Dual Agency and Ethics Conflicts in Correctional Practice Essay

Dual Agency and Ethics Conflicts in Correctional Practice - Essay Example An overlap in the normative framework of offender rehabilitation and punishment develops a unique collection of ethical dilemmas for the practicing persons (Cervantes and Hanson, 2013). The roles of corrections professionals in prisons have changed to reflect a prevailing ideology within the correctional administration which is taken to deemphasize on treatment while emphasizing on custodial concerns and security. Consequently, these professionals experience unique professional and ethical conflicts, dilemmas. Among these conflicts are integrity, inmate custody, security, objectivity, honesty, documentation and decision making. As a manager I developed a six-step policy that controlled the identified dilemmas among others to provide guidelines and address the possible conflicts for the practitioners under my supervision. This was aimed to eliminate vague standards and possible misinformation by the practitioners. The approach below solves the dilemmas and improves the service deliver y to incarcerated individuals (Wilson, 2010). The six identified steps were, identify, analyze, report, discuss, action, follow-up. Under the identification step, the practitioners are entitled to point out the challenges that will build the chances of a conflict within themselves, peers, or with their clients, inmates. There are situation where interests may collide within cases handled by different practitioners in a correction facility, they are supposed to document it in detail to avoid delay in service delivery or injustices that may compromise integrity. The situation is analyzed to check whether it can be solved at this level before escalating it to the next level in management. If it is not possible to clear it here, it is moved to the next phase within the policy, reporting, where it is tabled to the management. From here, the involved corrections professionals delve into the matter in an attempt to eliminate the issue in dilemma. When a consensus is reached,

Hadrian’s Villa in Tivoli Essay Example for Free

Hadrian’s Villa in Tivoli Essay The art and science of designing buildings and structures is termed as Architecture, which is a Greek work with a meaning of a master builder. The macro-level of municipal designing, town development, and countryside architecture, to the micro-level of producing a range of furniture can be included in the broader description of the architecture. Both feasibility and builder’s cost are usually addressed in an architectural design, and the function and aesthetics of a user is considered an importance factor in its planning. Volume, light, shadow, texture, and space are often manipulated during the planned architecture, and Sometimes, pleasing aesthetics are achieved by abstracting different and diverse elements artistically. Many architectural works has been represented as a cultural and political symbol in today’s world. The Pantheon on top of the Acropolis in Greece, the Colosseum in Italy, Hadrian’s Villa at Tivoli, and Taj Mahal at Agra in India are some of the many architectural designs and structures that represent the architectural history of their age. The architectural history begins with the needs aroused, such as security, shelter, worship, etc, and means, which were available at that time, for example, skilled persons, building materials, machineries, etc. An architectural expertise was evolved through the oral civilizations and practices of human beings, in order to progress and improve their knowledge to compete in this world. In many ancient civilizations, the architecture was deemed as a reflection of connectivity with the divine power and supernatural command. However, the power of the state or the ruler was represented by the complex and beautiful architectural designs and structures at that time. As the civilizations changed, traditions and customs evolved, people developed themselves and transformed themselves into urban form, hence, the architectural field progressed, and a need to divide it was felt. In order to understand the architectural importance and influence in the society, we will try to understand and discuss the Italian Architecture from its different perspectives and buildings that were built by the different emperors of that time. When we talk about the Italian Architecture, one can say that it owns a distinctive mixture of divinity, uniqueness, and power that were gained by the kings and rulers of that era. One of the many examples of this renowned architecture era is the Villa Rotonda at Vicenza, Villa Emo, Osborne House, etc. , which are the true examples of the fine Italian Architecture. In order to understand the Italian Architecture, we will comprehend the structural and historical significance of the two Italian buildings, that is, Hadrian’s Villa, and Villa Rotonda in the Italy. We will try to compare and contrast these two historical buildings, relating to the architects that built these buildings. Its design, the period, and the historical context will also be considered during this study. We will also try to analyze the ideas and concepts that are underlying these buildings. Illustration of any historical precedent that might have influenced their design will also be explained during the study. We will try to discuss the building elements and materials that were during their construction, and different modes of technology that were required by the architects in that century will also be considered in a detailed section of this study. In the early second century, there was an emperor Hadrian, who built a large Roman villa, which was called as Villa Hadriana of that time. Accordingly, now it is know as Hadrian’s Villa. This villa is one of the finest architectural and structural designs that have been built by the emperors in beautiful cities of Italy. An area of at least 100 hectares or 250 acres has been covered by a sumptuous complex of over 30 buildings. Excluding this area, unexcavated area of 300 more hectares is also considered the part of this villa. In this regard, a place for the World Heritage Site has been given by the UNESCO. At the time of the Emperor Hadrian’s life, this villa is considered as his preferable residency, whenever he was found to be in the Rome. There are several reasons of choosing an imperial palace outside Rome, rather than going for several other palaces that have been built by him and other emperors. Some miserable relations with the senate and the local Roman aristocracy were the primary cause of this influence for an imperial palace outside the city. Accordingly, the imperial residence was the Villa Hadriana. The ancient Tibur, which is now known as Tivoli has this villa built, and which is 28 kilometers away from the Rome. Two minor tributaries are surrounding this villa, which has been built on a hillside. It was built in such a way that a person can reach the villa by land or by boat very easily, via Tiburtina and via Aniene respectively. The travertine quarries, ample supplies of tufa, and unlimited lime was another significant reason of choosing this location of the villa, as these materials were used in the production of cement. The site was also very abundant in the water resources. Therefore, baths were also built inside the villa, which needed vast amounts of water. A traditionally structured villa can be seen in the central part of this palace. A garden with an elongated fountain was included in this villa. Two buildings were also built by the emperor, which were known as Latin library and Greek library. The main residential part of the palace included a large courtyard and a unique building having Doric columns in them. Portico and richly adorned rooms were built inside another grand court, which was known as Golden Court, as it was having very rich finds in it. A series of underground roads, storage facilities, passages, and slave quarters have also been built much below the surface of this villa. In order to run such a huge complex, most of the infrastructure was tucked away neatly, which as another uniqueness of this villa. However, even from the above findings and observations of the architects, it is still very hard to create the appearance of the villa, that it used to be at the time of the Emperor Hadrian, as all the upper parts of the various buildings have been loss during years and wars occurred in the region. Another uniqueness of the Villa Hadriana is its collection of rich monuments, which were brought from various parts of the Roman empire of that time. The display of this rich collection was a symbol of culture and learnedness among wealthy Roman Emperors of that time, especially the emperors, who ruled in the first and second century BCE. Some influences can be found from the two buildings of Marcus Tullius Cicero; Academia and Lyceum, which were famous for their philosophical education in the ancient Greece. Similarly, an area called Syracusa was found to be in the residence of Augustus, which also played an influential part in the various buildings that were built in the Hadrian’s Villa. There are some associations of this Hadrian’s villa with some ideas, which were taken by the previous emperors of that time. However, it is not possible to identify every association due to the dispersion of the artistic elements of the original villa that were built by the emperor. A famous monument in the ancient Athens was ‘Stoa Poikile’ that was painted colonnade, and therefore, the ‘Poikile’ of the Hadrian’s villa has been associated with this Greek monument.

