Antigone Vs. Ismene Essays - Ancient Greece, Greek Mythology, Operas

Antigone Vs. Ismene Essays - Ancient Greece, Greek Mythology, Operas Antigone Vs. Ismene Antigone Antigone and Ismene, are as different from one another as tempered steel is from a ball of cotton. One is hard and resistant; the otherpliable, absorbing and soft. Antigone would have been a strong, successful 90s type woman with her liberated and strong attitude towards her femininity, while Ismene seems to be a more dependent 1950s style woman. Antigone acts as a free spirit, a defiant individual, while Ismene is content to recognize her own limitations and her inferiority of being a woman. In the Greek tragedy Antigone, by Sophocles; Antigone learns that King Creon has refused to give a proper burial for the slain Polyneices, brother of Ismene and Antigone. Infuriated by this injustice, Antigone shares the tragic news with Ismene. From her first response, No, I have heard nothing(344). Ismene reveals her passivity and helplessness in the light of Creons decree. Thus, from the start, Ismene is characterized as traditionally feminine, a helpless woman that pays no mind to political affairs. Doubting the wisdom of her sisters plan to break the law and bury Polyneices, Ismene argues: We who are women should not contend with men; we who are weak are ruled by the stronger, so that we must obey....(346) Once again Ismenes words clearly state her weak, feminine character and helplessness within her own dimensions. Antigone, not happy with her sisters response chides her sister for not participating in her crime and for her passivity, saying, Set your own life in order(346). For Antigone, no law could stand in the way of her strong consideration of her brothers spirit, not even the punishment of an early death. Ismene is more practical ; knowing the task is impossible, she feels the situation to be hopeless. It is a wonder, which of the two sisters are really guilty of these chronic charges. Of coarse, Antigone acted so quickly, and failed to take the advice of the moderate sister, Ismene. Instead, going against Creons words, Antigone rashly goes ahead and breaks the law. Antigone is a fool, she must learn that such defiance, even when justified, is not conductive to longevity. Although Antigone is foolish, she is also courageous and motivated by her morals. Proper burial of the dead was, according to the Greeks, prerequisite for the souls entrance into a permanent home. Therefore, perhaps Ismene is also foolish for her quick refusal to help Antigone perform the duty of Polyneices proper burial. Ismene definitely seems hasty in her acceptance of personal weakness. Perhaps in some way, both sisters are guilty of the same tragic sins. Perhaps it is this rashness, more subdued in Ismenes case, that leads both sisters to their own destruction. To my surprise, there is a strange twist in both sisters character towards the end of the play. Antigone makes a rather contrasting statement, Not for my children, had I been a mother, Not for a husband, for his moldering body, Would i have set myself against the city As I have done(368) These words defy rational explanation. To judge from her attitude towards authority and law, Antigone would probably take on any task to preserve family dignity and human justice. In Ismene's final words, she abandons her practical attitudes with a sudden rush of devotion towards the sister she abandoned in time of need. Let me stand beside you and do honor the dead(358). Ismene heroically takes a stand and shares Antigones crime. The two sisters were crushed by the vindictive Creon, yet they were winners in spirit, in their determination , they died together, as one. Nobility shall live in their hearts forever.

Francisco Pizarro, Spanish Conqueror of the Inca

Francisco Pizarro, Spanish Conqueror of the Inca Francisco Pizarro (ca. 1475–June 26, 1541) was a Spanish explorer and conquistador. With a small force of Spaniards, he was able to capture Atahualpa, emperor of the mighty Inca Empire, in 1532. Eventually, he led his men to victory over the Inca, collecting mind-boggling quantities of gold and silver along the way. Fast Facts: Francisco Pizarro Known For: Spanish conquistador who conquered the Inca EmpireBorn: ca. 1471–1478 in Trujillo, Extremadura, SpainParents: Gonzalo Pizarro Rodrà ­guez de Aguilar and Francisca Gonzalez, a maid in the Pizarro householdDied: June 26, 1541 in Lima, PeruSpouse(s): Inà ©s Huaylas Yupanqui (Quispe Sisa).Children: Francisca Pizarro Yupanqui, Gonzalo Pizarro Yupanqui Early Life Francisco Pizarro was born between 1471 and 1478 as one of several illegitimate children of Gonzalo Pizarro Rodrà ­guez de Aguilar, a nobleman in Extremadura province, Spain. Gonzalo had fought with distinction in wars in Italy; Franciscos mother was Francisca Gonzalez, a maid in the Pizarro household. As a young man, Francisco lived with his mother and siblings and tended animals in the fields. As a bastard, Pizarro could expect little in the way of inheritance and decided to become a soldier. It is likely that he followed in his fathers footsteps to the battlefields of Italy for a time before hearing of the riches of the Americas. He first went to the New World in 1502 as part of a colonization expedition led by Nicols de Ovando. San Sebastin de Uraba and the Darià ©n In 1508, Pizarro joined the Alonso de Hojeda expedition to the mainland. They fought the natives and created a settlement called San Sebastin de Urab. Beset by angry natives and low on supplies, Hojeda set out for Santo Domingo in early 1510 for reinforcements and supplies. When Hojeda did not return after 50 days, Pizarro set out with the surviving settlers to return to Santo Domingo. Along the way, they joined an expedition to settle the Darià ©n region: Pizarro served as second in command to Vasco Nuà ±ez de Balboa. First South American Expeditions In Panama, Pizarro established a partnership with fellow conquistador Diego de