — Street Of Crocodiles (1986), The Comb (From The Museums Of Sleep) (1990) — and have also made the live-action feature Institu te Benjamenta (1995). In the 70s, several notable avant-garde films came from writer/directors who would also work in commercial cinema. David Lynch made the bizarre but touching abused-child short The Grandmother (1970) and his classic feature, the nightmare vision Eraserhead (1977). In Mexico, Alexandro Jodorowky made the violent and allegorical El Topo (1970); his other surreal features of blood, religiosity, and insanity include The Holy Mountain (1973) and Santa Sangre (1989). Englands Derek Jarman began making striking abstract films shot in super-8, such as The Art Of Mirrors (1973) and In The Shadow Of The Sun (1974); in the 80s he adapted these techniques for his great non-narrative features, The Angelic Conversation (1985) and The Last Of England (1987). His last film, Blue (1993), shows only a blue screen as the soundtrack relates his thoughts in the last weeks of his terminal illness from AIDS.In the 1980s, the punk-inspired Cinema of Transgression produced several notew orthy sex-and-violence films. Richard Kerns plot-driven shorts are especially memorable: The Right Side Of My Brain (1985) and Fingered (1986), both co-written by and starring Lydia Lunch, and Manhattan Love Suicides (1985) and King Of Sex (1986), both with Nick Zedd. Other notable works of like-minded filmmakers include Tessa-Hughes Freelands Nymphomania (1993), Where Evil Dwells (1986) by David Wojnarowicz and Tommy Turner, and Cassandra Starks Parade Of Cruelty (1995). Most striking are the shockers of writer/director/actor Zedd: Totem Of The Depraved (1983, co-directed with Ela Troyano), Thrust In Me (1984, co-directed with Kern), the police-brutality melodrama Police State (1987), the alternately abstract and erotic Whoregasm (1988), and the phantasmagoric War Is Menstrual Envy (1992). Zedds excesses may be a hard pill for some to swallow, but he comes from a long line of shock-mongers, including Bu?uel, Anger, and Muehl — all means are acceptable to break down the audie nces conditioning and expose them to something genuine, both onscreen and within themselves. Cinematic transgressions are verboten in entertainment, which must always work with the audiences familiarity, and one way or another they represent an underlying impulse of all avant-garde cinema.

Community Essay Sample - How to Use These Essays For a Better Community Letter

Community Essay Sample - How to Use These Essays For a Better Community LetterA community essay can be used to speak about the values of a neighborhood, a college campus, or the needs of a small business. In order to convey a sense of community, writing samples are the perfect tools to consider. The success of the essay lies in the quality of the work that the writer puts into it, and writing samples to help them bring all of their passion and enthusiasm to the page.One way to encourage students to express themselves more fully is to set up a time when they are not required to complete their assignment. Students should be given a day to 'read over' their assignment and begin writing their own community essay. They should be provided with examples that they can use to give insight into the community they are studying or experiencing. Then, they can make any changes that they feel are necessary to truly showcase their insight and writing style.Many students appreciate this opportunity because they want to get their project finished so they can continue on with their classes and not have to worry about having to write a community letter. This gives them more time to focus on their classes without the pressure of being rushed to submit a high-quality community essay. Students should also be allowed to choose how they write their community letter. If there is a specific sequence of prompts for the student to follow, they should be allowed to use the sample that fits their individual needs.In addition to giving the student the space to write what they feel is appropriate, it allows them to let their personality shine through. Students need to allow themselves time to come up with a brief yet elegant idea that they can use to capture the essence of the community they are writing about. Some students may find it helpful to avoid writing in first person and instead choose to allow the story to tell itself while still using the samples.The essays can also be used to deve lop a personal statement. Often times, students come up with a set of goals and then describe their ambitions for their future and how their story fits into the overall picture. With community essay samples, they can use the same prompts as they would for their personal statement to come up with a convincing introduction to the community letter.In order to help students create the best community letter possible, they should not be afraid to make changes at any point in the process. When a student feels the mood to revise their letter, they should feel free to make any changes they may see fit. Writing samples allow them to see where they could improve on their community letter before they submit it.As soon as the student finds a section that they feel is lacking in content, it should be highlighted. By giving it a highlight, it will allow them to take some time to research the element in the community letter and show their understanding of it. They should also include a link to the website where they can purchase the item mentioned in the section.Using community essay samples as a tool allows the writer to explore the unique community experience and what makes it special. Writing samples give them the ability to tell a story that is complete. Students can then take their creativity and learn how to use a variety of resources to craft a highly-effective community letter that will impress their professors and gain them recognition.