Practice Requirements for Children with Disabilities

Practice Requirements for Children with Disabilities Formal Assessment One OUTLINE the legal and regulatory requirements in place for children with disabilities or specific requirements. Following the Equality Act 2010 and the Special Educational Needs (SEN) Code of Practice (2001)all establishments including those delivering education have a statutory duty to promote practice that values the individual needs of children and promotes equality and inclusion. This means that where possible children with SEN should be taught in mainstream schools or early education settings. All children with SEN needs must be treated where possible the same as other children. Educational establishments have to ensure they have clear SEN policies in place and these need to be reviewed regularly. Children with SEN need to be offered full access to a broad, balanced and appropriate curriculum at all stages. The governing body or management group are responsible for establishing appropriate staffing levels and funding arrangements to ensure there are enough resources both human and physical to be able to adhere to the policy. All staff need to be aware of the individual needs of pupils and systems need to be set up to ensure the passing of information from one school phase to another. They should be involved in the development of policies and be aware of procedures for identifying, assessing and making provision for children with SEN. The Code of practice recognises the importance of the role of parents and the child and both need to be included in the discussions for any support that is necessary and the development of targets for learning. It is a requirement that Individual Education Plans (IEP) are drawn up to help guide the delivery of special education support and services and to identify additional or different interventions necessary from the existing curriculum to enable the child to progress. Suitable learning challenges should always be set so that children don’t become disillusioned and opt out of education. Where possible the targets should be in the child’s own words or symbols. IEP’s need to be reviewed at least twice a year preferably termly and adaptations made in light of the child’s progress. The parents and child must always be included and present at reviews and Annual reviews should include all appropriate staff and support agencies including the next educational provider when a child is moving from one educational stage to another. Children need to be listened to and their views valued. They need to be able to express their feelings, participate in discussions and indicate their choices including when changing schools. To assist schools external support services should be used to support the school, family and individual child. Schools need to work in partnership with LEA and the providers of their services as children with SEN are more likely to have health issues including mental health problems. Consultation is necessary as health issues maybe contributing to difficulties in school and with their ability to learn. Many schools have put in place a SENCO who is responsible for monitoring the use of the policies in place and for coordinating the provision for children with SEN. They are responsible for the various action plans such as School Action and School Action Plus EXPLAIN why it is important to work inclusively with children with disabilities or specific requirements The implementation of inclusion promotes positive awareness and greater social understanding of all children and staff in an educational setting. It also provides opportunities for friendships between all children and develops comfortable interaction with those with disabilities. In a middle school I taught in there was a centre for children with disabilities. However for many lessons, breaks, lunchtimes and school trips all children were together. This enabled children to support each other and assist those with disabilities to join in the wider curriculum and to feel accepted in the school community. Inclusion helps avoid the segregation of children with SEN and encourages children to respect each other and learn to understand those with diverse characteristics. It also encourages respect for children of all background and abilities. Being educated together builds confidence and enables those with SEN to become more positive and assertive as well as develops communication skills. ‘Inclusion does not simply mean the placement of students with disabilities in general education classes’ (Inclusive Schools Network page 1) It is necessary for the school to make fundamental changes in the way the school community supports and addresses the individual needs of all children. This will benefit all children and enable them to flourish. Following the United Nations Convention on the Rights of Persons with Disabilities means that educational establishments must encourage respect for children with SEN. They must also permit equal access to the curriculum and adapt school for children with disabilities. This is from the physical side such as providing access for wheelchairs and children with other physical disabilities, as well as providing extra support including writers, readers, use of sign language to help with their learning and assessments. Teachers and staff need to be able to adapt lessons to accommodate the wide range of learning styles in their classes e.g. visual, auditory and kinaesthetic. Use of computers, braille, different colour papers, various size fonts will assist the different needs of children. This will help all children to access the curriculum and encourage a positive and exciting learning environment. As a teacher I have spent many hours planning differentiated lessons that take into account the class’s varying needs. I have put work on different colour paper according to what has been identified for a child, for example yellow or green. I have made use of the interactive white board to allow children to hear and see as well as come up and use the interactive pen to enhance their understanding of a concept. Individual learning mats are also helpful as the child has the information at their desk and does not need to keep putting up their hand or feel embarrassed to ask questions. Inclusive education creates a supportive environment for all, from providing academic support to behavioural support. There is a need for consistency throughout the school community. If the children with SEN feel part of the school they and their families will feel valued for who they are. By developing inclusion in education, hopefully children will grow up to respect those with different needs and stop prejudices and stereotypes in wider society. Children are being prepared for their future adult life in the community, it is important to remember that â€Å"today’s classmates are tomorrow’s employers†. (Heartland Equity and Inclusion Project {n.d.} ) EVALUATE the benefits of working in partnership with parents and other professionals It is vital to work with parents as they have day to day knowledge of their child and over the years will have found ways of dealing with their needs. Parents see the child with their own needs and characteristics. Sometimes this may be forgotten in an educational setting where there are many other children to be looked after and educated. There is also an emotional attachment between parents and their child and this needs to be respected by staff particularly if there is conflict in opinions and what is deemed to be best for the child. Some parents may have different viewpoints and opinions to that of practitioners. These will need to be discussed professionally and hopefully get an agreement. When I have discussed issues with parents they are normally very supportive particularly if you can explain how it will benefit their child. I have normally managed to come up with suggestions that promote a positive outcome. Parents often just need guidance particularly if they are worried about how their child is progressing in the classroom. With modern technology it is often easy to show parents new apps or websites that can help them support their child at home. At one parents evening I had my IPad and was able to show a parent maths activities to help develop basic maths skills. The parent was delighted as they had not thought of using the IPad in that way. Depending on the disability of the child will also influence what support might be needed by parents. I was involved in planning a year 7 school trip to York. All pupils were going. There was one pupil who was in a wheelchair. They were able to come with because I asked the mother if she would like to join us. She said she would and then I was able to plan the best thing for the pupil. It necessitated her being in different accommodation as the hostel couldn’t cope with her sleeping arrangements. But the rest of the trip was fine. She had a great time and all children helped support her during the trip and whilst visiting the different sites. It must also be remembered when working with parents that they may have their own disabilities. They need to be respected and help from external agencies may be necessary to help parents attend meetings and other school events. Depending on a child’s needs may determine what outside agencies are needed to provide support for the child and the school. For example speech and language therapists, health visitors and social workers or GP’s and paediatricians. The child can only learn if all their needs are taken into account. Schools and other educational setting may not have the expertise needed therefore outside agencies must be used as a support for the school as well as the child and their family. Educational settings are there primarily to provide learning and knowledge and the better use of outside expertise the easier it will be for the child to access learning whilst coping with their problems. In one school I taught in a Chinese child joined. He was not able to speak or understand any English. The school provided a translator who came into classes and helped support him for a term. By the end of the academic year he was able to communicate with staff and pupils and had made very good progress academically. DESCRIBE how practitioners can adapt their existing practice to support children with disabilities or specific requirements. There are many different areas where adaptation needs to be made to existing practice. This is why there needs to be a whole school approach. Firstly the learning environment to allow the child to move around safely. From putting in ramps and stair lifts to repositioning furniture in classrooms to cope with the disability of the child. The timetable of a class may need to be altered so that the lessons are in a downstairs room rather than upstairs. The teaching resources and materials will also need to be adapted according to the needs of the individual. Worksheets may need to be changed or provided for those with learning disabilities like dyslexia. Pictures and diagrams may need to be used rather than just the written word. Vocabulary sheets can also be provided to assist with understanding. I taught one group of pupils with very low ability in maths and I printed off large posters with pictures to help them understand and for them to be able to see the information all the time. For example months of the year, times of the day. This also helped them to learn to spell important words. I have also taught a pupil with very poor eye sight in PE. I had a ball that had a bell in it to allow her to hear it and other children helped her in small game situations. I also used larger and colourful balls when teaching throwing and catching skills. When teaching deaf children it is necessary to consider where to position the child and the teacher throughout the lesson. I have worn an audio box to allow the child to pick up what I am saying. Providing extra support is important as well as adapting activities. A child may need help with personal care for example getting changed for PE or swimming. Depending on the lesson will determine what support or adaptation is needed. I have included lots of group work to help children who have no confidence in maths to support each other. The children then don’t feel that they are stupid. I have taught a pupil with dyscalculia and he needed more one-to-one support that group work. I have also taught a child who needed support in maths only when I was doing work that needed graphs drawing or the use of compasses and protractors. The rest of the time he was fine and near the top of the class. He also needed support when it was assessment time as he lacked confidence in himself. Many children with disabilities are the same. The emotional needs of a child is also important so it may be necessary to adapt how to deal with behavioural issues that come up. The child may just need some time out or somewhere to go if they can’t cope in the classroom setting. Adapting existing practice is challenging and the advantage of inclusion is that when all children are taught together differentiation often helps all children. Those with disabilities or specific learning requirements become part of the group and with extra support in the classroom are easier to help. Reference List Inclusive Schools Network, Together We Learn Better: Inclusive Schools Benefit All Children.  www.inclusiveschools.org Sponsored by Stetson and Associates, Inc. Houston, TX (n.d)  (accessed 04 June 2014) Heartland Equity and Inclusion Project, Why Is Inclusion Important? Heartland Community College (N.D.) www.heartland.edu/help/inclusion/importance.jsp  (accessed 03 June 2014) Special Educational Needs Code of Practice November 2001  Ref: DfES/581/2001 http://media.education.gov.uk/assets/files/pdf/s/special%20educational20needs%20code%20of20practice.pdf United Nations Convention on the Rights of Persons with Disabilities 2006 http://www.un.org/disabilities/convention/conventionfull.shtml Cox, P.R. Dykes, M.K. ‘Effective Classroom Adaptations for Students with Visual Impairments’, in Teaching Exceptional Children July/August 2001 www.pathstoliteracy.org  (accessed 30 May 2014)

Death Penalty :: essays research papers fc

1st Negative case You have heard from the affirmative side and you may disagree or agree with some of their points, but the reality is that their plan will not and cannot succeed in today’s society. True, on paper the plan looks very good, but it will not work. Today’s present system, with the death penalty is much better off then without it. The negative side, which my partner and I represent, feels that the death penalty should not be abolished and that today’s system, which allows states to choose if they want to impose the death penalty, should continue to be used. It is true that innocent people have been executed, but that number is miniscule compared to the amount of â€Å"true† criminals that are rightfully executed. There is 28-step procedure necessary before any person can be given a death sentence. By having the process consist of numerous steps and involving many different people, human error is greatly reduced. The death penalty is not raciall y or gender bias, much to the contrary of what the affirmative team believes. The fact is that men commit more crimes, so they will be convicted at a greater rate then women. The ratio of men to women on death row and executed is 68:1 or 3400:50 (NAACP Spring 1996). From 1976-1994, men committed 7 times as many murders as women or a 7:1 ratio (Sourcebook ’94). Therefore, it may be statically shown that men are, by a 70:1 ratio, more likely to be on death row then are women. Like gender bias, racial bias is nonexistent in the rulings involving the death penalty. Whites represent 56% of those executed, and blacks 38% (NAACP Summer of 1996). The other 6% are other minorities. The death penalty is not bias to any race, but by just looking at the numbers it may seem that it is. The total populations of each race will give the illusion of bias, but that is not true. The affirmative side also argues that the cost of life in prison without parole is much cheaper then the cost of the death penalty, but this, like their charge of bias, is also untrue. The death penalty is millions cheaper then life without parole in the long run, but when our numbers are compared to the affirmative’s numbers no right or wrong conclusion can be reached. No one team can give impartial numbers since studies by both sides are bias.

Microplastic Pollution

Microplastic pollution is an increasing problem in the marine environment. This study had five research objectives: establish if seagrass habitats are accumulating microplastics compared to sandy habits in the Florida Keys, identify if there are any microplastics present in field collected sea cucumbers in the Florida Keys, determine the number of microplastics in Pensacola Beach sediment, determine the number of microplastics in St. Joseph Bay sediment, analyze field collected sand dollars in the Panhandle of Florida for microplastics, and conduct a laboratory experiment on the sand dollar, Mellita tenuis, to determine if they are selecting for microplastics. Microplastics were extracted from samples using a saturated CaCl2 solution, and visual examination. Both seagrass beds and sandy areas in the Florida Keys contained microplastics. Sediment in Pensacola and St. Joseph Bay both contained microplastics. Sea cucumbers collected in the Florida Keys, and sand dollars collected in the Panhandle of Florida, had microplastics as part of their gut content, suggesting they may make useful animals for monitoring nearshore environments for microplastic pollution. In the laboratory, M. tenuis ingested microplastics in slightly lower proportions compared to surrounding sediment. CHAPTER I INTRODUCTION Microplastics Plastic production has been increasing worldwide for the last sixty years, with manufacturing increasing about 9% each year. In 2007, 260 million tons of plastic were produced (PlasticsEurope 2008). The high durability, low cost, and light weight have made plastic the material of choice in creating many products (Andrady and Neal 2009; Thompson et al. 2009). The incredible success of the plastic industry was unexpected, thus when plastics were first introduced, dangers to the environment were ignored (Stefatos et al. 1999; Derraik 2002). In 2010, between 4.8 to 12.7 million metric tons of plastic entered the marine environment, and the amount is increasing each year (Jambeck et al. 2015). The consequences of plastic entering the marine environment has only been recently recognized, and is still not well understood. The combination of the long time it takes for plastic to degrade, its ability to concentrate contaminants, and the ingestion by marine organisms are collectively raising concerns for the health of the marine environment. Microplastics are defined as plastic pieces less than 5 mm in size (Arthur et al. 2009; Van Cauwenberghe et al. 2015), although different studies have contrasting definitions of microplastics making comparisons difficult (Van Cauwenberghe et al. 2015). Primary microplastics are intentionally made 5 mm or less for use in cosmetics, cleaners, and industrial scrubbers. Microplastic pellets are the raw plastic material from which larger plastic items are made (Wilber 1987; Costa et al. 2010). Secondary microplastics are derived from larger plastic sources by mechanical, photolytic, or chemical degradation (Mathalon and Hill 2014; Alomar et al. 2016). Examples of secondary microplastics include irregular fragments from macroplastics, and fibers from clothes and nets. Plastics enter the ocean from sources on land and on the sea. About 75% – 90% of plastic debris is land-based coming from littering, and improperly maintained landfills. Areas with higher river input have a higher concentration of microplastics (Vianello et al. 2013; Van Cauwenberghe et al. 2015). The other 10% – 25% come from direct inputs to the ocean, such as shipping, dumping garbage, and fishing (Wessel et al. 2016). Human population density is a large contributing factor in the distribution of microplastics in the ocean and on shorelines and, not surprisingly, heavily populated areas have higher concentrations of debris compared to areas of low population density (Van Cauwenberghe et al. 2015). Beaches near urbanized areas may have 3.3% of the sediment composed of microplastics by weight compared to 0.12% in more isolated areas (Carson et al. 2011; Van Cauwenberghe et al. 2015). With human population growth, more waste is entering the oceans via sewage outfalls, rivers, littering, and industrial discharge (Claessens et al. 2011; Derraik 2002). Over 90% of the variation in the abundance of microplastics on shorelines can be explained by the population density near the area being sampled (Barnes 2005; Browne et al. 2010). Population size and waste management systems largely determine which countries contribute the greatest amount of plastic marine debris into the ocean. If waste management does not improve, there will be an order of magnitude increase in the amount of plastic entering the ocean by 2025 (Jambeck et al. 2015). Documentation of microplastics in the marine environment began in the 1970's when they were first described in the water column (Carpenter and Smith 1972; Carpenter et al. 1972), and on shorelines (Gregory 1977; Gregory 1978; Shiber 1979; Shiber 1982). Thirty years later occurrence of microplastics in the sediment was first described (Thompson et al. 2004). Types of microplastics in the environment include: fibers, fragments, films, and microbeads found in the water column, along shorelines, and in sediment in every marine environment (Wright et al. 2013b; Alomar et al. 2016). Fibers are the most abundant type of microplastic found by many studies, and may be composed of nylon, polyvinyl alcohol, and polypropylene (Browne et al. 2010; Claessens et al. 2011; Alomar et al. 2016; Taylor et al. 2016). Nylon fibers come from clothes, carpets, ropes, and nets. Polyvinyl alcohol fibers are from fishing gear such as fishing lines. Polypropylene fibers are derived from ropes and carpets (Claessens et al. 2011). Washing a single piece of clothing produces around 1,900 fibers that may be released into the environment, thus fiber pollution is often greatest in areas near sewage outfalls (Browne et al. 2011; Alomar et al. 2016). More than four microplastic fibers per gram of sediment have been found in samples taken from areas where sewage is discharged into the ocean (Browne et al. 2010). The ability to determine if a fiber is plastic, or some other type of material, is crucial for accurate estimates of the amount of plastic in the environment. A study in the English Channel found that over half of the fibers ingested by fish were made of cellulose compounds (Lusher et al. 2013)Fragments are usually broken down from larger materials that may be made out of a variety of polymers including polyethylene, polypropylene, polystyrene, polyvinylchloride, polyester, nylon and polyamide (Browne et al. 2010). Polyethylene and polypropylene are found in plastics like bottle caps, fishing line, wrappers, cigarette butts, and straws (Wessel et al. 2016). Polyethylene and polypropylene production uses half of the oil consumed for plastic production (Browne et al. 2010). Plastic films are used in products such as balloons, frozen food packaging, and medical supplies (Claessens et al. 2011). These one-use plastics degrade over time becoming microplastics. Microbeads function as scrubbing agents in face washes and cleansers, and are made from polyethylene, polypropylene, and polystyrene (Claessens et al. 2011). Presence of microbeads in Nieuwpoort Harbor, Belgium, the largest yacht harbor in Northern Europe, was ascribed to transport by several rivers flowing into the harbor (Claessens et al. 2011). Castaà ±eda et al. (2014) found a high concentration of microbeads in the Saint Lawrence River coming from industrial sewage. Microbeads have a higher density than many plastics, so it is hypothesized that microbeads settle to the bottom before being transported further offshore. While this type of microplastic is not normally the most abundant in the environment, microbeads have been used in many laboratory experiments, and marine organisms are known to ingest them (Setà ¤là ¤ et al. 2016).