Almagro. News of Hernn Cortà ©s audacious (and lucrative) conquest of the Aztec Empire fueled the burning desire for gold among all of the Spanish in the New World, including Pizarro and Almagro. They made two expeditions from 1524 to 1526 along the western coast of South America: harsh conditions and native attacks drove them back both times. On the second trip, they visited the mainland and the Inca city of Tumbes, where they saw llamas and local chieftains with silver and gold. These men told of a great ruler in the mountains, and Pizarro became more convinced than ever that there was another rich Empire like the Aztecs to be looted. Third Expedition Pizarro personally went to Spain to make his case to the king that he should be allowed a third chance. King Charles, impressed with this eloquent veteran, agreed and awarded Pizarro the governorship of lands he acquired. Pizarro brought his four brothers back with him to Panama: Gonzalo, Hernando, Juan Pizarro, and Francisco Martà ­n de Alcntara. In 1530, Pizarro and Almagro returned to the western shores of South America. On his third expedition, Pizarro had about 160 men and 37 horses. They landed on what is now the coast of Ecuador near Guayaquil. By 1532 they made it back to Tumbes: it was in ruins, having been destroyed in the Inca Civil War. The Inca Civil War While Pizarro was in Spain, Huayna Capac, Emperor of the Inca, had died, possibly of smallpox. Two of Huayna Capacs sons began fighting over the Empire: Huscar, the elder of the two, controlled the capital of Cuzco. Atahualpa, the younger brother, controlled the northern city of Quito, but more importantly had the support of three major Inca Generals: Quisquis, Rumià ±ahui, and Chalcuchima. A bloody civil war raged across the Empire as Huscar and Atahualpas supporters fought. Sometime in mid-1532, General Quisquis routed Huscars forces outside of Cuzco and took Huscar prisoner. The war was over, but the Inca Empire was in ruins just as a far greater threat approached: Pizarro and his soldiers. Capture of Atahualpa In November 1532, Pizarro and his men headed inland, where another extremely lucky break was awaiting them. The nearest Inca city of any size to the conquistadors was Cajamarca, and Emperor Atahualpa happened to be there. Atahualpa was savoring his victory over Huscar: his brother was being brought to Cajamarca in chains. The Spanish arrived in Cajamarca unopposed: Atahualpa did not consider them a threat. On November 16, 1532, Atahualpa agreed to meet with the Spanish. The Spanish treacherously attacked the Inca, capturing Atahualpa and murdering thousands of his soldiers and followers. Pizarro and Atahualpa soon made a deal: Atahualpa would go free if he could pay a ransom. The Inca selected a large hut in Cajamarca and offered to fill it half full with golden objects, and then fill the room twice with silver objects. The Spanish quickly agreed. Soon the treasures of the Inca Empire began flooding into Cajamarca. The people were restless, but none of Atahualpas generals dared attack the intruders. Hearing rumors that the Inca generals were planning an attack, the Spanish executed Atahualpa on July 26, 1533. After Atahualpa Pizarro appointed a puppet Inca, Tupac Huallpa, and marched on Cuzco, the heart of the Empire. They fought four battles along the way, defeating the native warriors every time. Cuzco itself did not put up a fight: Atahualpa had recently been an enemy, so many of the people there viewed the Spanish as liberators. Tupac Huallpa sickened and died: he was replaced by Manco Inca, a half-brother to Atahualpa and Huscar. The city of Quito was conquered by Pizarro agent Sebastin de Benalczar in 1534 and, apart from isolated areas of resistance, Peru belonged to the Pizarro brothers. Pizarros partnership with Diego de Almagro had been strained for some time. When Pizarro had gone to Spain in 1528 to secure royal charters for their expedition, he had acquired for himself the governorship of all lands conquered and a royal title: Almagro only got a title and the governorship of the small town of Tumbez. Almagro was furious and nearly refused to participate in their third joint expedition: only the promise of the governorship of as-yet undiscovered lands made him come around. Almagro never quite shook the suspicion (probably correct) that the Pizarro brothers were trying to cheat him out of his fair share of the loot. In 1535, after the Inca Empire was conquered, the crown ruled that the northern half belonged to Pizarro and the southern half to Almagro: however, vague wording allowed both conquistadors to argue that the rich city of Cuzco belonged to them. Factions loyal to both men nearly came to blows: Pizarro and Almagro met and decided that Almagro would lead an expedition to the south (into present-day Chile). It was hoped that he would find great wealth there and drop his claim to Peru. Inca Revolts Between 1535 and 1537 the Pizarro brothers had their hands full. Manco Inca, the puppet ruler, escaped and went into open rebellion, raising a massive army and laying siege to Cuzco. Francisco Pizarro was in the newly founded city of Lima most of the time, trying to send reinforcements to his brothers and fellow conquistadors in Cuzco and organizing shipments of wealth to Spain (he was always conscientious about setting aside the royal fifth, a 20% tax collected by the crown on all treasure collected). In Lima, Pizarro had to fend off a ferocious attack led by Inca General Quizo Yupanqui in August of 1536. The First Almagrist Civil War Cuzco, under siege by Manco Inca in early 1537, was rescued by the return of Diego de Almagro from Peru with what was left of his expedition. He lifted the siege and drove off Manco, only to take the city for himself, capturing Gonzalo and Hernando Pizarro in the process. In Chile, the Almagro expedition had found only harsh conditions and ferocious natives: he had come back to claim his share of Peru. Almagro had the support of many