Art in the Urban Environment: Case Study Analysis

Art in the Urban Environment: Case Study Analysis Historical Context In the late eighteenth century, the establishment of the museum revolutionised the notion that art had to be exclusive. Paintings and sculptures, objects previously housed in private collections and viewed by a typically bourgeois audience, were propelled into the wider public arena. Although originating as national institutions, as popularity for this new cultural attraction grew, further art museums were required on a regional and local basis and over the centuries this trend culminated in the formation of the contemporary art gallery. The technological revolution of the 1960s, then, brought with it an increase in available leisure time for the general public, spurring a continued and unprecedented growth in the rate at which art galleries were built. Alongside the introduction of modern media techniques, this combination once again succeeded in bringing art to an increasingly large and diverse audience. This progression, however, brought about a fundamental change in the actual production, format and display of the art pieces themselves. Artists and curators alike, were required to respond to the changing perceptions of a broader, multi-cultural and modern day audience. To retain an appeal, more experimental forms of art and methods of display were introduced. Art was no longer restricted to being hung on a wall, mounted on a plinth or designed to suit a neutral backdrop. The role of the spectator no longer had to be purely passive. Over the past fifty years, the practice of art and its reliance on the modern gallery setting, that of the conventional white cube, which seeks to transcend specificity of time and location (Ault, J., 2003, in Dernie, 2006, p.9) has been confronted. One outcome is that we have witnessed emerging practices of art that extend past the architectural confines of the traditional gallery space and into the external urban fabric. Public art in the urban context, in its broadest definition, is not new in concept. As a work of art or design that is created by an artist specifically to be sited in a public space, (The Newport News Public Art Foundation) monuments, memorials and architectural ornamentation are all valid examples. It was again in the 1960s, however, that public art became a discipline in its own right, forming new sub-genres including environmental, land, site-specific, community-based and street art. By testing ideas of display through actively engaging the public in a more natural environment, art has formed a much greater part in everyday life. That is not to say, that public art need be mutually exclusive of the contemporary art gallery. Historically art forms more closely linked to areas of everyday life have been marginalized by the art establishments as lacking aesthetic quality. (Gastil, 1997, p.85) With its gradual acceptance as a compelling art form, however, there are now many examples where an exhibition of public art, has been divided between both the urban environment and the interior gallery setting. In some cases, the works of art in the urban context, are physically linked to a gallery or merely act as an extension to the main internal exhibition. In other examples, the gallery takes a lesser role, providing a framework of background knowledge, acting as an interpretive voice or a financial benefactor for a display primarily located elsewhere. The internal and external events may run in parallel, or the gallery exhibition may precede or follow the external display by a few days, weeks or even years. Public Art in the 21st Century In the first decade of the 21st century, there is a greater demand for art in the urban context, but the popularity and proliferation of this public art, has in turn, led to the danger of it becoming generic/gentrified and having a lesser impact. Now no longer a novel concept, artists in their desire to attract an audience, once again have to strive much harder. In the urban environment, unlike the contained gallery setting, there is not always an expectant observer, here there is a much larger audience that simply happens upon the scene/location and they need to be engaged if the work is to be received successfully. Works of contemporary art in public spaces are encountered by diverse publics who have, to a large extent, no contact with art in galleries, though they may be adept at reading the codes of mass culture. (Gastil, 1997, p.14) More problematically, art in general, also needs to compete with a vigorous leisure industry and an overly cinematic modern world. The built environment has become increasingly globalised and homogenous. As a society already bombarded with spectacular imagery and simulated environments (Dernie, 2006, p.14) through the daily onslaught of visual stimulation, (advertisements, graphics and digital media) we also require added stimulation of our other senses, to engage with our surroundings and create a rich, memorable experience. Within the contemporary art gallery it is apparent what is now fundamental to contemporary exhibition design is the creation of an experience that is engaging, multi-sensorial and rewarding. (ibid., p.13) This experience relies on a mixture of digital technology, graphical design, sound, performance and virtual reality, to build up the blank canvas of the internal space and create an immersive environment. In contrast, back within the external context, this diverse layering of attributes is a pre-defined condition. The built environment provides the experience, the context, sights, sounds, and smells that