The Human respiratory cardiac systems and how each of these parts affect ventilation The WritePass Journal

The Human respiratory cardiac systems and how each of these parts affect ventilation References The Human respiratory cardiac systems and how each of these parts affect ventilation IntroductionA)  Respiratory System1)  Ã‚  Name the parts of the body that make up the respiratory system. Describe each of these parts and the role they play in ventilationNasal PassageEpiglottisPharynxLarynxTracheaBronchiBronchiolesAlveloi2)  Ã‚  Ã‚  Explain how the cells of the alveoli have become specialised  3)  Ã‚  Evaluate whether effective gaseous exchange has been achieved in humans4)  Ã‚  Explain the role of the nervous system in controlling breathing  B)  BLOOD1)  Ã‚  Name 5 components of blood plasma and describe their functions  2)  How does the unusual shape of the red blood cell improve its function?  3)  Ã‚  How is oxygen transported around the body?4)  Ã‚  How is carbon dioxide transported around the body?  5)   A group of muscle cells are respiring faster than usual as they work harder. Explain what affect this will have on the ability of the blood to carry oxygen and why?C) Circulatory System1)   Compare the structure of a capillary , vein and an artery and explain why their structures allow them to carry out their specific functions.2)  Ã‚  Compare the structure of the atria and the ventricles in the heart.3)  Describe the four stages that make up on single heartbeat   4)  If the Sino atrial node is stimulated it triggers a wave of contractions through the heart. How does that process ensure that the atria contract together and ventricles contract from the bottom upwards?5)  Ã‚  An athlete is training for a big competition  ReferencesRelated Introduction A)  Respiratory System 1)  Ã‚  Name the parts of the body that make up the respiratory system. Describe each of these parts and the role they play in ventilation Nasal Passage This is the route that air enters the body. It is structured as a cavity and is divided by a septum, the posterior section is a perpendicular plate of bone and the anterior is a piece of cartilage which separates each nostril. The roof of the nasal cavity is structured of bone. The floor of the nasal cavity is formed from the roof of the mouth, a hard palate at the front and a soft palate behind which consist of involuntary muscle. The nose is lined with ciliated columnar epithelium, a mucous covered membrane which contains mucous secreting cells which trap particles of dust and dirt.   The cilia move the mucous along towards the throat. The hairs at the front of the nostrils trap large particles and smaller particles of dust and bacteria settle in the mucous before being moved along. The mucous provides a protective role to the underlying epithelium preventing it from drying out. The projecting conchae, which is divided into three passages the inferior, middle and superior cavities increases the surface area and spreads the area across the whole of the surface of the nasal cavity. This large surface area provides maximum efficiency to warming and filtering of the air. The warming of the air is due to the large amount of blood vessels of the mucosa. As the air travels it passes the mucosa which is moist and it here becomes saturated with water vapour. Epiglottis This is flap of cartilage a leaf shaped structure which is fibro elastic cartilage attached to the thyroid cartilage. It is covered in stratified squamous epithelium which swings across the entrance of the larynx. Providing and opening a closing mechanism. The structure is purposeful as it ensures that whilst swallowing the flap stops food and drink from entering the trachea. Pharynx The pharynx is a tube which is around 12 cm long. It is positioned behind the mouth nose and the pharynx. Air passes through the larynx through the nasal and oral sections and food only passes through laryngeal sections. The pharynx is lined in mucous membrane, ciliated columnar epithelium in the nasopharynx. In other regions of the pharynx it is lined with stratified squamous epithelium to protect underlying tissues. The pharynx has a layer of tissue called sub-mucosa as well as a layer of smooth muscle which help to keep the pharynx open so that breathing is not stopped from happening.   The air is warmed by the pharynx as alike the nasal cavity Larynx Is made up of several cartilages. These cartilages are all attached to one another by ligaments and various membranes. The thyroid cartilage is the basis of majority of the anterior and posterior walls of the larynx. The epiglottis is attached to the thyroid cartilage. During swallowing the larynx moves upwards and blocks the opening of it from the pharynx. This is where the epiglottis covers the larynx. The larynx provides the link from the pharynx to the trachea. The larynx continues to warm and filter air that passes through. Trachea Is a muscular tube approximately 2-2.5 cm wide. It is made up of three layers of tissue and is held open by with C shaped rings of muscle cartilage. There is soft tissue in between the cartilage which allows flexibility allowing for swallowing. The trachea is lined with ciliated columnar epithelial cells containing goblet cells and mucous glands which cleanse the air and the mucous traps any dust in the inspired air. The cilia of the mucous membrane waft the particles upwards towards the larynx so that they are swallowed or coughed out of the body.   The thin walled blood vessels warm the air as it is contact with a warm surface. The zeros glands moisten the air as it passes. The trachea divides into two to form the bronchi. Bronchi The bronchus is a muscular tube which branches into each lung. It forms the branches of the air duct system.   The bronchus is smaller in diameter than the trachea. The right bronchus is wider but shorter than the left bronchi and is approximately 2.5cm long. The left bronchus is approx. 5 cm long and is narrower than the right. The bronchial walls are lined with ciliated columnar epithelium. The role of the bronchus is to regulate both volume and speed of air into and within the lungs. This is controlled by the parasympathetic nerve supply causing constriction and the sympathetic nerve supply causing dilation. The bronchus also continues to humidify and warm air as well as the removal of particles and foreign bodies. The right bronchus divides into three branches to each lobe before dividing into bronchioles. The left bronchus divides into two branches to each lobe, and then divides into the bronchioles. The smooth muscle allows the diameter of the airways to increase or decrease due to the nerve supply regulation. The bronchi divide, and their structure changes to match their function. The cartilage rings are present however as the airways divide the rings become smaller. The epithelial lining of the bronchus decreases and is replaced with non-ciliated epithelium. Bronchioles Branch off the bronchi, into smaller diameter tubes. They are made up of smooth muscle to ease contraction, and this changes the diameter of the lumen.   Each lobule is supplied with air by a terminal bronchiole. The mucous membrane changes from ciliated columnar epithelium to ciliated simple columnar epithelium with some goblet cells in the larger bronchioles to, no goblet cells and only simple cuboidal epithelium in smaller bronchioles, to non-ciliated simple cuboidal epithelium in the terminal bronchioles. Where there are no cilia present any inhaled particles are removed by macrophages. The air is conducted and contraction occurs to alter smaller tubes to vary the inflow to and from the respiratory system beyond. The bronchioles branch further to alveolar ducts. Alveloi There are thousands (approx. 30 million in adult lungs) of these tiny air sacs in the lungs. The alveoli surround the alveolar ducts. Alveolar ducts are smooth muscular tubes containing alveolar macrophages that engulf foreign matter and end in the alveoli. There are two types of alveolar cells, type I are one cell thick are lined with simple squamous epithelial cells which line and cover the structure. Alveolar type II are also referred to as septal cells. And are placed between type I alveolar cells. Each alveolar sac consists of two alveoli. Type I alveolar cells are where gas exchange takes place. The type II cells contain microvilli which ensure the surfaces between cells are moist. The vast surface area of the alveoli provides an ideal environment for diffusion to occur rapidly through the walls of alveoli and the blood. As well as being one cell tick means that the diffusion is able to take place at great speed as they only have once layer equalling a smaller distance to diffuse through. Over 80% of the surface area of the alveoli is covered in capillaries which allow the haemoglobin in the red blood cells to pick up and drop off oxygen and carbon dioxide effectively. CO2 diffuses out as the O2 is picked up in the red blood cells. 2)  Ã‚  Ã‚  Explain how the cells of the alveoli have become specialised   The alveoli contain two types of specialised cells as well as alveolar macrophages. The alveoli are a group of epithelial cells that make up a tissue and carry out specific, specialised roles within the respiratory system and without them gas exchange would not be able to take place. Type I alveolar cells are flat squamous epithelial cells and form the alveolar wall. Gas exchange takes place through the cell membranes and cytoplasm of the alveolar wall. Alveolar type I cells cover 95%% of the alveolar surface. Type II alveolar cells are cuboidal septal cells. They are mixed about with the Type I cells and are the remaining 5% of the surface of the alveoli. These cells secrete a phospholipid substance called surfactant, a fluid which coats the inner surface of the alveoli and keep them moist whilst controlling fluid levels. This reduces the surface tension of the pulmonary fluids and allows gas exchange to take place, and prevents the collapse of the air ways. Alveolar Macrophages Kill bacteria and trap particles. These cells can also transport indigestible substances to the lymph nodes of the lungs to then be exhaled or coughed out of the body. 3)  Ã‚  Evaluate whether effective gaseous exchange has been achieved in humans The large surface area of the alveoli provides the optimum area for gas exchange to take place. The thin epithelium layer separating the air in the alveoli from the blood in the capillaries provides a short travelling distance for the diffusion of gases to take place. The blood in the capillaries lining the alveoli are removing oxygen all of the time. The oxygen concentration is kept low therefore the steep concentration gradient is maintained. The relationship of diffusion is described by: Fick’s law: Rate = surface area x difference in concentration Thickness For diffusion to be efficient the surface area and concentration difference should be as high as possible and the length and thickness of the pathway as low as possible. The thinner the membrane, the faster the diffusion. In the human body an effective gaseous exchange process has been achieved as the concentration difference is maintained as the blood is continually pumped around the body, therefore the blood passing through the capillaries are picking up oxygen from the alveoli and living behind carbon dioxide. The surface area of the alveoli being thin and vast allows the oxygen to pass through at speed. 4)  Ã‚  Explain the role of the nervous system in controlling breathing   Overall control of the respiratory system is by the respiratory centre in the brain which is involuntary. The respiratory muscles require on-going neutral stimuli to function. The muscles contract, changing the size of the thorax, which increases the volume inside the thoracic cavity. This reduces air pressure and the air rushes into the lungs. This stimulates the stretch receptors in the walls of the bronchus. The messages are then returned to the brain by the vagus nerve. This is due to the nerve impulses being transmitted from the respiratory centre, a cluster of neurons in the brain (medulla oblongata and the pons of the brain stem).   When these impulses reach the diaphragm and the intercostal muscles they contract in inhalation takes place. When there are no nerve impulses the muscles relax for a short resting period and the cycle then repeats. When the lungs are fully inflated due to inspiration the pause in the signal causes the lungs to deflate and expiration takes place. There are chemoreceptors which are responsible for detecting changes and they are present in the wall of the aorta, the carotid bodies and the medulla oblongata. The central chemoreceptors which are present in the medulla oblongata detect rises of carbon dioxide and stimulate the respiratory centre, increasing the ventilation of the lungs and reducing the arterial partial pressure of co2. The chemoreceptors respond to changes in the partial pressure in oxygen and the levels of carbon dioxide in the blood. The activity of the respiratory centre is adjusted by the nerves in the pons in response to input from other parts of the brain. The inspiration neurons set the rate and the depth of breathing. The axons of the sensory neurons from the aortic bodies are part of the vagus nerve. The peripheral chemoreceptors are conveyed by the vagus nerve to the medulla and stimulate the respiratory centre, the rate and depth of breathing are then increased and the increase in blood pH level stimula tes the peripheral chemoreceptors increasing ventilation, in turn increases carbon dioxide causing an increase in the blood pH levels. B)  BLOOD 1)  Ã‚  Name 5 components of blood plasma and describe their functions   Different sections of plasma contain a different composition. Plasma is made up of 90% water and 10 % dry matter. Plasma is made up of around 7% of plasma proteins. Which are responsible for the osmotic pressure of blood? If the plasma proteins fall the osmotic pressure will be reduced and the fluid will move into the tissues. The thickness of plasma is also due to the plasma proteins such as albumin and fibrinogen. Albumin- provides the osmotic balance and pressure. The albumins are carriers for free fatty acids. Globulins- have several roles in the plasma. They act as immunoglobulins which are complex proteins. They neutralise antigens by binding to them. They also transport some hormones and mineral salts as well as providing inhabitation of some enzymes. Salts- assist in the osmotic balance and the conduction of nerve impulses. Assist With blood clotting as well as transporting CO2. Electrolytes- Have various roles within the plasma including the transmission of nerve impulses as well as muscle contraction and the maintenance of maintaining the pH level of blood. Gases- Are transported around the body in the plasma as dissolved substances. Most of the carbon dioxide in the body is transported as bicarbonate ions in the plasma. Hormones- Hormones pass into the blood directly from the endocrine cells. The blood transports them to the area of the body where they are required for cellular activity. Heat in the plasma is to maintain static core body temperature. Oxygen in the plasma is required for the aerobic respiration in the cells and Waste products such as urea serve no purpose as they are the waste products of protein metabolism. Urea is transported in the blood to the kidneys to be excreted. 