Spaniards, primarily those who had come to Peru too late to share in the spoils: they hoped that if the Pizarros were overthrown that Almagro would reward them with lands and gold. Gonzalo Pizarro escaped, and Hernando was released by Almagro as part of the peace negotiations. With his brothers behind him, Francisco decided to do away with his old partner once and for all. He sent Hernando into the highlands with an army of conquistadors, and they met Almagro and his supporters on April 26, 1538, at the Battle of Salinas. Hernando was victorious, while Diego de Almagro was captured, tried, and executed on July 8, 1538. Almagros execution was shocking to the Spaniards in Peru, as he had been raised to nobleman status by the king some years before. Death For the next three years, Francisco mainly remained in Lima, administrating his empire. Although Diego de Almagro had been defeated, there was still much resentment among late-coming conquistadors against the Pizarro brothers and the original conquistadors, who had left slim pickings after the fall of the Inca Empire. These men rallied around Diego de Almagro the younger, son of Diego de Almagro and a woman from Panama. On June 26, 1541, supporters of the younger Diego de Almagro, led by Juan de Herrada, entered Francisco Pizarros home in Lima and assassinated him and his half-brother Francisco Martà ­n de Alcntara. The old conquistador put up a good fight, taking down one of his attackers with him. With Pizarro dead, the Almagrists seized Lima and held it for almost a year before an alliance of Pizarrists (led by Gonzalo Pizarro) and royalists put it down. The Almagrists were defeated at the Battle of Chupas on September 16, 1542: Diego de Almagro the younger was captured and executed shortly after that. Legacy The cruelty and violence of the conquest of Peru is undeniable- it was essentially outright theft, mayhem, murder, and rape on a massive scale- but it is hard not to respect the sheer nerve of Francisco Pizarro. With only 160 men and a handful of horses, he brought down one of the largest civilizations in the world. His brazen capture of Atahualpa and decision to back the Cuzco faction in the simmering Inca civil war gave the Spaniards enough time to gain a foothold in Peru that they would never lose. By the time Manco Inca realized that the Spanish would not settle for anything less than the complete usurpation of his empire, it was too late. As far as the conquistadors go, Francisco Pizarro was not the worst of the lot (which isnt necessarily saying much). Other conquistadors, such as Pedro de Alvarado and his brother Gonzalo Pizarro, were much crueler in their dealings with the native population. Francisco could be cruel and violent, but in general, his acts of violence served some purpose, and he tended to think his actions through much more than others did. He realized that wantonly murdering the native population was not a sound plan in the long run, so he did not practice it. Francisco Pizarro married Inà ©s Huaylas Yupanqui, the daughter of the Inca emperor Huayna Capa, and she had two children: Francisca Pizarro Yupanqui (1534–1598) and Gonzalo Pizarro Yupanqui (1535–1546). Pizarro, like Hernn Cortà ©s in Mexico, is honored sort of halfheartedly in Peru. There is a statue of him in Lima and some streets and businesses are named after him, but most Peruvians are ambivalent about him at best. They all know who he was and what he did, but most present-day Peruvians do not find him much worthy of admiration. Sources Burkholder, Mark and Lyman L. Johnson. Colonial Latin America. Fourth Edition. New York: Oxford University Press, 2001.Hemming, John. The Conquest of the Inca. London: Pan Books, 2004 (original 1970).Herring, Hubert. A History of Latin America From the Beginnings to the Present. New York: Alfred A. Knopf, 1962Patterson, Thomas C. The Inca Empire: The Formation and Disintegration of a Pre-Capitalist State. New York: Berg Publishers, 1991.Varon Gabai, Rafael. Francisco Pizarro and His Brothers: The Illusion of Power in Sixteenth-Century Peru. trans. Flores Espinosa, Javier. Norman: University of Oklahoma Press, 1997.

Case-bassed assignment Example | Topics and Well Written Essays - 1750 words

Case-bassed - Assignment Example Further West (2011) states that the Dyspnea on exertion is due to the failure of the ventricular of the left output rising during and also results in an increase of pressure on the Pulmonary vein. In the case of one having cardiac asthma, the pulmonary congestion is associated with bronchospasm that is normally precipitated by the action of edema fluid in the walls of bronchi to the external receptors. John has the above-named symptoms for cardiac asthma, but a further examination of the presented features may provide other possibilities. Moreover, the gain of weight and increased breathing rate may indicate the possibilities of blood pressure issues. The evidences of occasional coughing increase the chances of Bronchial Asthma. Research has shown that there is an overlap between the chronic obstructive pulmonary disease and asthma. Rosto (2009) predicts the typical symptoms for asthma to include wheezes, shortness of breaths, tightness of the chest and coughing. The specific features common for asthma in adults may be identified if the above-mentioned symptoms are worse at night and early in the morning, occur during exercise, cold air, and allergen exposure or aspirin. All these symptoms can be identified in the case of John. On the other hand, coughing up of blood especially from the respiratory tract is referred to as hemoptysis (Leigh & Marley, 2013). Among the various other causes of hemoptysis that is relevant to John is that it may be the origin from the bronchitis. In this regard, the main features of the hemoptysis include a productive cough for three months of the year for two successive years in smokers. Furthermore, the saliva of patients with asthma may at times appear pink when it contains large amounts of a type of blood cells called eosinophils. Another possible cause for the occasional blood streak could be lung cancer which mostly affects smokers above the age of 40. Notably, Lazaro, Girbau and