are only ever fabricated within the purpose built gallery. Naturally occurring phenomena, the layering of human activity and habitation, social, economic and political factors, environmental factors, historical and cultural backgrounds, all combine organically to form a stimulating environment. It is interesting therefore that, often, it is the everyday environment that is overlooked. Many people appear so oblivious to their surroundings, or so insulated from the incursions of modern life, that they really do need someone to stand in front of them, signaling wildly, before they raise their eyes and look up. (Searle, 2007) In the current climate, it is evident that for public art to succeed in such a hostile environment, it needs to have either an impact or a resonance, to make a lasting impression. Exploration through Example To look at how some artists have tackled this idea, this paper focuses on three specific projects of external public art, that not only note-worthy for their innovative approach, have also have risen to the challenges of a modern society, and are projects that deliberately provoke exploration of public spaces eliciting fresh thinking about familiar sites and contexts. (Gastil, 2004, p.99) These are projects that due either to their scale, spontaneity or purpose, could not have occurred within the confines of an art gallery. It is important to note, however, each case study did have a direct link with the conventional gallery setting, showing an interesting interdependence. This relationship can be seen to differ between the examples, dependent on the requirements of the specific project. In examining the three case studies, I intend to explore more specifically the differing methods employed by the artists to engage the viewer; the context of urban art and how it affects its purpose, meaning, and value, and whether the relationship these projects had with conventional art gallery, strengthened the work itself. Gormley The first project, Event Horizon, was a large-scale sculpture project by Antony Gormley, centered around the Hayward Gallery on the south bank of the Thames in 2007. As one of Londons most ambitious public art commissions, 31 life size replicas of the artists naked body were scattered within a two kilometer proximity of this central London site. 4 of these 31 statues were made from cast iron and located at street level. By temporarily placing them in the direct pathway of the public, tangibly interrupting the course of daily life, (www.antonygormley.com, 2009), the artist orchestrated an engagement through a series of confrontations. The unsuspecting passer-by was challenged to make a decision. Whether tourist, resident or daily commuter, the passer-by was forced to choose either to walk by head down, to pause to take in the sight, or to stop and reach out to touch this alien figure. The remaining 27 figures, were alternatively placed overhead, on the rooftops of prominent buildings. The unexpected sighting of a human silhouette inhabiting the skyline, evoked intrigue and astonishment (and in some more controversial instances, a phone call to the emergency services). In either encounter, the installation achieved its preliminary goal in forming an initial dialogue between itself and the passer-by. Despite being extended over this two kilometer site, the considered placement of the statues, ensured that more than one would always be apparent in the peripheral vision of the spectator, widening the scale of the work. Whilst some were clearly visible and others a mere speck on the horizon, there became an ambiguity to how many more of these figures there were placed around the city. The work connects the palpable, perceptual and conceptual, and implicates the viewer in a field condition. (www.antonygormley.com, 2009) Through an implied interrelationship between the figures and their various locations, the existing built environment became the larger stage on which the display was set. The spectator was distanced from the works on the horizon, but the implication was that they themselves, by standing within this stage, could also be an additional figure in the landscape. At street level, the contrasting proximity of the statues further increased this active participation of the spectator / passer-by, by permitting closer examination. The tactile quality and scale of the figures, their material response to environmental factors such as the appearance of rust and the shadows cast from them by the sun, could all be observed and assessed first hand, making the project more memorable. By integrating this temporary installation into the familiar urban landscape, Gormley does not only try to encourage the spectator to look at the individual statues, but to look afresh at their surroundings. In this case the eye is drawn to aspects of the skyline that are frequently overlooked and spectators are encouraged to consider their relationship as individuals to the city and other inhabitants. Event Horizon gives one a terrific sense of the citys scale, of the relative size of the human in relation to the architecture, of the distances and proximities of the citys jumbled elevations. (Searle, 2007) Event Horizon ran in parallel with an exhibition of Gormleys earlier sculptures, prints, drawings and photographs, located within the Hayward Gallery itself. These works were seminal in their own right, but the curiosity developed by placing the figures within the urban context, encouraged a far larger number of visitors to the exhibition. Each of the 31 external statues had been rotated to face the external viewing balcony of the Hayward making