2)  How does the unusual shape of the red blood cell improve its function?   Red blood cells are approx. 7 micrometres in diameter they have no nucleus and no intracellular organelles meaning there is more room for haemoglobin to be present in the red blood cell rather than in solution, which is responsible for gas exchange.   The bio concave disc shape of the red blood cell raises the surface and cytoplasmic volume ratio. Allowing vast volume and a large surface area provides the ideal environment for diffusion of gaseous exchange. The red blood cells are packed with chemicals and enzymes which allow haemoglobin to carry oxygen effectively. The biconcave discs, the thinness of their central area allows unloading and loading of oxygen easier. The selectively permeable membrane makes them flexible and smooth allowing them to squeeze through capillaries making gaseous exchange more efficient. All of the haemoglobin that cells contain is close to the surface which is also a contributing factor for exchange of gases being able to take place with ease as this lessens the distance to be travelled. The red blood cells respire aerobically so they do not use of the oxygen that they are carrying. Antigens on the surface of the red blood cells enabling the blood type to be defined. 3)  Ã‚  How is oxygen transported around the body? Oxygen is carried around the body in two ways, 98% in the red blood cells, 2% dissolved in the blood plasma. Once air is breathed in, it enters the lungs via the trachea, bronchi, bronchioles and into the alveoli.   The oxygen is diffused into the red blood cells through the walls of the alveoli and the oxygen combines with the haemoglobin in the red blood cells and is transported through the capillaries. The alveoli contain high levels of oxygen therefore diffuses into the blood cells which are low in oxygen as it is deoxygenated blood from the lungs and the concentration difference can be maintained as blood is continually pumped around the body, therefore fresh blood is passing through the capillaries picking up oxygen from the alveoli. Once a red blood cell has picked up the oxygen the enzyme carbonic acid makes Hb molecule less stable which makes them release the oxygen molecules. The oxygen can then diffuse into the cells where it is required. The haemoglobin present in the red blood cells is made up of 4 peptide chains, each of which contains one haem group.   The polypeptide chains hold the haem group in place and help to upload oxygen. Each haem group combines with one oxygen molecule.   The haemoglobin binds to the oxygen and releases it when the concentration falls. When all four of the oxygen binding sites are full, the haemoglobin molecule is described as saturated. When the first molecule of oxygen binds to the haemoglobin in the red blood cells it changes the shape of the haemoglobin making it easier for the rest of the molecules to bind. The pressure from the dissolved oxygen in the plasma helps the oxygen at its binding site. Haemoglobin binds reversibly to oxygen and forms oxyhaemoglobin. The oxygen is bound loosely to the haemoglobin and so when the oxygen is required it can be released with speed. When there is a low pH level in places such as exercising muscles the oxyhaemoglobin breaks down providing the additional oxygen for use by the tissues. When no oxygen is present, none of the haem will be carrying oxygen. When partial pressure of oxygen is at its highest this is when the haem is saturated with oxygen. When the blood flows through the capillaries in the lungs the haem is converted into haemoglobin at speed to supply the respiring tissues. OXYHAEMOGLOBIN DISSOCIATION CURVE Image ref: zuniv.net/physiology/book/chapter15.html The ability of haemoglobin to transport oxygen is affected by the amount of carbon dioxide present. The lungs have a high partial pressure of O2 and a low partial pressure of CO2 In the lungs the more CO2, the oxygen dissociation curve is moved to the right this is known as the BOHR shift. This is due CO2 being removed from the body, here in the lungs. The tissues are low in partial pressure of oxygen and are high in partial pressure of CO2 as the CO2 is being produced as a result of respiration; this is why the RBC needs to deliver more oxygen to the respiring tissues. 4)  Ã‚  How is carbon dioxide transported around the body?   Carbon dioxide travels in the red blood cells and in blood plasma.   The largest fraction 23% of Carbon dioxide travels in the red blood cells as carbaminohaemoglobin (CO2-H6) It binds with the amino groups of amino acids and proteins, by binding to the peptide chains of the plasma proteins in the blood to form carbamino compounds. 70% travels as bicarbonate ions in the plasma (HCO-3) 7% of carbon dioxide is dissolved in blood plasma as CO3 which is a bicarbonate ion. The CO2 binds to haemoglobin and creates Hb-Co2, carbamino haemoglobin, by binding to the polypeptide chains of the haemoglobin molecule. Carbon dioxide is much more soluble in the blood than oxygen is, and there is 4ml of CO2 to every 100 ml of blood. Carbon dioxide enters the red blood cells and combines with hydrogen and forms carbonic acid. The carbonic acid splits into a hydrogen ion (H+) and a bicarbonate ion (HCO3) the enzyme carbonic anhydrase in the red blood cells speeds up the process. The hydrogen ions formed from the dissociated carbonic acid then combines with the haemoglobin in the red blood cells and this makes the haemoglobin less stable in the red blood cell and it causes it to release oxygen.   The carbonic acid is then broken down into CO2 and water and the HC03 in the red blood cell diffuses out into the blood plasma. Once the gathered hydrogen carbonate ions diffuse out into the plasma, this gives the red blood cell a positive charge. Chloride ions (cl-) present in the blood plasma diffuse into the red blood cells from the plasma to maintain a neutral charge; this is known as the chloride shift. The hydrogen ions are taken up by buffers in the plasma and the haemoglobin acts as a buffer in the red blood cell s. The lifecycle of the carbon dioxide molecule is to diffuse from respiring tissues through the capillary walls and plasma into the red blood cells to then be diffused into the alveoli to be exhaled. Carbon dioxide levels vary in proportion to how much the body is being exerted. The harder a person exercise the greater the level of carbon dioxide that will be present. *The diagram above represents my interpretation of the life cycle of carbon dioxide molecule within tissues, plasma and red blood cells               Ã‚  Ã‚                                                                                                            5)   A group of muscle cells are respiring faster than usual as they work harder. Explain what affect this will have on the ability of the blood to carry oxygen and why? During exercise, CO2 diffuses from the respiring cells in the tissues into the red blood cells. Oxygen is required to make ATP, and carbon dioxide is produced as a bi-product of this. As the energy is made the cells in the muscle tissues have a higher concentration of CO2. This CO2 then makes the haemoglobin less stable and it releases more oxygen known as the Bohr Effect. As the muscles are working harder they are respiring faster increasing the requirement of oxygen supply and the concentration of oxygen will be low. During exercise muscles are working harder and respiring faster, and therefore require more oxygen. More oxygen is removed from the red blood cells to supply the muscle tissues, therefore creating a decrease in the oxygen concentration levels and partial pressure.   ‘’Henry’s law states that the quantity of a gas that will dissolve in a liquid is proportional to the partial pressure of the gas and its solubility’’ (Tortora Dickenson p897). The blood flow through the capillaries increase, forcing the lumen of the veins to expand so that the volume of blood can enter the heart faster, as due to exercise the heart rate will also increase and will be pumping blood at a faster rate than that of at rest. The oxygen will diffuse from an area of high concentration in this case the alveoli to an area of low concentration, during exercise this will be in the respiring tissues. During exercise the blood flow will be focused on supplying the muscles that require the oxygen rather than other areas of the body. Exhalation takes place when the body is forcefully breathing such as during exercise. The myoglobin in mammalian muscles can pick up oxygen from the haemoglobin and store it until it is needed. The respiring cells in the tissues needed oxygen to make the ATP. The ability of the haemoglobin to transport oxygen is affected by the amount of carbon dioxide present. The tissues have a low partial pressure of oxygen, and high partial pressure levels of carbon dioxide as this is where the carbon dioxide is being produced as a result of respiration. C) Circulatory System 1)   Compare the structure of a capillary, vein and an artery and explain why their structures allow them to carry out their specific functions. Arteries vary in size; they have three layers of tissue. Tunica adventitia which is the outer layer of fibrous tissue, Tunic Media which is the middle layer of smooth muscle and elastic tissue and Tunica intima which is the inner lining of squamous epithelium called endothelium. This allows the vessel walls to stretch, absorbing pressure which is generated by the heart. As the arteries branch they become smaller, so in the arterioles (the smallest artery) the tunica media is mainly made up of smooth muscle. This enables the diameter to be controlled and regulates the pressure of the blood. Arteries in comparison to veins have thicker walls so that they can handle the high pressure of the arteriole blood. The sympathetic fibres of the autonomic nervous system kick start the smooth muscle of the blood vessels which increases and stimulates the smooth muscle to contract. This squeezing narrows the vessel wall and narrowing the lumen which is known as vasoconstriction. When the sympathetic stimulation decreases the smooth muscles relax, the lumen increases in diameter and this is known as vasodilation. The elastic arteries are the biggest in the body; they propel blood onwards whilst the ventricles relax. The walls stretch as blood as passed from the heart into the elastic arteries and they can house the surge of blood. They take the blood away from the heart. In comparison to the veins which return the blood to the heart, therefore have thin walls. They do have the same three layers of tissue that the arteries have, however being thinner they have less muscle and elastic tissue in the tunica media as the veins carry blood at a low pressure. Some vein having valves which prevents a backflow of blood, ensuring the blood is directed to the heart. Within the tunica media of the heart is a fold which is strengthened by connective tissue. The veins have a large capacity to hold blood, if there is a haemorrhage this give the veins the opportunity to recoil and can help to stop a sudden fall in blood pressure. The smooth muscle which is present in both the veins and the arteries of the tunica media is supplied by the nerves of the autonomic nervous system in the medulla oblongata. These nerves pass signals to change the diameter of the lumen, and this controls the amount of blood they can contain. Muscular arteries distribute blood to the organs, the tunica media is thicker than the tunica media in other types of arteries as they need to contract and maintain the partial contraction and vascular tone. This can stiffen the vessel wall. This ensures the pressure is maintained and efficient blood flow ensues. Arterioles being the smallest arteries regulate the blood flow from the arteries into the capillaries by regulating resistance. The diameter is smaller and so the friction is greater creating more resistance, and this maintains the correct level and pressure of blood flow. Capillaries vary in diameter. Capillaries are approx. 5-10um, post capillary venules are (10-50um) and muscular venules are 50-200 um. In comparison to veins which are 0.5um – 3cm) the smallest arteries (arterioles are 15-30um in size. The tunica interna in the elastic arteries are well defined elastic lamina within the elastic arteries and the muscular arteries, however in the arterioles are thin. In the capillaries, and post capillary venules there us just an endothelium and basement membrane. This is suited to their function for exchanges of products, as the short distance provides an optimum environment for diffusion. Within the veins there is endothelium and basement membrane with no internal elastic lamina, they do however contain valves, and the lumen is larger than that of arteries. Blood pressure is at its highest in the large arteries and the blood pressure decreases as it passes through the smaller arterioles and into the capillaries. The capillaries having the largest surface area, being thin and permeable allowing for fast diffusion and exchange of products. The tunica media in the arteries is a thick layer, mainly made of smooth muscle this sis to withstand the pulses of blood at a high pressure. The smooth muscle in the arterioles provides a pre capillary sphincter.   