Phstat Essay Example for Free

Phstat Essay For Excel 2000 through Excel 2003, Microsoft Office macro security level set to Medium (see Topic 3a â€Å"Configuring Excel 2000-2003 Security for PHStat2†). For Excel 2007, Trust Center Macro Settings set to Disable all macros with notification (recommended) or Enable all macros. See section 3a or 3b for more details. (There are no security settings in Excel 97 or the original, unpatched version of Excel 2000. ) Internet access (for downloading updates to Microsoft Excel, from www. microsoft. com, and PHStat2, from www. prenhall. com/phstat, as they become available), optional but recommended. Requirements for running the PHStat2 setup program: CD or DVD drive. Approximately 10 MB hard disk free space while running the setup program and 3 MB hard disk space after program setup. On some older systems, the Windows system files that may get replaced or added during the setup process will require up to 6 MB additional hard disk space. Windows user account with administrator or software-installing privileges (does not apply to Windows 98Se or ME). Student or faculty accounts used to login onto networked computers in academic settings typically do not have this privilege. F Test for Differences in Two Variances: Two-tailed test formula to determine whether to reject null hypothesis corrected. Z Test for Differences in Two Means: Upper-tail test formula to determine whether to reject null hypothesis corrected. Minor reformatting in selected worksheet and dialog box labels. Enhanced statistical procedures in version 2. 5: Chi-Square Test includes Marascuilo Procedure output option. Histogram Polygons Frequency distributions include percentage and cumulative percentage columns. Kruskal-Wallis Rank Test Worksheet redesigned to accommodate larger number of groups.

Differences Between Buddhism and Christianity Essays -- Concept of Si

People who come from different areas may have same cultures and language while people who come from different countries may eat different food. However, people who live in the different places may have different religions. Two different religions that have a certain differences are the Buddhism and Christianity such as lifestyle, beliefs, and vies on universe. Although the Buddhism and Christianity could share similarities in some ways, the differences between them are more significant. As we can know, Buddhism, Christianity, and Islamism are the three largest religions all over the world. They all play a very significant role in our life. Nonetheless, Christianity and Buddhism are the largest population around the world. Through our religious distribution map around the world, there are seven billion followers who believe in Buddhism while twenty billion followers who believe in Christianity around the world. Moreover, Christian population are the 31.5% of the world population, in the meantime, Buddhists are the 7.1% of the world population around the world. In China, there are lots of people who believe in Buddhism because they think that Buddhism which can bring their fortune and safety. That is a only one reason Buddhism which plays a large population in China's population. Historically, Buddhism are largely distributed to some Asian areas like China, Thailand, and Japanese. Buddhism descend from ancient India, the creator is Sakyamuni. Historically, the Buddhism is established around the 700 Before Christ era. Sakyamuni gives speeches to the local people. Gradually, Buddhism is spread to all around the world. As author illustrates in his writings," The history of Buddhism spans almost 2,500 years from its origin in India wi... ...m. Hauppauge, NY: Barron's Educational Series, Inc., 2006. Print. Mishra, Pankaj. An end to suffering: the Buddha in the world. New York: Farrar, Straus and Giroux, 2004. Print. Kipp, Laurie F., Leigh Eric Schmidt, and Mark R. Valeri. Practicing protestants: histories of Christian life in America, 1630-1965. Baltimore, Md.: Johns Hopkins University Press, 2006. Print. King, Sallie B.. Socially engaged Buddhism. Honolulu: University of Hawai'i Press, 2009. Print. Smith, Huston, and Philip Novak. Buddhism: a concise introduction. New York: Harper SanFrancisco, 2003. Print. Conze, Edward. Buddhism: its essence and development. Birmingham: Windhorse, 20011951. Print. Suzuki, Daisetz Teitaro. An introduction to Zen Buddhism. New York: Grove Weidenfeld, 1991. Print. Dumoulin, Heinrich. Christianity meets Buddhism. La Salle, Ill.: Open Court Pub. Co., 1974. Print.