this the focal point of attraction. Visitors flooded into the gallery to this observation deck, to stand and look back out at the city. Deliberately no figures were placed on the balcony itself, in a reversal of the normal relationship between viewer and art object, (Gormley in Vidler, 2007, p.47) those observing from the gallery, were encouraged to watch the array of interactions with the art in the street. Once in the gallery setting, visitors could then observe similar statues within a different context. The gallery provided an alternative insight to the work, and ultimately this relationship further enhanced the overall experience. Christo and Jeanne-Claude The highly publicised installation Wrapped Reichstag, by Christo and Jeanne-Claude provides the second case study. In 1995 The Reichstag in Berlin, a symbol of democracy for Germany, was wrapped for 14 days in 100,000 square meters of thick woven polypropylene fabric. A steel framework was temporarily installed to the facades and roof of the building, altering the original proportions and allowing the fabric to cascade to the ground. First conceived in 1971, it took 24 years of public forums, parliamentary debates, press conferences and design trials, before approval for the project was granted and as such the considerable activity that preceded the wrapping, became as much a part of the work as the actual installation. As a building of huge historical significance, the image of The Reichstag was a familiar one and therefore the initial encounter of the viewer to the installation tended to be one of awe. Both spectacular in scale and drama, this display showcased how projects could be strengthened by their interaction with the outside world. The draped fabric took on a dynamic quality by being free to ripple in the wind, whilst the aluminum coating reflected the sun during the day and became muted in the evening. Even the sheer amount of people who went to see the transformation, provided a spectacle in itself. By being deliberately temporary, the work was enhanced in intensity and value. Described as a revelation through concealment, (Bourdon, 1971) by transforming the appearance it drew on peoples memory to remember the original proportions, the materiality and the solidarity of the building hidden beneath. When the installation was then dismantled and the site returned to its original state, this too provoked a further re-evaluation that continued long after the project was dismantled. In 1995, it was seen by five million people and has retained its power through documentation and memory long after it was removed. (Gastil, 1997, p.102) In this instance the relationship of the gallery was based around two parts. Prior to the two-week installation, the role of the galley was one of promotion. Due to the sheer logistics of wrapping such a significant icon of German history, drawings, collages and scale models were, over a period of years, displayed within a multitude of galleries. Beginning at the Annely Juda Gallery in London and then moving to galleries in Cologne and finally Berlin, the artists sought an international awareness of the project, to raise both the public support and the finances required to undertake the task. After the event, photographs taken during the installation, were then exhibited alongside the original drawings as a record of the event. The wrapping of The Reichstag also raised several political and historical issues, which were again documented within these further exhibitions, to expand the background knowledge of the visitor. The spectacle was executed within the urban environment, but for those who perhaps could not attend, those that had heard about the event only afterwards through the media, or those that simply wanted to learn more, the contemporary art gallery provided this forum and subsequently extended the life of the installation. Slinkachu The third example is far subtler in nature. Produced by artist Slinkachu in 2006, a series of one-inch mini-installations were created for, and placed in, the streets of London. In modifying small, shop bought plastic figurines and placing them within a real urban context, Slinkachu curated everyday human scenarios, in miniature, whether it be reading the newspaper, shopping, sight-seeing or engaged in more criminal activities. Unlike the two previous examples, the art works of Slinkachu, did not rely on being at odds with their urban surroundings. Left to be discovered by passers-by, the orchestrated scenes invited exploration through curiosity and intrigue. Like Gormleys statues, these miniature figures were designed to engage the audience emotively through personal resonance. Even when you know they are just hand-painted figurines, you cant help but feel that their plights convey something of our own fears about being lost and vulnerable. (The Times, 2006) In the urban context, by the very nature of the size of the installation, even the trained eye could pass over the work unnoticed and the pieces were only likely to attract the attention of a very small number of people. To ensure the engagement of a wider audience, Slinkachu captured these interventions through photographic images that appeared, in tandem, on advertisement boards throughout the city. For each miniature scene, photographs were taken from distances both far away and up close, yet the advertisement boards showed only one image of the set, deliberately puzzling the passer-by and encouraging a second glance. In the wider scene it was not immediately obvious where the work was, whilst at the macro scale, the figurines appeared to adopt human proportions. The