This is in contrast to the capillaries which do not have a tunica media layer. The veins have no elastic lamina and carry slower flowing blood at low pressure compared to both the capillaries and the arteries. The Tunica externa varies in the arteries, in the elastic arteries the tunica externa is thinner than the tunica media and in the muscular arteries it is thicker than the tunica media. In the arterioles this is a loose connective tissue layer made up of sympathetic nerves. The capillaries do not have this layer, as their role is to be permeable to exchange materials between blood and nearby cells. Within the veins this layer is the thickest of the three layers. The elastic arteries are composed to conduct blood to the heart and the muscular arteries. The muscular arteries distribute blood to the arterioles and the arterioles in turn supply and regulate blood flow to the capillaries. The capillaries are thin and leaky as they have the role of allowing the exchange of products as mentioned above. They also distribute blood to the post capillary venules which pass blood to the muscular venules. This is where the exchange of nutrients, waste and interstitial fluid takes place. The muscular venules pass blood to the veins and accumulate large volumes of blood. The veins return the blood to the heart and to the veins in the limbs. Therefore the capillary although having a vast surface area, is the thinnest in comparison to veins and arteries which both have the same tissue layers. The arteries and the veins have varying degrees of thickness of these tissues to allow their role to be performed effectively. 2)  Ã‚  Compare the structure of the atria and the ventricles in the heart. The heart has four chambers; the two superior chambers are the atria. They are the receiving chambers of the heart. The two inferior chambers are the ventricles. They are the pumping section of the heart. The atria are a pouch like structure called an auricle and they increase the capacity of the atrium so that it can hold a greater volume of blood. The right atrium receives blood from the three veins, the superior vena cava, the inferior vena cava and the coronary sinus. The right atrium forms the right border of the heart, the blood passes from the right atrium to the right ventricle through the tricuspid valve. The cusps of the tricuspid valves are connected to tendon like cords Chordae tendinae which are connected to cone shaped trabeculae called papillary muscles. The coronary sulcus is the boundary between the atria and the ventricles. In between the right and left atria is a partition called interatrial septum. The interventricular septum divides the right and left ventricles. The right ventricle is 4-5mm in thickness and forms most of the anterior surface of the heart. Inside the right ventricle is a series of ridges formed by raised bundles of cardiac muscle fibres called vabeule carnae. The right atria in comparison are 2-3mm in thickness and have a smooth posterior wall and a rough anterior wall which is formed by muscular ridges called pectinate muscles. The left atria and the right atria form the base of the heart; they receive blood from the lungs through the pulmonary veins. The left atria allow blood flow to the left ventricle through the mitral valve. The atrium have   thin walls as they deliver blood at a lower pressure in comparison to the ventricles which pump blood at a high pressure and through a greater distance and therefore have thicker walls to withstand the pressure. The left ventricle is the thickest chamber of the heart and is approx. 10-15mm. It forms the apex of the heart. Alike the right ventricle is contains trabeculae carnae and has chordae tendinae. The blood passes from the left ventricle to the aortic valve. The right ventricle has a smaller workload and pumps blood a shorter distance to the lungs at a lower pressure. The right and left ventricles are two separate pumps, which simultaneously eject equal volumes of blood to the lungs and the rest of the body. However the left ventricle pumps blood a longer distance and so the flow is larger, and needs to maintain the same rate of blood flow as that of the right ventricle, this is why the muscular wall is thicker in the left ventricle. The perimeter of the lumen space of the left ventricle is circular in comparison the lumen on the right ventricle which is crescent shaped. The pulmonary veins from each lung carry oxygenated blood back to the left atria and this passes to the left ventricle valve into the left ventricle which is then pumped to the aorta. 3)  Describe the four stages that make up on single heartbeat    A cardiac cycle is one heartbeat. In each cycle the atria and ventricles alternately contract and relax. This forces blood from an area of high pressure to low pressure. As a chamber of the heart contracts, the blood pressure increases, when cardiac muscle contracts this also causes blood pressure to increase and the blood is then forced out of the atria to the ventricles. Each heartbeat creates 75cm3 of blood, this has to be pumped from each ventricle and this is the stroke volume. Each cardiac cycle takes approx. 0.8 seconds. The Sino atrial node (SAN) begins a single heartbeat. The Atrio ventricular node node picks up the signal and channels it down the middle of the ventricular septum through the cardiac muscle fibres (His). This signal then spreads throughout the wall of the ventricles through the Purkyne fibres and this stimulates the ventricles to contract, once they have filled with blood. Arterial systole begins when the SAN sends a message causing atrial depolarisation. This takes approx. 0.1 second. The atria begin contracting and during this time the ventricles are relaxed. As the atria fill with blood from the vena cava and the pulmonary vein, the atrium apply pressure to the blood they contain, forcing the blood through the open AV valves and into the ventricles. Once the atria have stopped contracting, the ventricles cease relaxation. Ventricular systole lasts approx. 0.3 seconds. This is the stage of ventricular contraction. The AVN picks up the signal from the SAN and conducts the impulses which causes depolarisation and stimulates the ventricles to contract, and forcing the blood upwards. This ventricular depolarisation begins ventricular systole. The pressure rises in the ventricles and blood is pushed up against the AV valves forcing them to close. The semi lunar valves are also closed and this is isovolumetric contraction. During this time the cardiac muscle fibres contract and apply force. The ventricular volume remains the same (isovolumic). The contraction of the ventricles causes pressure to rise at a heightened level. When the right ventricle pressure is above the pressure of the pulmonary trunk the semi lunar valves open and the ejection of blood from the heart begins. The pressure in the left ventricles continues to rise to approx. 120mmHg whereas the right ventricle is 25-30mmHg. The left ventricle passes around 70ml of blood into the aorta and the right ventricle ejects the equal amount to the pulmonary trunk. The volume that is remaining in the ventricles at the end of the systole is the end systolic volume (the stroke volume) Atrial Diastole lasts approx. 0.7 seconds, and is when the atria relax, this overlaps with other stages of the heartbeat. Whilst the ventricles are still in contraction, the atria begin to fill with blood from the vena cava and the pulmonary artery. The atria and the ventricles both have periods of relaxation however as the heart beat gets faster the relaxation period gets shorter. Ventricular Diastole is a relaxation period which lasts approx. 0.4 seconds. The ventricular depolarisation causes ventricular diastole. When the pressure in the chambers of the heart falls and the blood present in the aorta and pulmonary trunk flows back to regions of low pressure in the ventricles, the back flowing blood enters the valve cusps and closes the semi lunar valves. As the ventricles relax the pressure falls at a fast rate, when the pressure falls below that of the atrial pressure the atria fill will with blood and the blood flows from the atria to the ventricles which forces the AV valves to open again. 4)  If the Sino atrial node is stimulated it triggers a wave of contractions through the heart. How does that process ensure that the atria contract together and ventricles contract from the bottom upwards? The SAN signals spread across the walls of the atria causing a contraction. This signal does not pass directly to the ventricles ensuring that the ventricles do not contract as they are not filled with blood. The AVN picks up the impulses and channels them through the bundle of His. The signal is delayed slightly and then and then spreads through the walls of the ventricles. Once they are filled will blood the ventricles can then contract. The ventricles contract from the base upwards ensuring blood is forced up, forcing the AV valves to shut and the semi lunar valves to open. The blood leaves the heart out of the vessels at high pressure, leaving the chambers at the top of the heart with great speed. Why do the atria contract together? 5)  Ã‚  An athlete is training for a big competition   Part 1 The table (attached) shows the blood flow seen in the athlete’s body at rest and during training. Explain the distribution of blood before and after exercise in the organs listed. Part 2 b) Explain how an increase in carbon dioxide when exercising will increase the cardiac output and the rate of ventilation of the athlete    *A flow chart showing factors which effect blood flow during exercise Image ref: biosbcc.net/doohan/sample/htm/COandMAPhtm.htm The volume of blood pumped by the heart is the stroke volume, on average 80cm3 is supplied at rest and this increases to 1100cm3 during exercise. During exercise the blood vessels in the muscles dilate as ATP is used up in the working muscles. The muscles work harder and respire faster, this causes more oxygen to be released from the red blood cells, creating a decrease in the partial pressure and creates products such as carbon dioxide are produced and diffuse from the muscle cells. This lowers the pH levels in the blood. The chemoreceptors detect this and the respiratory centre responds by increasing the heart rate and the ventilation rate. The capillaries to expand and dilate, as the blood flow increases and more oxygenated blood is supplied to the muscles that require it.   The gaseous exchange increases, decreasing the output of blood to other organs. Respiring cells in the tissues have a higher level of carbon dioxide concentration as the energy is being made, and this makes the haemoglobin release more oxygen. As the carbon dioxide rises the nervous impulses from the respiratory centre cause the diaphragm to contract increasing the rate of inspiration of air into the lungs. Prolonged periods of using the muscles increases the cardiac output and this increases the rate of ventilation,   the rate and force of the heart beat and this matches the body’s needs to bring more oxygen to the cells and remove more of the carbon dioxide that is being produced. The heart is pumping faster during exercise and therefore needs a higher level of blood supply to meet demand at a faster rate. During rest the heart is still working however not at such an intense level as during exercise. The brain is always supplied with the same amount of blood and is never starved regardless of the body’s activities. The muscles require more blood when they are working than when they are at rest. Therefore the organs which require oxygen are prioritised. The kidneys are not being worked harder during exercise and so the blood supply that they would receive when the body is at rest is higher than that when the body is exercising. The body supplies to meet demand and at the time of exercise, the muscles and the heart require the oxygen rather than the kidneys and other organs not involved in respiration. Once muscle contraction ceases the oxygen consumption remains above resting levels for a short period of time and this oxygen debt is the added oxygen that remains after the resting period. As the heart and muscles have been working harder, the body temperature increases due to the ATP which is being produced, the body pushes the blood to the surface of the skin surface increasing the diameter of the blood vessels carrying the blood. (Peripheral vasodilation) Part 2 a)  Ã‚  Calculate the change in cardiac output when the athlete trains Calculation At rest: 69 cm3 Divided by 1000 x 71 beats per min  Ã‚  Ã‚   = 4.89 lpm (litres per minute) During training 178 cm 3 divided by 1000 (0.178) x 162 beats per min = 28.8lpm (litres per min.) C)  Ã‚  What effect will exercise have on the athletes pulse rate and why? After exercise the pulse rate has an initial fall and then a slow return to its normal rate.   The resting pulse is 60 for a trained athlete. When exercise begins the oxygen demand is greater than the supply, therefore there is a build-up in the oxygen debt. The pulse rate and ventilation rate remains higher than normal after a period of exercise as extra oxygen is needed to replace ATP and carbon dioxide stores and oxidise the lactate acid which has accumulated as a bi product during exercise. The pulse rate increases as exercise starts and reaches a period of oxygen debt at around 90 to 150 there is then a plateau for around 5-6 minutes and then a drop at beginning resting to around 140 and then levels back to approx. 60 at complete rest. References Baker, M. Indge, B. Rowland, M. (2001) Further Studies in Biology. Cambridge:   Hodder and Staughton Blood Gas transport, New human physiology [online] Available from: zuniv.net/physiology/book/chapter15.html [accessed 19/4/2011] Boyle, M. Senior, K (2008) Human Biology Third Edition Hammersmith:   Harper Collins Ltd Cardiac output and blood pressure, Biological Sciences, Biomed 108, Human physiology [online] available from: biosbcc.net/doohan/sample/htm/COandMAPhtm.htm [accessed 22/4/2011] Hanson, M. (1999) Perspectives in advanced Biology, Cambridge,:   Hodder and Staughton Tortora, G, J. Derrickson, B, H., 12th edition, (2009) Principles of Anatomy and Physiology, maintenance and continuity of the human body, Volume 1 (s.l.): John Wiley Sons (Asia) Pte Ltd Tortora, G, J. Derrickson, B, H., 12th edition, (2009) Principles of Anatomy and Physiology, maintenance and continuity of the human body, Volume 2 (s.l.): John Wiley Sons (Asia) Pte Ltd Waugh, A. Grant, A., 11th edition, (2010) Ross and Wilson Anatomy and Physiology in health and illness. (s.l): Churchill Livingston Elsevier