Final Exam Assignment Example | Topics and Well Written Essays - 2500 words

Final Exam - Assignment Example A very good example of technological advancement is mobile phone. The type of mobile phone which we had in earlier times no longer exists now. There is a change in the demand of mobile phone users. This has resulted in the advancement of mobile phone technologies. The users of mobile phones demand functionality and simplicity. This has forced the manufacturers of mobile phone to develop smart phones which are computer minded, easily usable, having more functionality as compared to the mobile phones of past. Further, technological advancements have helped organizations and businesses to save cost of production and time which is an advantage to small business and have managed to use these advancements for gaining competitive advantage. A very good example is 3G/ 4G broadband. The advantage of this super fast internet has been taken by small business to reach the target market with lower cost of operation. However, there has been both positive and negative effect of technological advanc ement. ... Further, it has also increased the health risks as the technological users do less exercise. In the perspective of education, students are more dependent on computers and calculators for solving simple equations. They cannot train their brains for solving a simple task for which they become lame in class. A few technological advancements have changed the human lives in the following manner: Technological advancement has contributed a lot in health care and medicine. This has helped to save the lives of many innocent people. Further, it has improved health sciences and human medicine. The medical students and doctors use medical technological tools for carrying out extensive research on the challenges and problems related to human health. This extensive research has led to the development of treatments and new drugs which help to cure the challenging human diseases and saving the lives of many people and prolonging the lifespan of human being. For example: a smart phone ultrasound whi ch was provided by Microsoft can be used for integrating a USB based ultrasound probe with a Smart phone. This can be used to create a ultrasound device which is simple hand sized for enabling the doctors to image the bladder, liver, veins, eyes, arteries and kidney of a patient in remote areas which can detect any infection easily. This device can be used in many developing countries for saving the life of people. This mobile ultra sound can be used by the doctors without boundaries for helping the patients in remote areas. Certain other technologies in health care include use of nano-composite contact lenses for treating diabetes patients. Neuro-prosthetic chips are used for controlling artificial

The Impact of Work-Based Learning on Students :: Impact Cause Effect Education Essays

The Impact of Work-Based Learning on Students Recent educational approaches that have career and technical education (CTE) components, such as Tech Prep, career academies, and High Schools That Work, have striven to integrate work experience with traditional academics; similarly, school-to-work (STW) by definition is composed of school-based learning, work-based learning (WBL), and bridging activities. How have these approaches affected their student participants both academically and personally? This Digest brings together research on the effects of approaches involving WBL on students' educational outcomes, attitudes, and short- and long-term employment prospects. Students' Educational Outcomes As a general rule, studies and evaluations have found positive associations between participation in approaches involving WBL and students' educational outcomes at both the secondary and postsecondary levels. Positive effects have been reported throughout the whole range of high school experience, from attendance to coursetaking to graduation, whereas too little time has passed for the longer-term effects in postsecondary education to be investigated. Secondary Typically, approaches involving WBL proceed from the premise that learning set in the real-world context of work not only makes academic learning more accessible to many students but also—even more fundamentally—increases their engagement in schooling. Such fundamental effects have been found over and over. For example, a 5-year study of 3.4 million Texas high school students (Brown 2000) found that Tech Prep students had higher attendance and on-time graduation rates and lower dropout rates than both non-Tech Prep CTE students and the general population of secondary students. Similar positive effects have been reported in reviews of studies on career academies (Stern et al. 2000) and--in spite of wide variation in the levels and details of implementation--STW programs (Hughes et al. 2001). Studies of youth apprenticeship programs also found increased attendance and decreased dropout rates (Hollenbeck 1996; Silverberg et al. 1996). Furthermore, positive effects were not limited to persistence. Brown (2000) reported that Texas Tech Prep students completed more academic courses than non-Tech Prep counterparts. Comparing 4,700 Tech Prep and non-Tech Prep participants from eight selected Tech Prep consortia, Bragg (2001) found that in four consortia, Tech Prep students were more likely than non-Tech Prep counterparts to begin high school below the level of Algebra I; but almost all had completed Algebra I by graduation. Higher grades or grade point averages (GPAs) were reported in studies of community-based STW programs for high-risk youth (Adler et al. 1996), Rhode Island Tech Prep programs (MacQueen 1996), and youth apprenticeship (Hollenbeck 1996; Silverberg 1996).