artist also relied on the traditional gallery space to provide an interpretive voice. Exhibiting at the Cosh Gallery, the two photographs of each installation could be placed adjacent to one another alongside recreated scenes of the original context, revealing the distortion of scale, to the viewer, in a witty manner. The gallery in this instance provided recognition of the artist and of his installations that outside of the gallery setting, were not necessarily obvious as a pieces of art. If the audience had been unsuccessful in finding the installations in the urban environment or, alternatively once engaged, simply wanted to learn more, the gallery provided a space to summarise the events that occurred externally. In a reversal of roles, for some the gallery even became the starting point. On noting the separate scenarios and their locations within the city, visitors would often be encouraged to then go back outside and search for the work, which by then however, may have been washed away by rain, discarded as rubbish or rescued as a treasure. Conclusion Whilst each individual will observe or experience a situation differently, dependent on their own preconceptions, by engineering encounters, storylines and multi-sensorial experiences, in each case study, the artists have been successful in encouraging an audience to raise their eyes and look up (Searle, 2007) from their everyday lives. As demonstrated, if works of art can evoke an emotive response from the spectator, such as shock, awe, curiosity or empathy, it can contribute to a lasting impression. Also by being temporary in nature there is an element of spontaneity to these places and events that is memorable. One doesnt actually expect the experience you arrive at. (Gastil, 1997, p.18) In the example of Event Horizon, even the most unsuspecting of passers-by, can become active participants in the drama unfolding around them. It is evident that each case study also became strengthened by the richness of its surrounding location. By being placed alongside attributes identifiable in everyday life, the spectator could draw upon a deeper social and cultural framework, to form their own opinion of the art. In turn, as new interventions within familiar landscapes, these projects heightened the awareness of the spectator and encouraged them, even if only subliminally, to reassess the urban environment around them. The value of urban art is therefore, not judged solely on its own intrinsic merits as an individual piece or installation, but instead its value is in the dialogue it can generate between itself, the spectator and the surrounding context. The purpose of this paper is not to suggest that displays in the urban environment are ever likely to replace or take precedence over those in the typical gallery space, but that by being more experimental in nature, they act as a catalyst to test the perceptions of a developing audience. For many of us the designed air of the modern art gallery or museum still represents a kind of elitism, (Dernie, 2006, p.9) Alternatively the unpredictable and unregulated external environment, offers familiarity, an opportunity for spontaneity, and a larger stage on which to exhibit. Urban installations bring works of art to a mass audience; to those who may not be actively seeking it, but might well become engaged by it and find enjoyment from it. They can motivate people to seek further understanding in entering a gallery they would perhaps not visit otherwise. The contemporary art gallery in linking with these urban installations has adapted and taken on a new supporting role, providing a level of education, a longer lasting memory, financial incentives, recognition and ultimately a voice between the artist and general public. The advantage of combining these two environments, as indicated in the three case studies, is that this relationship can be of mutual benefit, it can provide added value and impact and prove fruitful in engaging a wider diverse audience, or as in the case of Slinkachu, even lead to a cult following. Related bibliography Books: Baal-Teshuva, J. (2001), Christo and Jeanne-Claude, Taschen Bourdon, D. (1971), Christo, Harry N. Abrams Publishers, New York Chernow, B. (2000), Christo and Jeanne-Claude A Biography, St Martins Press, New York Dernie, D. (2006), Exhibition Design, Laurence King, London Gastil, W., Ryan, Z. (2004), Open: New Designs for Public Space, Princeton Architectural Press Holl, S. (2007), Questions of Perception: Phenomenology of Architecture (2nd Edition), William K Stout Publishers Lynch, K. (1972), What Time is This Place, MIT Press, Cambridge, MA Miles, M. (1997), Art, Space and the City: Public Art and Urban Futures, Routledge ODoherty, B. (2000), Inside the White Cube: The Ideology of the Gallery Space, University of California Press, California Pallasmaa, J. (2005) The Eyes of the Skin: Architecture and the Senses (2nd Edition), John Wiley Sons Psarra, S. (2009), Architecture and Narrative: The formation of space and cultural meaning, Routledge, Oxford Self, W. (2008), Little People in the City: The street art of Slinkachu, Boxtree, Oxford Vidler, A., Stewart, S. and Mitchell, W. (2007), Anthony Gormley Blind Light, Hayward Gallery Publishing, London Zardini, M. (2005) Sense of the City: An Alternative Approach to Urbanism, Lars Muller Publishers, Toronto Press Articles: Searle, A., (2007), Antonys Army, The Guardian, May 15th Websites: (Accessed 04/01/10) The Newport News Public Art Foundation, What is Public Art, Available from: (Accessed 03/01/10) The Times, (2006), The Blog of the Week, October 28th, Available from: (Accessed 29/12/09) Picture Credits: Photograph by Miller, D. (2005) The White Cube Gallery, Available from: Photograph by Hopper, D. (1967) Fluids by Allan Kaprow, Los Angeles, Available from: Running Fence by Christo and Jeanne-Claude, California, (1972) in Baal-Teshuva, J. (2001), Christo and Jeanne-Claude, Taschen Photograph by Aschkenas, D. (1985) Tilted Arc by Richard Serra, Available from: Famous advertisement boards on Piccadilly Circus, London, (2005) Available from: Interactive Displays, London Underground, (2007) Available from: Nikon Interactive Lightbox, Subway Station Seoul, (2009) Available from: Photograph by White, S. (2007) Event Horizon, in Vidler, A., Stewart, S. and Mitchell, W. (2007) Anthony Gormley Blind Light, Hayward Gallery Publishing, London Event Horizon (2007) Available from: Photograph by White, S. (2007) Event Horizon, in Vidler, A., Stewart, S. and Mitchell, W. (2007) Anthony Gormley Blind Light, Hayward Gallery Publishing, London Photograph by Harrison, C. (2007) Event Horizon By Antony Gormle ­Ã‚ ­Ã‚ ­Ã‚ ­y, Waterloo Bridge, London, Available from: Wrapped Reichstag (1995) in Baal-Teshuva, J. (2001), Christo and Jeanne-Claude, Taschen Photograph by Manzanares, R. (2009) Christo and Jeanne-Claude with a model of Wrapped Reichstag, Available from: Preliminary Drawings, Wrapped Reichstag in Baal-Teshuva, J. (2001), Christo and Jeanne-Claude, Taschen Photograph by Hecht, H. (1995) Wrapped Reichstag, Available from: Photograph by Hecht, H. (1995) Wrapped Reichstag at Night, Available from: Slinkachu, (2008) Ground Zero Solo Show, Cosh Gallery, London, Available from:> Slinkachu, (2008) Ground Zero Solo Show, Cosh Gallery, London, Available from: Slinkachu, (2007) I Cant Actually Graffiti, Festival Hall, London, Available from: Slinkachu, (2007) I Cant Actually Graffiti, Festival Hall, London, Available from: Slinkachu, (2009) Small Victory, Billingsgate, London, Available from: Slinkachu, (2009) Small Victory, Billingsgate, London, Available from:

Physical Child Development Essay -- Human Development Infant Essays

Child Development Babies grow and develop at a very rapid rate during the first year of life. They grow physically, mentally, emotionally, and socially. In this paper I will discuss the physical growth and development patterns of an infant all the way through adulthood. Development is the baby's increased skill in using various body parts. When dealing with a development of a child there are three basic development rules. First development rule: This rule says that babies develop in the head region first, then the trunk, and lastly in the legs and feet. For example, a baby can hold up their head before they can grasp an object with their hand. Also they can feed themselves before they can walk. Second development rule: The second development rule explains that children develop from the mid line, or center of the body, outward toward the fingers and toes. Third development rule: Finally, this rule reveals that, as the brain develops, a child responds to more and more sights and sounds in their environment. Furthermore, they learn to respond to much finer details. A general rule is that a baby increases in height by 50% and triples its birth weight in the first year. Clearly, this is a very rapid growth rate; however, the rate of growth slows down after infancy. At three months, a baby is alert and responding to the world. When put on their tummy, they can hold their chest and head up for ten seconds. They try to swipe at toys hung over the crib. They turn their heads toward an interesting sound or listen to voices. Babies love to stare at people's faces. They coo and gurgle. At six months a baby is developing control over its body. They can sit with support and may sit alone for short periods of time. They can roll over. They will hold out their arms to be lifted up or reach and grab an object. They can hold their own bottles and toys. They laugh out loud, babbles, "calls" for help and screams when annoyed. At nine months babies are exploring their environment. They can sit unassisted, crawl, pull to a stand and sidestep along furniture. They can use their fingers to point, poke, and grasp small objects. They feed themselves finger foods. Babies know their names and respond to simple commands. She babbles a pattern as if she were speaking a foreign language. At twelve months a baby is striving for independence. They stand and may walk by the... ...dolescence. Puberty rites signal acknowledgment of a young woman or young man has reached the age of responsibility, virility and community productivity, and these rites make an impression on the teenager or adolescent. Puberty rites are an attempt to mold and educate the teenagers and prepare them for their new role in life. Today, in our western culture part of the world, we have no clearly defined rites; however our rites are randomly scattered throughout the mid-teen years. For teenagers, getting your driver's license, entering college, turning legal age, traveling across America or to Europe are all social rites. To further complicate matters, the period of adolescence has probably doubled in length since Mr. Hall first identified it, our children mature younger and younger and take longer and longer to prepare for fully engaged membership into adulthood. Through all of the readings on child and adolescent development, it is clear that children from birth through teen years all develop according to many factors; society, peers, education, family life, finances, fetal development, pre dispositions, and basically anything or anyone that the child may come in contact with.