Free Essays on Taxes In America

The subject of taxes in America has been a big pill to swallow for many Americans, especially the working class. It is true that many good things come out of certain taxes, but is that the whole story? Do all of our tax dollars go to the right things? Is our government even using our tax dollars for good purposes? I read a book over the summer by Bill O’Reilly, the famous TV correspondent who has his own television show called The O’Reilly Factor. In his book he discussed the heavy topic of America’s taxing system under the Clinton administration. Did you know that our government couldn’t compensate for forty-eight billion dollars? It does not know where it is, so they say, and the politicians will not show us, American citizens who pay the taxes, the record books on how they spend our tax money (O’Reilly 112). Do you, as an American taxpayer, have the right to know how your tax dollars are spent? The government sure doesn’t think so. In the last years of the Clinton administration, 26,000 very special Americans received $8.5 million in food stamps. The reason that these Americans were special is that they were dead at the time the food stamps arrived. During that same period of time, the General Accounting Office estimates that more than $100 billion was erroneously sent to Medicare recipients (O’Reilly 110). Of course it is we the taxpayers who fund all Fletcher 2 this waste. As of January 2001, when President Bush took office, U.S. taxes were at their highest level since World War II, a time of grave national crisis and an unquestionable need for spending for national survival (Robertson 26). I don’t get it. Have you looked at your paycheck lately? Or have you just given up? Perhaps we’re just numb and don’t recognize that America is a functioning â€Å"tax culture.† Almost every action we take in our daily lives, from the necessities to the frivolous, activates a tax consequence. And it’s not just... Free Essays on Taxes In America Free Essays on Taxes In America The subject of taxes in America has been a big pill to swallow for many Americans, especially the working class. It is true that many good things come out of certain taxes, but is that the whole story? Do all of our tax dollars go to the right things? Is our government even using our tax dollars for good purposes? I read a book over the summer by Bill O’Reilly, the famous TV correspondent who has his own television show called The O’Reilly Factor. In his book he discussed the heavy topic of America’s taxing system under the Clinton administration. Did you know that our government couldn’t compensate for forty-eight billion dollars? It does not know where it is, so they say, and the politicians will not show us, American citizens who pay the taxes, the record books on how they spend our tax money (O’Reilly 112). Do you, as an American taxpayer, have the right to know how your tax dollars are spent? The government sure doesn’t think so. In the last years of the Clinton administration, 26,000 very special Americans received $8.5 million in food stamps. The reason that these Americans were special is that they were dead at the time the food stamps arrived. During that same period of time, the General Accounting Office estimates that more than $100 billion was erroneously sent to Medicare recipients (O’Reilly 110). Of course it is we the taxpayers who fund all Fletcher 2 this waste. As of January 2001, when President Bush took office, U.S. taxes were at their highest level since World War II, a time of grave national crisis and an unquestionable need for spending for national survival (Robertson 26). I don’t get it. Have you looked at your paycheck lately? Or have you just given up? Perhaps we’re just numb and don’t recognize that America is a functioning â€Å"tax culture.† Almost every action we take in our daily lives, from the necessities to the frivolous, activates a tax consequence. And it’s not just...