Weaving Architecture & Nature

Landscape from its beginnings has a man-made connotation with associated cultural process values. The idea of having a landscape does not suggest anything natural at all. Yet there are instances of projects where the landscape itself suggests natural connotations as though there is no interface between nature (site) and culture (architecture).In Chichi Art Museum, Today And made a radical decision to create an underground space to create minimal changes to the current natural environment, exposing only very basic geometries as the openings for the underground gallery. He transformed the site into a natural work of art, interfacing with the internal works of art. On the other hand, Frank Lloyd Wright's Billingsgate transforms the original site into a beautiful monumental landscape and brings nature into the house by using materials found on site, creating natural experiences through his architecture.Yet the ideas of the interface between Nature and architecture are translated very di fferently for the 2 projects. Nod's idea of the interface was a stark exposed one while Wright's was more clear and rational. This paper seeks to find out whether one of their interpretations questionable, or it is Just harder to comprehend one than the other. Keywords: Nature; Integration; Art; Landscape; Culture 1. INTRODUCTION Figure 1 . Illustration of the Phases of Museum Development The concept of museums since the late 18th century evolved through 3 different phases (Figure 1).The first generation are mostly built by royalties as part of their collections, the second generation museums are more particular in presenting artworks and collections in their raw form, where exhibition spaces are designed to segregate the works from any context using spaces that is ere and abstract. As art works progressed further, artists evolved to creating works that are more specific, works that interact with surroundings and also visitors.This concept itself brings out the definition of cultura l landscape by Saucer (Saucer 1925, 46), where the art works themselves represents the cultural interference to the surrounding natural landscape. Here, the architect undertakes a special role as the direct influencer to the landscape. The Chichi Art Museum by Today And is one of the first of the 3rd development of museums, specially designed to house the works f Claude Monet, Walter De Maria and James Turrets, or on a higher level, to integrate their works with the natural environment.The way Today And created his cultural landscape, interfacing with nature with his strong use of man made materials concrete and glass, gives us a new perspective on how one interfaces with their surroundings. 2 THE ORIGIN The concept emerged due to a similarity between the artists in the history of art – they question modern art and architecture and the â€Å"quality of aesthetic experience† in a three-dimensional space. By congregating them into one space could form â€Å"a lace for a esthetic experience† (Watchmaker and Mammoth 2005, 83). Figure 2.Mashing, Japan (Source: http://architects. Files. Wordless. Com/2011 /06/chichi_panorama Jpg) The chosen site (Figure 2) was based on the likes of the initial client, Choirs Effectuate whom had a special liking towards the views of Sets Inland Sea and other islands from a place in Mashing (Watchmaker and Mammoth 2005, 83). The site was a good match with a three dimensional space envisioned by Monet – a space that by itself is a piece of art giving birth to the idea of a space that blends art and architecture together seamlessly.Hence instead of a monumental building sitting on the site, the building took the form of 2 an underground building with no apparent form. The visitor world experience each artist's space, one by one independently, and was prevented from looking at the building as a whole. Upon gathering all the experiences, they would then discover the structure in its entirety, and the relationshi ps and arrangements between spaces (Figure 3). Figure 3. Illustration of Separate volumes coming together in the site (Source: Today And at Mashing: art, architecture, nature. )The final museum itself, shown in Figure 3 embodies a mastery of light and materials that seek to reconnect with the elements of â€Å"art and nature†. To maintain the existing environment and aesthetics of the site, And chose to ‘bury' the museum underground. Only a series of concrete openings and geometrical skylights float among the greenery shown in Figure 4. He dedicated a separate space for each of the artists' gallery, bounding them together with a triangular courtyard that connects all the exhibition spaces via a mixed sequence of spaces – light and dark, open and closed. Figure 4.Concrete opening and Skylight 3 THE INTERFACE . 1 Today Nod's Chichi Art Museum Mashing 3 From Section 2, we understood that And made the decision to integrate art and nature as one by placing the buildin g underground thus giving Chichi its name. Yet in his design, we see stark signs of man – made influences to the site, the most obvious being the introduction of concrete volumes that encompasses the entire site. As visitors enters the 27,700 square foot reinforced-concrete Chichi Museum, they will discover the diminishing sunlight taken over by the disorientating semidarkness.The tunnel-like passageway provides a full separation from the external environment ND leads them into a square-sis forecourt carpeted with green stalks of bamboo-like grass (Pollock 2005, 116). This initial experience that And created as his entrance sounds rather intimidating. The uniqueness and unfamiliarity created a rather daunting feeling, and nature is nowhere mentioned or considered when one enters the space. Is the integration with nature only a surface treatment to the architecture by infusing the building underground?Perhaps And was looking more into interfacing art and architecture together rather than interfacing the culture with nature. For our interpretation of a seamless interface with nature seem to be different from Nod's radical representation of nature in his work. Yet where did our interpretation come from? 3. 