Photoshop Cs5

ADOBE ® PHOTOSHOP ® CS5 2010/5/5  © 2010 Adobe Systems Incorporated and its licensors. All rights reserved. Using Adobe ® Photoshop ® CS5 for Windows ® and Mac OS ® This user guide is protected under copyright law, furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in the informational content contained in this guide.This user guide is licensed for use under the terms of the Creative Commons Attribution Non-Commercial 3. 0 License. This License allows users to copy, distribute, and transmit the user guide for noncommercial purposes only so long as (1) proper attribution to Adobe is given as the owner of the user guide; and (2) any reuse or distribution of the user guide contains a notice that use of the user guide is governed by these terms. The best way to prov ide notice is to include the following link. To view a copy of this license, visit http://creativecommons. org/licenses/by-nc-sa/3. / Adobe, the Adobe logo, Adobe Garamond, Adobe Premiere, AdobePS, Acrobat, Acrobat Capture, After Effects, Caflisch Script, Creative Suite, Distiller, Dreamweaver, Fireworks, Flash, FrameMaker, GoLive, Illustrator, ImageReady, InCopy, InDesign, Lightroom, PageMaker, Photomerge, Photoshop, PostScript, Streamline, and Version Cue are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Microsoft, OpenType, Windows, and Windows Vista are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries.Apple, Mac, Macintosh, and Mac OS are trademarks of Apple Inc. , registered in the U. S. and other countries. IBM and OS/2 are trademarks of International Business Machines Corporation in the United States, other countries, or both. Java is a tradem ark or registered trademark of Sun Microsystems, Inc. in the United States and other countries. Intel is a trademark or registered trademark of Intel Corporation in the U. S. and other countries. Helvetica is a registered trademark of trademark of Heidelberger Druckmaschinen AG exclusively licensed through Linotype Library GmbH, and may be registered in certain jurisdictions.All other trademarks are the property of their respective owners. Updated Information/Additional Third Party Code Information available at http://www. adobe. com/go/thirdparty. The Spelling portion of this product is based on Proximity Linguistic Technology. The Proximity Hyphenation System  ©1989 All rights reserved Proximity Technology, Inc. Proximity and Linguibase are registered trademarks of Proximity Technology Inc. This product includes software developed by the Apache Software Foundation (www. apache. org). This product contains either BSAFE and/or TIPEM software by RSA Data Security, Inc.This product includes cryptographic software written by Eric Young ([email  protected] com). This software is based in part on the work of the Independent JPEG Group. PANTONE ® Colors displayed in the software application or in the user documentation may not match PANTONE-identified standards. Consult current PANTONE Color Publications for accurate color. PANTONE ® and other Pantone, Inc. trademarks are the property of Pantone, Inc.  © Pantone, Inc. , 2006. Pantone, Inc. is the copyright owner of color data and/or software which are licensed to Adobe Systems Incorporated to distribute for use only in combination with Adobe Photoshop.PANTONE Color Data and/or Software shall not be copied onto another disk or into memory unless as part of the execution of Adobe Photoshop. This Program was written with MacApp ®:  ©1985-1988 Apple Computer, Inc. APPLE COMPUTER, INC. MAKES NO WARRANTIES WHATSOEVER, EITHER EXPRESS OR IMPLIED, REGARDING THIS PRODUCT, INCLUDING WARRANTIES WITH RESPECT TO ITS MERCHANTABILITY OR ITS FITNESS FOR ANY PARTICULAR PURPOSE. The MacApp software is proprietary to Apple Computer, Inc. and is licensed to Adobe for distribution only for use in combination with Adobe Photoshop.Portions contributed by Focoltone Color Matching System. Portions contributed by Dainippon Ink and Chemicals, Inc. Flash video compression and decompression is powered by On2 TrueMotion video technology.  © 1992-2005 On2 Technologies, Inc. All Rights Reserved. http://www. on2. com. Portions contributed by Nellymoser, Inc. (www. nellymoser. com). Sorenson Sparkâ„ ¢ video compression and decompression technology licensed from Sorenson Media, Inc. MPEG Layer-3 audio compression technology licensed by Fraunhofer IIS and THOMSON multimedia. (http://www. iis. fhg. de/amm/) AdobeSystems Incorporated, 345 Park Avenue, San Jose, California 95110, USA. Notice to U. S. Government End Users: The Software and Documentation are â€Å"Commercial Items,† as that term is defined at 48 C. F. R.  §2. 101, consisting of â€Å"Commercial Computer Software† and â€Å"Commercial Computer Software Documentation,† as such terms are used in 48 C. F. R.  §12. 212 or 48 C. F. R.  §227. 7202, as applicable. Consistent with 48 C. F. R.  §12. 212 or 48 C. F. R.  §Ã‚ §227. 7202-1 through 227. 7202-4, as applicable, the Commercial Computer Software and Commercial Computer Software Documentation are being licensed to U. S.Government end users (a) only as Commercial Items and (b) with only those rights as are granted to all other end users pursuant to the terms and conditions herein. Unpublished-rights reserved under the copyright laws of the United States. Adobe agrees to comply with all applicable equal opportunity laws including, if appropriate, the provisions of Executive Order 11246, as amended, Section 402 of the Vietnam Era Veterans Readjustment Assistance Act of 1974 (38 USC 4212), and Section 503 of the Rehabilitation Act of 1973, as amended, a nd the regulations at 41 CFR Parts 60-1 through 60-60, 60-250, and 60-741.The affirmative action clause and regulations contained in the preceding sentence shall be incorporated by reference. 2010/5/5 iii 1 2 : : †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 â€Å" † â€Å" † . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Adobe 3 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 4 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Kuler 5 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 6 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 2010/5/5 PHOTOSHOP CS5 iv . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 Photomerge 7 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200 8 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 9 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276 10 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 2010/5/5 PHOTOSHOP CS5 v . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 11 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314 12 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344 13 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351 PDF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371 Digimarc Photoshop 14 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391 15 Web : Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375 Photoshop Photoshop Web 2010/5/5 PHOTOSHOP CS5 vi 16 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410 (Photoshop Extended) (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415 Photoshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420 (Photoshop Extended) (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424 (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438 17 3D 3D : 3D Photoshop Extended . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463 (Photoshop Extended) 3D (Photoshop Extended) 3D 18 : (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483 (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469 DICOM (Photoshop Extended) (Photoshop Extended) Photoshop MATLAB (Photoshop Extended) (Photoshop Extended) 19 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498 20 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 504 Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515 TWAIN 21 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516 2010/5/5 1 1 : 8 â€Å" † 185 â€Å" † 274 † 132 â€Å" † â€Å" HDR Pro 61 â€Å" HDR† 109 â€Å" HDR HDR † HDR 249 † 259 â€Å" † â€Å" 150 â€Å" † 138 † 3D 2D 3D 3D â€Å" † (Photoshop Extended)† 448 â€Å"3D Adobe Ray Tracer (Photoshop Extended)† â€Å" 3D 463 â€Å" 3D (Photoshop Extended)† 452 â€Å" â€Å"3D † CS Review CS Review Adobe Brid ge CS5 Adobe Bridge Mini Bridge RAW ISO Camera Raw Web Mini Bridge Photoshop Camera Raw 2010/5/5 PHOTOSHOP CS5 2 †¢ †¢ †¢ †¢ †¢ †¢ †¢ †¢ Windows Mac OS 127 136 269 129 223 â€Å" â€Å" â€Å" â€Å" â€Å" † 205 â€Å" † † † † 188 â€Å" † 379 GPU â€Å" † â€Å" â€Å" 64 Mac OS † 124 â€Å" † † 79 64 Windows 10% 43 â€Å" † 2010/5/5 3 2 : Adobe ® Creative Suite ® 5 A B C D E G F H A. Illustrator â€Å" † B. C. D. E. â€Å" † F. â€Å" † G. â€Å" † H. †¢ Windows â€Å" † Mac †¢ †¢ â€Å" â€Å" † † â€Å" † Illustrator â€Å" † Adobe Flash ® Adobe Dreamweaver ® Adobe Photoshop ® Adobe Fireworks ® â€Å" † 2010/5/5 PHOTOSHOP CS5 4 †¢ †¢ † †¢ Dreamweaver Flash â€Å"CSS † Illustrator â€Å" † Adobe Photoshop ® â€Å" Mac â€Å" â₠¬ >â€Å" Dreamweaver for Mac Adobe Illustrator ® † Flash Mac †¢ †¢ Illustrator Adobe InCopy ® Adobe InDesign ® Photoshop Fireworks Tab Illustrator InCopy InDesign Photoshop Shift+Tab â€Å" † â€Å" (Windows ®) Fireworks † (Mac OS ®) F4 â€Å" † Illustrator