Van Doesburg and the International Avante

Van Doesburg and the International Avante Introduction The Tate Exhibit, by assembling international works and works in many media, demonstrates, to the less enthusiastic, the exhibit designer’s message that the Avante-Garde was a legitimate and wide ranging movement, and one which reverberates in its effects even today. Styles such as Neo-Plasticism, are Elementarism are examined, but the most colorful is Dada.Advertising We will write a custom essay sample on Van Doesburg and the International Avante-Garde: Constructing a New World specifically for you for only $16.05 $11/page Learn More Dadaism elicits different responses from different viewers, from the trivial, irritating, or enraging, to the profoundly liberating, and has done so since it was launched on the world. Given its anti-establishment history, and the continuing debate over whether it is really art, its glorification at the Tate is ironic. The Tate show can help demonstrate Dada’s impact on today’s design and our definitions of art. Some examples from real life include: the teaching of art to kids, stained glass in contemporary sacred spaces, home furnishings, music teaching and making. A sampling of the styles the show features includes De Stijl, Dadaism, Elementarism, and Neo-Plasticism. The multi-national selection of artists range from the biggies such as Arp and Mondrian, and obscure ones as well, with a strong Dutch presence and funding support. The media displayed are wide ranging, and reflect the intention of the Avant-Garde’s proponents to overturn old art norms and make art and design accessible to the masses. Works are arranged such that the orthogonals and diagonals are sited at either end, and artists, crafts, and disciplines affected by the Avante-Garde are on display in between. Van Doesburg’s drawings of exploded architectural detail are missing from the exhibit. Photos of the artists enrich our understanding of the human background to the art. Merchandise in th e stores is well-displayed and offers customers a chance to wear their intellectual bona fides on their blouse. The Tate has offered a selection of lectures and other fora for viewer education. The arrangement of the exhibit helps to make the point that the Avant-Garde was more than artistic crankiness or mental disorder. Conclusion: The ongoing debate over whether the works of the Avante-Garde are really art is not by any means resolved. However, the ideas of the Avante-Garde certainly liberated the making of art to our benefit today.Advertising Looking for essay on architecture? Let's see if we can help you! Get your first paper with 15% OFF Learn More The design ideas we see around us are deeply affected by their work. The exhibit reveals the international scope of the Avante-Garde, and highlights the connections between the Avante-Garde and what we see around us on a regular basis. Van Doesburg’s legacy is worth remembering. This Section is not Par t of the Assigned Project The following is the list of questions originally posed by the instructor for consideration, not an essay. This is set up as a checklist to allow the customer to reassure themselves that all the questions have been addressed, and to facilitate communication across the language barrier with the customer. Since the topic is an art exhibit, and secondary sources are not exhaustive, many of these answers are inferences rather than based on direct personal observation, which would have been the ideal way of responding to the questions Who organized the exhibition? Vicente Toldi, Tate Director Who curated it? Gladys Fabre, independent curator Who sponsored it? Tate Patrons, Tate International Council, The Van Doesburg Exhibition Supporters Group, The Embassy of the Kingdom of the Netherlands, Dedalus Foundation, Inc, Mondriaan Foundation, Prince Bernhard Cultural Foundation (Straver Foundation), SNS Reaal Fond Who designed it? Vicente Toldi, presumably, since no other person is mentioned. Who is it intended audience? Possibly anyone who may not have thought very much about the impact of the Avante-Garde, or who is not an avid art fan is the target. What are the aims of the exhibition? Based on the artists and works chosen; the aim is to display works not often seen, to display works by lesser known artists, and to show a wide range of media that were affected by the ideas of the Avante-Garde. What is its central argument? You can see evidence of how these artists succeeded in overturning much of what went before when you look around you at design, art, and art instruction today, and see their influence. What current debates or topical issues does the exhibition engage with? Is this stuff truly ART? What underlying assumptions are communicated by the choice of exhibits and form of display? The form of display seems to assume mostly non-disabled viewers assumes that people walking on their own two feet and looking with good vision are viewin g the works. It also assumes that the viewer has not seen previously ephemera and crafts from the same period, objects which reflect similar design ideas. Is it successful in terms of fulfilling the aims of the organizers? It has been well reviewed for the most part in terms of demonstrating why lesser known names in the Avante-Garde should be studied and remembered, and documenting the enduring influence of these ideas. What if anything is excluded from its central narrative? Not sure – maybe politics, but not sure, but one reviewer mentioned the absence of certain Van Doesburg architectural drawings. How is the exhibition organized (by theme, designer, chronologically, other)? Orthogonals are sited at one end and diagonals at the other, with other materials in between that were influenced by the artistic dialogue going on at the time. How are the artifacts contextualized (i.e., through info panels, labels, graphics, catalogue, etc.)? Not sure, but there seem to be labels wi th substantial information. There are lectures and talks as well, and a workshop for a hand-on project. Is the design of the exhibition appropriate for its subject matter? It sounds like it, but not sure. Does the Tate exhibit provide an educational experience, and how does it achieve this? Lectures, talks, hands-on projects, contribute to background education. Is there a shop specifically devoted to merchandise supporting the exhibition, and how much space does it occupy in relation to the exhibits? Yes, but not sure how much space is allocated – the interactive map did not seem to specify the shop footage. What kinds of products does the shop sell, and how are they merchandised? Typical, not terribly innovative; items meet the need for items to signal the consumer’s intellectual identity, or â€Å"brand†. End of explanatory notes to customer Outline Van Doesburg and the International Avante-Garde: Constructing a New World 1. Introduction: The Tate Exhibit, by assembling international works and works in many media, demonstrates, to the less enthusiastic, the exhibit designer’s message that the Avante-Garde was wide ranging and reverberates in its effects even today. 2. Background of Dadaism as a confusing off-shoot of the Avante-Garde a. The meaning of the word b. The reaction of the contemporary gallery visitors c. How Dada was viewed at the time d. Irony of an anti-establishment movement being displayed in Tate 3. The Tate show can help demonstrate Dada’s impact on today’s design and definition of art: examples a. Teaching of art to kids b. Stained glass c. Home furnishings d. Music making 4. Sampling of styles the show includes a. De Stijl b. Dadaism c. Elementarism d. Neo-Plasticism 5. Artists included a. Many works from off-shore b. Strong Dutch representation and sponsorship support 6. Media included a. Wide range of artistic disciplines b. Reflect the intention to make art accessible even to the oppressed 7. A rrangement of works a. Orthogonals and diagonals at either end b. Artists affected by these in display in between c. Crafts and disciplines affected on display in between d. Drawings of exploded architectural detail missing from exhibit e. Photos enrich understanding of the human background to the art Conclusion The ongoing debate over whether the works of the Avante-Garde are really art is not by any means resolved. However, the ideas of the Avante-Garde certainly liberated the making of art to our benefit today. The design ideas we see around us are deeply affected by their work. The exhibit reveals the international scope of the Avante-Garde, and highlights the connections between the Avante-Garde and what we see around us on a regular basis.Advertising We will write a custom essay sample on Van Doesburg and the International Avante-Garde: Constructing a New World specifically for you for only $16.05 $11/page Learn More The current exhibit at the Tate Mo dern brings a host of objects together from a variety of artists, countries, and media, and styles that fall under the general category of the Avante-Garde (Dadaism, Neo-Plasticism, Elementarism, Constructivism, and Art Concret). This impressive assemblage demonstrates the multi-national nature of the Avante-Garde in its time of inception. The exhibit also provides ample basis for considering (even by those who do not live and die by art ) the wide ranging and long lasting impact on the lives of people today of the ideas fermenting in the first decades of the 20th century, even the chaotic and self-negating ideas of Dadaism. Dada is a word that can be understood differently, depending on one’s role, and where one is standing. To a proud papa, it is, he hopes, the first word spoken by a beloved toddler. To a current music aficionado, it is the name of a band (dada home page). As pointed out by Tristan Tzara, a poet and essayist of the early 1900’, the word also describe s the tail of a holy cow, among the  « Kru Negroes  » (an archaic and now offensive term for an indigenous tribe in what is today called Liberia ), mother and a cube in Italian dialect, and a nurse and hobby horse in Russian, as well as in his native tongue, Romanian. However, Tzara declares in his Dada Manifesto 1918,  « The magic of a word – Dada – which has brought journalists to the gates of a world unforeseen, is of no importance to us.  »(Tzara, Dada Manifesto 1918). This paradoxical statement, and so many others, is typical of the deliberately confusing, transgressive, and challenging utterances of Tzara, ne Samuel Rosenstock, a key articulator of Dadaism. To current enthusiastic visitors to museums of modern art, the name Dada is shorthand for a sidebar to the Avante-Garde, art as goofball antic, art as thumb to nose, but also, art as something that might be easily mistaken for a bin to accommodate one’s litter, or an attractively mounted fire e xtinguisher. On the other hand, to those visitors who have been dragged along by their special art fan, Dada may very well be a reason they say they think that avant-garde art is a crock. Advertising Looking for essay on architecture? Let's see if we can help you! Get your first paper with 15% OFF Learn More Why, they ask plaintively, don’t we just bring our rubbish to the museum and leave it here in a neat pile – who would know the difference? What sort, they ask angrily, of prat would pay good money for such stuff? Doesn’t our kid draw something just as good? Where is the cafà ©, they ask in desperation, and, more importantly, how soon may we leave? These public reactions are not novel, nor, if we are to believe their own writings, would they necessarily have been unwelcome to the first promoters of the Dada movement. The Dadaists were in reaction against just about everything . In return, they were regarded with less than approval by their contemporaries, and they knew it, and made fun of this phenomenon. In light of how disparaged they were by the art world in the first decades of the 1900’s, and especially in light of how deeply they criticized the art establishment, they might be turning in their graves at the thought of the large current exhibit at th e Tate Modern (running through May). Or, perhaps, the thought might tickle them, especially the application of Theo Van Doesburg’s colorful geometries to towels, totes and magnets in the gift shop . If a Dadaist were resurrected today, he might gleefully pluck a tea towel from the gift shop and display it as art, not because of the pattern, but as an object chosen by him, placed out of its usual context as an article of clothing, titled with whatever whimsical thought occurred, put on display, and therefore constituting ART. There would certainly be ample precedent! The submission, without comment, of a fountain, to an art show, an act of artistic anarchy attributed to Marcel Duchamp, is practically legendary. But back to the weary, less than excited visitor, wondering why on earth they should be learning about this stuff. (The museum is indeed offering a lecture series, even for the deaf, curators’ talks, and an opportunity to create a hands-on project to help both the confused and the rapt). Why should he/ she be interested at all? Art historians, on one end of the interest spectrum, are the converted, the choir, to whom it is unnecessary to preach. In answer to this question, they can point to direct lines of influence from the Dadaism of the 1910s and 1920s to the Neo-Dadaism of the post-World War II period, and well known and important names like Robert Rauschenberg, and Jasper Johns (Craft), and, it could be asserted, Andy Warhol. In another direction, connections can be drawn to Surrealism (Craft 4), a movement with its own flock of current artistic offspring, particularly in film, and animation. However, at the other end of the spectrum of interest and expertise, even the uninitiated among us can identify Dada’s impact in our lives. A swift peek into the chaos and happily self-defined art creations being crafted from re-cycled materials at the nearest grammar school would offer an answer to that question . Also of interest would be a tour of a suburban modern church building . Or take a walk-through of the wall and floor coverings department of a home store . Finally, check out GarageBand, a piece of software that allows kids to assemble music from a file of pre-recorded sound samples (Garageband). All these cultural phenomena seem to be influenced by the ideas of Dadaism. The show at the Tate may, in light of this, assist those who would preferentially spend at least some of their Sunday afternoons watching Manchester United rather than getting sore feet at galleries, to draw meaningful connections between Dadaism and current trends and manifestations of the arts, and design. The current Tate Modern show, taking up half of the fourth level of the museum, does not merely cover Dadaism. It also encompasses the movement that was one of Van Doesburg’s numerous other artistic life pursuits: among them, the ultimate in geometric abstraction, wherein any reference to the human body or realism of any sor t was anathema. Van Doesburg’s ideas on this and other isms of the day were expressed in his editorship of De Stijl, a magazine as well as the name of a style, and through peripatetic lectures and conferences (Mawer). He and Piet Mondrian espoused simplifying art to a series of geometric elements. Even this was subject to disagreement: the two colleagues split off into Elementarism (diagonals allowed) and the horizontal and vertical axes of Dutch Neo-Plasticism, a rarified movement (orthogonal horizontals and verticals only) of which Mondrian eventually found himself the only votary; (Darwent). The show includes many works on loan from elsewhere. This means that many pieces have never been seen in the UK, especially those by Theodore Van Doesburg. There is a largely Dutch roster of sponsors , which may have helped in the acquisition of so many Van Doesburg pieces. Alternatively, perhaps the inclusion of these rarely-seen works was a cunning appeal to Dutch chauvinism for r ecruiting support from Dutch funders. This strong representation from other collections may be the reason so many of the 350 items are not imaged digitally for later, more leisurely examination. In any case, the range of countries represented certainly highlights the message forcefully that the Avante -Garde was an international movement, with plenty of cross pollination among artistic communities. The Tate’s director, Vicente Todolà ­, has made a point of mounting several previous exhibits focusing on other features of Modernism (The Tate Modern Museum), perhaps as a means of ensuring the development of a future visitor base. If an audience is not raised up in the knowledge and appreciate of the arts, they will not support the arts. Gladys Fabre, an independent curator, has brought together works in a variety of media and genres. She has assembled the big names in Dada, De Stijl, and the Avante- Garde: Piet Mondrian, Constantin Brancusi, Jean Arp; names that even the uninf ormed might recognize. She has included, as well, less well known artists whose work was influenced, or had an influence on, De Stijl, such as Francis Picabia, Lszlà ³ Moholy-Nagy, Gerrit Rietveld, Sophie Taeuber, and Kurt Schwitters. A full range of media are represented. They include traditional painting and drawings, and sculpture. This latter is defined, as in the case of the aluminum and wood robot-like Mechanical Dancing Figure, by the less familiar Vilmos Husz, or the chunky blue vaguely android figure Construction within a Sphere, by the equally under-exposed Georges Vantongerloo, by the whimsy of Dadaism. Ms. Fabre has also included less expected examples of designs that came out of the movement such as typeface, architectural interiors (for