2 Frank Lloyd Wright's Billingsgate Figure 5. Billingsgate and the terraces (Source: HTTPS://blobs. Alt. VT. Dude/Kristin/files/2012/12/few Jpg) One of the historical buildings that perfectly epitomize the concept of one with nature is Frank Lloyd Wright's 4 Billingsgate.Wild animals live near it; Trees surround it; Water swirls underneath; huge beclouded rest at its feet; the house's terraces echo the pattern of the rock ledges below (Figure 5). Billingsgate seeks to find harmony with nature. Instead of scoping a natural landscape for its inhabitants, the Kauffmann, Frank integrated the waterfalls with the architecture and hence integrated the falls into their lives. Figure 6. Elevation and Section of Billingsgate with materials (Source: Billingsgate: F rank Lloyd Wright's romance with nature. ) Wright furthered the integration with nature via his selection of materials.He kept his selection to merely 4 materials – sandstone, reinforced concrete, steel and glass and integrated them as part of the natural environment (Figure 6). All the stone at Billingsgate was quarried from the bottom of the waterfalls. Beams are designed in an arc shaped Just so to allow tree to grow through the trellis. The chosen concrete was of a pale ochre color to match the back of a fallen rhododendron leaf (Hangman 2011, 40). Exposed steel was painted red to give a raw feeling; reminding people of the red color of iron ore and also of the fiery method used to create steel.Clear glass was used to extend the nature into the interior of the house, sometimes becoming reflective like mirror-like surfaces of a calm pool, and at night, disappears to eliminate any distinction between the interior and exterior. Understanding Wright's design and linking it to integration with nature seemed almost redundant as the building encapsulates the whole concept. It is simple to relate the architecture as part of the landscape, and the concept of integration was strongly showed in every angle, which was not seen for the case of Chichi Art 5 Museum. 3. New Interpretation As a 3rd generation museum, perhaps we should not Judge the interface at its mere surface. Was there more to its looks for the Chichi art museum? From the Periphery of Architecture, And wrote â€Å"Nature in the form of water, light ND sky restores architecture from a metaphysical to an earthly plane and gives life to architecture. A concern for the relationship between architecture and nature inevitably leads to a concern for the temporal context of architecture. I want to emphasize the sense of time and to create compositions in which a feeling of transience or the passing of time is a part of the spatial experience. (And 2005, 465) Nod's interpretation of the interface between architecture and nature showed that it should not be merely a visual effect, but a more in-depth understanding and experience towards nature. It is thus reasonable to feel that what And is doing with his architecture was in particular, to isolate natural elements in blending them with the architecture. Yes one would not feel the natural environment, for we have never experienced nature in its rawness. Our idea of sunlight goes together with landscape, with clouds, with mountains and seas.We do not see light as a unit on its own. Figure 7. A Collage of the Monet Gallery at Chichi Art Museum This ideology was translated rather well in the Chichi Art Museum project. For Motet's Gallery where the 6 tater lilies situate, the experience starts with changing your shoes to soft indoor slippers at the shoebox followed by a vacant room before the exhibition gallery. The dim experience diminishes through the rectangular open entrance, where silky light trickles in. Once we enter the Motet's r oom, the transparent veil of light surrounds us.The completely white atmosphere, the white frames, white walls, white ceiling, and white floors seem to be representative of the raw sunlight, as it fills the environment. This enabled the paintings to have an illusion that it is relieved of its endings to the frame and Joins the space as floating scenery (Figure 7). The gentle ramp that circulates around the central triangular courtyard features a slit in the walls, exposing elements of light into the dim passageway creates a transition of space yet connecting the spatial qualities of the Monet gallery to the other galleries (Figure 8).This triangular courtyard exposes only rough stones at its surface, propelling vision from the visitors towards the sky (Figure 8). In James Turret's Installation of the Open Sky, visitors are given the opportunity to enjoy the natural sky IA a framed skylight and observe the changes where visitors may see sunlight shining through the window, clouds dri fting by or a lingering evening glow. Figure 8. The triangular courtyard (Source: Chichi Art Museum: Today And builds for Walter De Maria, James Turrets, and Claude Monet. The entire approach of Chichi Art Museum in integrating with nature forms a critical questioning of the natural environment. It forcefully brings out nature via the use of concrete envelope. The physical interface here is the concrete building, although man-made, it seems to be the perfect medium to bring the isolated 7 tater into the art and architecture. The Chichi Museum is thus a successful effort between the architect and the artists, people and nature, acting as a specific artwork in itself. Even the form as seen from the exterior, is like an art piece, infused within the mountains (Figure 9). This made the argument in 3. Invalid as the approach took by And in creating a dramatic entrance was Justifiable if his intention of integrating with nature is as discussed. Figure 8. Series of mediums illustrating the building infused into the site. (Source: Chichi Art Museum: Today And builds for Walter De Maria, James Turrets, and Claude Monet. ) The isolation of nature to provide the integrated experience is not a new concept. Even in Wright's Billingsgate, we can see hints of this method used. In integrating the waterfall into the architecture, instead of scoping a view, Wright chose to situate the house right on top of it.