â€Å" † †¢Flash Dreamweaver ? Photoshop † â€Å" † â€Å" (Illustrator) ? â€Å" † â€Å" † â€Å" † â€Å" † InCopy Fireworks Flash InDesign ? â€Å" † â€Å" Fireworks Photoshop † 2010/5/5 PHOTOSHOP CS5 5 â€Å" â€Å" †¢ †¢ † † â€Å" † †>â€Å" â€Å" â€Å" † † â€Å" † â€Å" † â€Å" † † â€Å" † † â€Å" † † â€Å" † â€Å" kb405298 †>â€Å" † â€Å" Photoshop †>â€Å" Dreamweaver (Windows) Dreamweaver †¢ †¢ â€Å" † â€Å" â€Å" †>à ¢â‚¬Å" †>â€Å" â€Å" † † â€Å" †¢ † â€Å" † â€Å" † †¢ †¢ †¢ â€Å" † 2010/5/5 PHOTOSHOP CS5 6 â€Å" † †¢ †¢ A B C â€Å" † â€Å" † A. B. C. Ctrl (Windows) Command (Mac OS) Esc †¢ †¢ (Windows) â€Å" † Control (Mac) â€Å" † â€Å" † †¢ 2010/5/5 PHOTOSHOP CS5 7 †¢ †¢ †¢ †¢ †¢ †¢ †¢ †¢ Photoshop â€Å" † 2010/5/5 PHOTOSHOP CS5 8 †¢ †¢ †¢ †¢ â€Å" †¢ †¢ † â€Å" † â€Å" † 1 †¢ (Illustrator) †¢ â€Å" †>â€Å" †>â€Å" InCopy †>â€Å" â€Å" †>â€Å" â€Å" †>â€Å" † † †>â€Å" † Photoshop InDesign â€Å" †¢ (Dreamweaver) †¢ (Flash) 2010/5/5 PHOTOSHOP CS5 9 †¢ (Fireworks) 2 3 â€Å" † Photoshop InDesign â€Å" † InDesign Phot oshop ? Photoshop †¢ †¢ †¢ â€Å" Photoshop InDesign â€Å" †>â€Å" â€Å" InCopy †>â€Å" †>â€Å" † â€Å" † †>â€Å" † † â€Å" † Fireworks †¢ (Illustrator) â€Å" † â€Å" † Photoshop InDesign 1 Dreamweaver 2 â€Å" InCopy â€Å" † †>â€Å" †>â€Å" [ ]† Photoshop InDesign (Photoshop) Photoshop †¢ †¢ â€Å" Photoshop †>â€Å" †>â€Å" â€Å" † † â€Å" † ? â€Å" † â€Å" † 2010/5/5 PHOTOSHOP CS5 10 ? †¢ †¢ †¢ †¢ †¢ †¢ (Windows) †¢ A B Enter (Windows) Return (Mac OS) FOX C IT D E A. B. C. D. E. 11 â€Å" † â€Å" Enter 10% A B † â€Å" Esc † Shift A. B. â€Å" † â€Å" † â€Å" † â€Å" † 2010/5/5 PHOTOSHOP CS5 11 Shift 0 / A B â€Å" † A. B. ? Alt (Windows) Option (Mac OS) 1 2 3 â₠¬ ¢ †¢ †¢ 4 â€Å" † â€Å" â€Å" † † â€Å" â€Å" † † â€Å" â€Å" â€Å" â€Å" † † † â€Å" † † â€Å" (Mac OS) † 2010/5/5 PHOTOSHOP CS5 12 1 2 :â€Å" † â€Å" † â€Å" † 1 2 (Windows) Control (Mac OS) 1 †¢ †¢ 2 3 â€Å" â€Å" â€Å" â€Å" †>â€Å" †>â€Å" † †>â€Å" † â€Å" † † â€Å" † † 4 5 †¢ †¢ †¢ 6 †¢ â€Å" â€Å" † † â€Å" † â€Å" â€Å"Photoshop † â€Å" â€Å" â€Å" † † † â€Å" † †¢ † â€Å" † 7 â€Å" † 2010/5/5 PHOTOSHOP CS5 13 â€Å" † 1 †¢ †¢ 2 3 â€Å" â€Å" â€Å" â€Å" †>â€Å" †>â€Å" † †>â€Å" † â€Å" † † â€Å" † † ? †¢ †¢ â€Å" Ctrl (Windows) Command  " † (Mac OS) †>â€Å" †>â€Å" † ? â€Å" † â€Å" † Photoshop / â€Å" † â€Å" † Adobe Online 2010/5/5 PHOTOSHOP CS5 14 A (V)* A (E) (E) (E) (U) (A) (A) (U) (U) (U) (U) (U) G 3D (M) (M) B C (L) (L) (L) E (O) (O) (O) E (B) (B) (B) (B) W) (W) B (C) (C) (C) C (I) (I) (I) (I) (I)†  D (J) (J) (J) (J) (S) (S) * & 3D (K)†  (K)†  (K)†  (K)†  (K)†  (N)†  (N)†  (N)†  (N)†  (N)†  (H) 3D 3D 3D D (Y) (Y) (G) (G) F (P) (P) 3D 3D 3D 3D 3D 3D F G (R) (Z) (T) (T) (T) (T) †  Extended 3 â€Å" † 2010/5/5 PHOTOSHOP CS5 15 â€Å" † 2010/5/5 PHOTOSHOP CS5 16 2010/5/5 PHOTOSHOP CS5 17 ( Extended) Photoshop 2010/5/5 PHOTOSHOP CS5 18 3D Photoshop Extended 3D x 3D z 3D x y 3D 3D 3D x y 3D z 3D x y 3D 3D ? †¢ †¢ â€Å" † V Photoshop 2010/5/5 PHOTOSHOP CS5 19 A D B C E F A. â€Å" † B. C. D. E. F. Shift Shift 1 2 â€Å" â€Å" †>â€Å" Shift †>â€Å" †(Windows) † â€Å"Photoshop†>â€Å" †>â€Å" †(Mac OS) I 1 2 â€Å" †>â€Å" â€Å" † †(Windows) † †>â€Å" †(Mac OS) â€Å" †>â€Å" † â€Å"Photoshop†>â€Å" 50% 100% 3 â€Å" † † â€Å" â€Å" † Caps Lock 2010/5/5 PHOTOSHOP CS5 20 OpenGL ? 44 Alt â€Å" OpenGL GPU † Control + Option (Mac OS) (Windows) — â€Å" †>â€Å" † A B A. B. â€Å" † â€Å" (Windows) † Photoshop Control (Mac OS) â€Å" â€Å" † A † â€Å" † â€Å" â€Å" † †>â€Å" † â€Å" † B C â€Å" † â€Å" † â€Å" â€Å" † † A. B. C. 1 2 †¢ â€Å" † 2010/5/5 PHOTOSHOP CS5 21 †¢ 3 †¢ †¢ 4 â€Å" †>â€Å" † â€Å" † â€Å" â€Å" † † â€Å" † ? â€Å" † â€Å" †Å" † â€Å" † â€Å" † † â€Å" † 11 â€Å" † 34 â€Å" † ? †¢ â€Å" â€Å" † 50% † â€Å" â€Å" † † â€Å" †>â€Å" † â€Å" â€Å" â€Å" †>â€Å" †>â€Å" †>â€Å" †>â€Å" † †>â€Å" † † †¢ †¢ â€Å" † ? †¢ †¢ OpenGL â€Å" †>â€Å" †(Mac OS) â€Å" † †>â€Å" †>â€Å" †(Windows) â€Å"Photoshop†>â€Å" 2010/5/5 PHOTOSHOP CS5 22 †¢ â€Å" † â€Å" † OpenGL Multi-Touch MacBook 1 †¢ †¢ †¢ 2 â€Å" â€Å" † † † â€Å" † www. adobe. com/go/lrvid4001_ps_cn â€Å" † â€Å" † â€Å" † â€Å" 5:10 † (Mac OS) Multi-Touch 1 2 MacBook † (Mac OS) † â€Å"Photoshop†>â€Å" â€Å" † â€Å" †>â€Å" â€Å" ? â⠂¬  â€Å" † †¢ †¢ †¢ â€Å" † â€Å" †>â€Å" â€Å" † † â€Å" † Ctrl (Windows) Command (Mac OS) 2010/5/5 PHOTOSHOP CS5 23 †¢ â€Å" † â€Å" † A B C D E F G A. B. C. D. â€Å" † E. â€Å" † F. G. â€Å" † â€Å" † 3200% 1 Multi-Touch MacBook 1 â€Å" †>â€Å" OpenGL †>â€Å" † †(Windows) OpenGL â€Å"Photoshop†>â€Å" â€Å" OpenGL †>â€Å" † †(Mac OS) â€Å"GPU † â€Å" 2 â€Å" † 24 â€Å" † ? †¢ â€Å" Alt † â€Å" Option † (Mac OS) â€Å" † â€Å" † (Windows) † †¢ †¢ â€Å" †>â€Å" † â€Å" â€Å" †>â€Å" † OpenGL ? â€Å" † â€Å" † †¢ Alt (Windows) Option (Mac OS) 2010/5/5 PHOTOSHOP CS5 24 †¢ â€Å" † 1 2 Photoshop 1 H â€Å" † †¢ †¢ 2 H ?