example, the explosion of color blocks on the ceiling of the University Hall, in Amsterdam, or the rocking Aubette dance space from Strasbourg), and furniture designs (such as the sculpturally limpid but uncomfortable-appearing Gerrit Reitvald chair, and the modern-looking leather and metal chairs). There are also publications, posters (one mysterious one features the letters HELI), stained glass (such as the emblematic and endlessly copied windows for the De Lange house), music, and film (The Tate Modern Museum). This assemblage of objects from all along the spectrum from utilitarian objects to fine, arts, is reminiscent of the vertical integration of some consumer products and manufacturers (the Apple company is one example, Mattel’s Barbie range could be another) wherein products for all uses and levels of complexity are produced under one corporate umbrella and with a solitary design vision. The wealth and diversity of material demonstrates that the Avante-Garde was a thoroughgoing attempt – utilizing art and design to overturn everything that went before. Considering that in 1918 the world had just endured the soul-searing destruction of a global war, there was revolution abroad, influenza s talked the world, and women were still wearing corsets, there was plenty to complain about. The devotees of De Stijl felt that the earlier century’s efforts to portray reality in an increasingly abstracted fashion (Impressionism, Cubism, and Expressionism, for example) never quite broke free of the reality that persisted as the subject. Somehow, even the gradual uncoupling of painting and sculpture from strict realism came in for withering scorn from the Van Doesburg cabal (Tzara, Lecture on Dada, 1922, reprinted in Tristan Tzara: Biography, DADAism, and Poetry). The proponents of De Stijl wanted to bring the healing and uplifting benefits of liberated and accessible art and design to the oppressed and the deracinated (Darwent) . In our own era, entrepreneurs such as Terence Conran, and corporations such as IKEA have adopted the notion of good-design-for-all to great and profitable effect. The exhibit is arranged such that Mondrian’s orthogonal statements are at one e nd. These are largely color blocks, very familiar, unthreatening, in various sizes and proportions. They are so accustomed an idiom that one feels one has seen them before, even if the particular piece is clearly an import. Van Doesburg’s paintings in his Counter Proposal series are at the other end of the exhibit. These works, such as Simultaneous Counter-Composition, 1930, resemble Mondrians, but rotated by some 45 degrees, and sometimes disordered a bit. These paintings submit diagonals as an alternative to the grid (the â€Å"counter† proposal). They can remind the viewer of a close-up of the bathroom floor tiles, seen a bit too close for comfort during an episode of stomach upset. However, anyone who has ever installed floor coverings on the diagonal to stretch the visual space in a tiny room truly owes Van Doesburg a debt of gratitude for opening up a new direction and making the off-kilter seem like an inevitable option. These are serene paintings which add co lor and form without insisting on the viewer’s involvement, but they reward closer attention as well. The rooms in between bear testimony to the vast array of apparently unrelated design and craft specialties that De Stijl affected, and, by extension, the design ideas we see applied these days. As an example of lasting effect, the rationalized typography design that Van Doesburg innovated (letters fitting in a square, with no lower case letters), can be seen as enabling the development of machine readable typefaces today. The software called Wordle, which makes a graphic out of any block of text, highlighting words and phrases that repeat often, seems to be a direct descendant of Van Doesburg’s experiments with poster art (Feinberg). As an example of how De Stijl helped to break down boundaries between artistic disciplines, and the constraints of any one medium, the exhibit includes film clips animating Plasticist and Elementarist painting (Darwent). Simon Mawer of Th e Guardian faults the exhibit for not including drawings of collaborative architectural projects created with Cornelis van Eesteren. These sound fascinating: the drawings are exploded into three dimensions. Contemporary architects prize such drawings as the best and highest journeyman examples of their craft – it would indeed have been interesting to see how Van Doesburg handled this technique. The exhibit has been reviewed with differing responses. The impersonality of De Stijl leaves some viewers unmoved (Sooke). However, there is agreement that this is a welcome chance to see works that are not often brought together. There is also agreement that the inclusion of art and design that was influenced by ideas promulgated by Van Doesburg opens up that period to our view, and the wealth of photographs put a human face on this often austere art. The photos document the relationships that underpinned the life of these artists, especially their lovers and wives. It is interesting to learn, for example, that Nellie Van Doesburg participated in the performance art pieces that Kurt Schwitters and Van Doesburg mounted around Europe, and that Sophie Taueber was married to Jean Arp, and that they all collaborated on the design of Strasbourg’s Aubette building (Mawer). There has been an ongoing debate regarding the seriousness and validity of the Avante-Garde since it was born. The apparent simplicity and the lack of craft of some of its most famous products leave the impression that there is nothing going on artistically. This debate is not over. Viewers, especially hoi polloi are still asking whether this is really art. It is not clear that this exhibit will answer that question finally for everyone. However, the clever choices that have been made, and the co-location of works that are different in media but related in idea, help to make the point that the concepts of the Avante-Garde had an impact across Europe, and in many different fields. The specific s of the style of De Stijl (austerity, abstraction, the straight lines of the Bauhaus, on which Van Doesburg aimed to have an impact) may still not be to everyone’s taste. The merchandising of the exhibit, on the other hand, is readily accessible. An exit shop, that relatively new marketing method of extracting funds from visitor wallets, imprints the cheerful Van Doesburg diagonals on any flat, or near flat, surface (tea towels, totes, key tags, mugs, magnets, notebooks, bags), and offers books documenting the exhibit, displayed tastefully against a sober, receding, industrial gray background. This venue is supplemented by offerings in the main museum shop. In a decade when the identity of self is defined by the brands one carries or wears, perhaps toting one’s trainers and exercise kit in a Van Doesburg-emblazoned bag, or drinking one’s cocoa from a similarly decorated beaker seems a legitimate means of proclaiming one’s intellectual bent. â€Å"You should want to marry me (or hire me, or be friends with me) because I have slogged through this intellectually challenging exhibit â€Å", trumpets the merchandise. A much coveted related sales item is a set of Dadaist poetry generators: a pre-selected collection of individual words mounted on magnet backing whose arrangement ad libitum allows people to create their own Dada-style poem on their refrigerator door (Tzara, To Make A Dadist Poem, reprinted in Tristan Tzara: Biography, DADAism, and Poetry). Happily, the overturning of the 19th century insistence on an imitation of nature (which effectively excluded from the practice of art anyone who was not a good draftsperson), has spawned a whole new style of art teachers, whose young students joyously create something, anything; confident in their belief (directly attributable to Van Doesburg and his companions) that if they call it art, IT IS, by gosh, ART. Reflecting this same joyous anarchy, Catherine Craft notes that Robert Mot herwell, the essential biographer of the Avante-Garde, observed that Dada had given health and new life to painting in Europe (Craft 3-4). There is also a practical inheritance, e.g., typefaces which even a computer can read. The geographic distribution and inter-connectedness of the Avante-Garde are presented forcefully in the exhibit, and it is accessible both to the fan and the less than rapt. Van Doesburg well deserves this resurrection from oblivion. I. The catalogue of ideas, institutions, religions, and behaviors, to name a few, that Dada revolts against, is expressed here by Tristan Tzara: â€Å"The beginnings of Dada were not the beginnings of an art, but of a disgust. Disgust with the magnificence of philosophers who for 3ooo years have been explaining everything to us (what for? ), disgust with the pretensions of these artists-Gods-representatives-on-earth, disgust with passion and with real pathological wickedness where it was not worth the bother; disgust with a false form of domination and restriction *en masse*, that accentuates rather than appeases mans instinct of domination, disgust with all the catalogued categories, with the false prophets who are nothing but a front for the interests of money, pride, disease, disgust with the lieutenants of a mercantile art made to order according to a few infantile laws, disgust with the divorce of good and evil, the beautiful and the ugly (for why is it more estimable to be red rather than green, to the left rather than the right, to be large or small?). Disgust finally with the Jesuitical dialectic which can explain everything and fill peoples minds with oblique and obtuse ideas without any physiological basis or ethnic roots, all this by means of blinding artifice and ignoble charlatans promises. â€Å"(Tzara, Lecture on Dada, 1922, reprinted in Tristan Tzara: Biography, DADAism, and Poetry) (sic) II. This impatience with art as it used to be was verbalized by Tristan Tzara in the following almost l ucid quote: â€Å"We dont accept any theories. Weve had enough of the cubist and futurist academies: laboratories of formal ideas†¦ Cubism was born out of a simple manner of looking at objects: Cezanne painted a cup twenty centimetres lower than his eyes, the cubists look at it from above, others complicate its appearance by cutting a vertical section through it and soberly placing it to one side. (Im not forgetting the creators, nor the seminal reasons of unformed matter that they rendered definitive.) The futurist sees the same cup in movement, a succession of objects side by side, mischievously embellished by a few guide-lines. This doesnt stop the canvas being either a good or a bad painting destined to form an investment for intellectual capital. The new painter creates a world whose elements are also its means, a sober, definitive, irrefutable work. The new artist protests: he no longer paints (symbolic and illusionistic reproduction) but creates directly in stone, wood, iron, tin, rocks, or locomotive structures capable of being spun in all directions by the limpid wind of the momentary sensation. Every pictorial or plastic work is unnecessaryA painting is the art of making two lines, which have been geometrically observed to be parallel, meet on a canvas, before our eyes, in the reality of a world that has been transposed according to new conditions and possibilities. This world is neither specified nor defined in the work, it belongs, in its innumerable variations, to the spectator. For its creator it has neither cause nor theory. Order = disorder; ego = non?ego; affirmation = negation: the supreme radiations of an absolute art. Absolute in the purity of its cosmic and regulated chaos, eternal in that globule that is a second which has no duration, no breath, no light and no control. I appreciate an old work for its novelty. It is only contrast that links us to the past.(Tzara, Dada Does Not Mean Anything, reprinted in Tristan Tzara: Biography, DADAism, and Poetry) (sic) III. Tristan Tzara offered the following straightforward instruction, in poetic format. He could also have mentioned that choosing several different articles with different typefaces would add a certain decorative fillip to the randomly generated poem: To Make a Dadist Poem Take a newspaper. Take some scissors. Choose from this paper an article the length you want to make your poem. Cut out the article. Next carefully cut out each of the words that make up this article and put them all in a bag. Shake gently. Next take out each cutting one after the other. Copy conscientiously in the order in which they left the bag. The poem will resemble you. And there you are an infinitely original author of charming sensibility, even though unappreciated by the vulgar herd.† (Tzara, To Make A Dadist Poem, reprinted in Tristan Tzara: Biography, DADAism, and Poetry) (sic) Resources (Modern Dime Sized Coins of the World: Liberia) â€Å"I dont have to tell you that for the general public and for you, the refined public, a Dadaist is the equivalent of a leper. But that is only a manner of speaking. When these same people get close to us, they treat us with that remnant of elegance that comes from their old habit of belief in progress. At ten yards distance, hatred begins again. If you ask me why, I wont be able to tell you.† (Tzara, Lecture on Dada, 1922, reprinted in Tristan Tzara: Biography, DADAism, and Poetry) The size of gift shops has begun to rival exhibits in many museums; The Metropolitan has several and at least one off-site. This indicates just how tenuous are the traditional sources of support for museums’ operations, now seldom covered by admission sales. In an article assumed to be by Marcel Duchamp, the author defends the appropriateness for inclusion of a fountain in an art show, as follows: â€Å"He CHOSE it. He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view created a new thought for that object.†(Duchamp) This could be considered a summary statement of the criteria for Dadaist art. Observe how the teacher encourages the kids to call whatever they put together, whatever they create, whatever they assemble, ART. Look at the geometric stained glass which graces so many contemporary church windows; even decades after Van Doesburg and Mondrian are gone from the scene. Equally; the geometric Mondrianization of patterns is evident everywhere in home furnishings. Art is what you choose to call art; a Dada principle! It is hard not to imagine that a high fiber diet and some yoghurt, or an anti-depressant, might have soothed these anal-compulsive-seeming obsessions just as effectively. Tate Patrons, Tate International Council, The Van Doesburg Exhibition Supporters Group, The Embassy of the Kingdom of the Netherlands, Dedalus Foundation, Inc, Mondriaan Foundation, Prince Bernhard Cultural Foundation (Straver Founda tion), SNS Reaal Fond (The Tate Modern Museum). It should be noted that there was a distinct political (or sometimes anti-political) thread in the passions of the Avante-Garde, which did not always endear the movement to establishment institutions (Craft 3). Van Doesburg’s use of â€Å"solomite†, a building material made of straw, is a striking foreshadowing of the whole sustainability movement in home design today (Mawer). Bibliography Craft, Catherine. New York Dada? Looking Back After a Second World War, lecture given September 9, 2006. 2010. 10 March 2010 http://media.moma.org/audio/2006/pub_prog/spec_exhib/Dada/MOMA_RepresentingDadatalk.pdf. dada home page. 2010. 11 March 2010 http://dadatheband.com/. Darwent, Charles. Well-chosen works show how De Stijl – The Style – movement led to a revolution in European art that still resonates today: Van Doesburg the International Avant-Garde, Tate Modern, London. 2010. 11 March 2010 independent.co.uk/arts-en tertainment/art/reviews/van-doesburgthe-international-avantgarde-tate-modern-london-1891448.html. Duchamp, Marcel. Dissent and Disorder-Selected Essays on Dadaism. Harrison, C. and Wood,P. Art in Theory. Trans. Ralph Mannheim. London: Blackwell Publishing, 2002. 250-275. Feinberg, Jonathan. Wordle: Beautiful Word Clouds. 2010. 12 March 2010 wordle.net/. Garageband. 2010. 10 March 2010 apple.com/ilife/garageband/. Mawer, Simon. Theo van Doesburg: Forgotten artist of the avant garde. 23 January 2010. 11 March 2010 guardian.co.uk/artanddesign/2010/jan/23/theo-van-doesburg-avant-garde-tate. Modern Dime Sized Coins of the World: Liberia. 2010. 10 March 2010 http://dewardt.net/dimebook/Liberia.pdf. Sooke, Alastair. Tate Moderns new exhibition about the Dutch art movement De Stijl leaves Alastair Sooke feeling a little cold: Van Doesburg and the International Avant-Garde at Tate Modern, review. 11 March 2010. 11 March 2010 telegraph.co.uk/culture/culturecritics/alastairsooke/7130547/Van-Do esburg-and-the-International-Avant-Garde-at-Tate-Modern-review.html. Tzara, Tristan. Dada Does Not Mean Anything, reprinted in Tristan Tzara: Biography, DADAism, and Poetry. 2010. 11 March 2010 arthistoryarchive.com/arthistory/dada/Tristan-Tzara.html. Tzara, Tristan. Dada Manifesto 1918. Motherwell, Robert, and Arp, Jean. The Dada Painters and Poets. Trans. Ralph Mannheim. New York: Wittenborn, Schultz, 1970. 76-82. - . Lecture on Dada, 1922, reprinted in Tristan Tzara: Biography, DADAism, and Poetry. 2010. 10 March 2010 arthistoryarchive.com/arthistory/dada/Tristan-Tzara.html. - . To Make A Dadist Poem, reprinted in Tristan Tzara: Biography, DADAism, and Poetry. 2010. 11 March 2010 arthistoryarchive.com/arthistory/dada/Tristan-Tzara.html. Van Doesburg and the International Avant-Garde: About the Exhibition. 2010. 10 March 2010 tate.org.uk/modern/exhibitions/vandoesburg/default.shtm.