What Kind of Poem Is a Pantoum

Brought to the West by Victor Hugo in the 19th century, the pantoum, or pantun,  is derived from a much older Malaysian form of a folk poem, usually made up of rhyming couplets. The modern pantoum form is written in interlocking quatrains (four-line stanzas), in which lines two and four of one stanza are used as lines one and three of the next. The lines can be of any length, and the poem can go on for an indefinite number of stanzas. Usually, the paired lines are also rhymed. The poem can be resolved at the end either by picking up lines one and three of the first stanza as lines two and four of the last, thus closing the circle of the poem, or simply by closing with a rhymed couplet. The interweaving of repeated lines in a pantoum suits the poem particularly well to ruminations on the past, circling around a memory or a mystery to tease out implications and meanings. The change in context that arises from the addition of two new lines in each stanza changes the significance of each repeated line on its second appearance. This gentle back-and-forth motion gives the effect of a series of small waves lapping on a beach, each advancing a bit farther up the sand until the tide turns, and the pantoum wraps back around itself. After Victor Hugo published a translation of a Malay pantun into French in the notes to Les Orientales in 1829, the form was adopted by French and British writers that include Charles Baudelaire and Austin Dobson. More recently, a good number of contemporary American poets have written pantoums. A Straightforward Example Often, the best way to understand a poetic form is to look at a typical and straightforward example. The lyrics to the song I Am Going to Like It Here, from the musical Flower Drum Song by Richard Rodgers and Oscar Hammerstein II, is a familiar and accessible example. Notice how the second and fourth lines of the first stanza are repeated in the first and third lines of the second stanza, where the context is expanded. Then the form is continued throughout, for a pleasing effect of rhyme and rhythm. Im going to like it here.There is something about the place,An encouraging atmosphere,Like a smile on a friendly face.There is something about the place,So caressing and warm it is.Like a smile on a friendly face,Like a port in a storm it is.So caressing and warm it is.All the people are so sincere.Like a port in a storm it is.I am going to like here.All the people are so sincere.Theres especially one I like.I am going to like here.Its the fathers first son I like.Theres especially one I like.There is something about his face.Its the fathers first son I like.Hes the reason I love the place.There is something about his face.I would follow him anywhere.If he goes to another place,I am going to like it there.