The Effects of Social Media on Social Development - Free Essay Example

Sample details Pages: 4 Words: 1176 Downloads: 2 Date added: 2019/04/10 Category Society Essay Level High school Tags: Social Media Essay Did you like this example? In our society today, how is the mass use and overabundance of social media affecting the latest generation? In previous generations, this was a problem that no one had to deal with as social media, even most computers, were unused by the general majority of the population. However, with Facebook, Snapchat, and all others forms of online connectivity are available for everyone, there is a whole new generation growing up in a social media saturated world. Most would say that the use of social media is corrupting the new generation. Don’t waste time! Our writers will create an original "The Effects of Social Media on Social Development" essay for you Create order Some people may believe that using social media is doing little to no harm on the new generation. In this day of age, social media is causing younger people to struggle in their social development and have delayed growth because of it. As humans begin to grow during the development process, the relationships humans form greatly affect how they socially develop. Humans have a psychological need to form relationships with and socialize with others. It is the way people learn to fight a bully or find their one true love in the large sea of people. Without learning these lessons, one would not know how to act in social situations and have a harder time when interacting with others. However, in recent years with the rise of social media, multiple problems have been on the rise. People have not been able to receive certain social skills they need to develop to become functioning adults. This was not a problem back when one had to actually go and talk with others for social interaction, but now people can choose to only communicate with others online. Nobody is forced to receive that in-person group experience that one may normally be pushed to receive (Konnikova 239). This leads to many who choose to communicate mostly online to have less social lessons learned, like being generous to others or how to act when confronted with a bully. They are not receiving the necessary information to interact with others effectively. These people also tend to form less real world bonds. A large majority of people have trouble in social situations as and have trouble interacting with others in a social group. These skills need to be developed early in a humans life as well. Deve loping these skills later in life are more difficult as the brain is already fully developed. Confirming that people need social interaction to develop properly, an experiment was done by American psychologist Harry Harlow. Part of the set of experiments involved isolating the young monkeys from their mothers and other young monkeys. After about 90 days, the monkeys were left permanently damaged by the experiment (Kozlow 1). When Harlow tried to introduce other monkeys to the damaged one, it would freak out not knowing how to handle itself in the situation. The monkey could no longer make new social connections. One thing that social media cannot solve, at least in the near future, is the feeling of touch which humans need. One experiment performed by Oxford professor Dr. Robin Dunbar found that, similar to primates, humans need to feel a sense of touch. He found that endorphins were activated whenever someone had received even the slightest touching sensation. (Konnikova 238) In a similar study, Harlow had found supporting evidence in his experiment. He set up two separate rooms. One room had a fake mother made out of the cloth blanket that the baby monkey was born in, but this mother could not feed the baby. The other room had another fake mother but made out of metal and wires, but with could feed. He would take the monkey and give it the choice between the clothed mother and the metal mother. The baby would almost always choose the clothed mother despite the physical need to be fed by the other mother. Harlow then continued the experiment by putting the clothed mother and the metal mother in separate rooms, but both mothers were now able to feed. He then took two baby monkeys and put them into the two rooms without giving them a choice. The monkeys both were fed well but the one with the metal mother was traumatized. When put in a room with others, the monkey would freak out and avoid any interaction with the others. Without that sense of touch, it had no idea how to interact with others. This helps to show just how important a sense of touch at an early age is. On the other hand, many may claim that social media could not possibly ruin the future generation. For starters, most have not fully grown up in a world filled with social media. The newest generation is born in a world with social media and is able to adapt to this new form of life. (Konnikova 239). This generation can develop the skills needed as they had not lived in a world without social media. Having social media everywhere in todays world, there are few that would have not been exposed to social media already. The select few that are not initiated can also easily be connected as almost everything in the world is connected to the internet and social media. The only problem with this point is currently being observed and does not seem to be so good. Adolescents are already being observed to have a delayed transition that could very well be from social media (Henig 206). With social media, many do not feel they need to develop a more vast social life. There is little to no drive to go out and make something of oneself if they can pop open Facebook and feel gratified for however many followers or friends they have. Social media prevents people from going out and developing social skills they will need for a future career. An employer would not want to hire someone who has a hard time working with others. Many in this generation live with this as a problem because they do not go out a learn how to interact with others on a regular basis. Despite the belief that social media is not doing any harm, it is apparent that many consequences have begun to occur. Most people on social media dont have the opportunity to learn very important life lessons. The internet is also completely unable to provide many things that humans require to grow and develop in to strong, persistent adults. Without the need or desire to go outside and play with friends, the new generations may be severely handicapped compared to generations before. Before letting a child go on social media too much, think about the potential negative effects a will leave behind. Academic Honor Pledge: I have neither given nor received unauthorized aid in completing this work, nor have I presented someone elses work as my own. Works Cited Henig, Robin Marantz. What Is It About 20-Somethings? The New York Times, The New York Times, 18 Aug. 2010. Konnikova, Maria. The Limits of Friendship. The New Yorker, The New Yorker, 20 June 2017. Kozlow, Boris . Adoption History: Harry Harlow, Monkey Love Experiments. European Imperialism, 2012.