King Lear as a Commentary on Greed Essay -- King Lear essays

King Lear as a Commentary on Greed   Ã‚   In Chapter 4 of a book titled Escape from Freedom, the famous American psychologist Erich Fromm wrote that "Greed is a bottomless pit which exhausts the person in an endless effort to satisfy the need without ever reaching satisfaction" (Fromm 98).   Fromm realized that avarice is one of the most powerful emotions that a person can feel, but, by its very nature, is an emotion or driving force that can never be satisfied.   For, once someone obtains a certain goal, that person is not satisfied and continues to strive for more and more until that quest leads to their ultimate destruction.   For this reason, authors have embraced the idea of greed in the creation of hundreds of characters in thousands of novels.   Almost every author has written a work centered around a character full of avarice. Ian Fleming's Mr. Goldfinger, Charles Dickens' Scrooge, and Thomas Hardy's John D'Urberville are only a few examples of this attraction.   But, perhaps one of the best exampl es of this is found in William Shakespeare's King Lear.   Edmund, through his speech, actions, and relationships with other characters, becomes a character consumed with greed to the point that nothing else matters except for the never-ending quest for status and material possessions.    Edmund, the bastard son of Gloucester, embodies the idea of avarice from the very beginning of the play almost until the end.   In fact, Edmund seems to become more and more greedy as the production progresses.   When Edmund is first introduced in person on stage, after a short exposition of his character by Gloucester and Kent in the first scene, the audience immediately finds Edmund engaged in a plot to strip his father's inheritance from his... ...gain his freedom from this addiction.   And only through his life and death does Shakespeare paint a picture to which anyone can relate and a picture on which everyone must act.    Works Cited and Consulted "Fromm, Erich." The Columbia Dictionary of Quotations.   CD-ROM. New York: Columbia UP, 1998. Harbage, Alfred. " King Lear: An Introduction." Shakespeare: The Tragedies: A Collection of Critical Essays. Englewood: Prentice-Hall, 1964: 113-22. Knight, Wilson. "King Lear and the Comedy of the Grotesque." Shakespeare: The Tragedies: A Collection of Critical Essays. Englewood:   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Prentice-Hall, 1964: 123-38. Shakespeare, William. King Lear. New York: Scholastic, 1970. Shakespeare, William. "King Lear: A Conflated Text." The Norton Shakespeare. Ed. Stephen Greenblatt. New York:    W.W. Norton & Co., 1997. 2479-2553.   

An Overview of Selective Mutism Essay -- Health, Disorder, Aphasia Vol

Hesselman coined the term â€Å"selective mutism† in 1983 to describe the disorder previously called â€Å"aphasia voluntaria, elective mutism, speech phobia, psychological mutism, and hearing mute† among fourteen other historic terms (Dow, Freeman, Garcia, Leonard, & Miller, 2004; Kearney, 2010). The American Psychiatric Association, or APA, characterizes selective mutism by a â€Å"persistent failure to speak in specific social situations where speech is expected, despite speaking in other situations.† Selective mutism shifted in recent years from being viewed as a response to trauma sustained early in life to a manifestation of an anxiety disorder (Dow et al, 2004). This paper briefly covers all aspects of selective mutism from signs and symptoms to diagnosis and treatment. Selective mutism is a rare condition and some discrepancies exist pertaining to its incidence. Beidel and Turner (2005) state that the incidence falls between .18-.76 percent, while Kearney (2010) states that the incidence falls between .20-2.0 percent. No known cause currently exists. Researchers identified common similarities between children with selective mutism. The most prevalent similarities are gender (1.5 females have selective mutism compared to every one male), having a language or anxiety disorder, having a social phobia, and a family history of selective mutism or social phobia. Dow, Freeman, Garcia, Leonard, and Miller (2004) state that out of patients with selective mutism, â€Å"70 percent had a first degree relative with a social phobia or avoidant disorder and 37 percent had a first degree relative with selective mutism† (p. 286). The APA classifies selective mutism under DSM-IV. A child’s behavior must meet these criteria for diagnosis of sele... ...n. If a child’s speech and language skills are inadequate, the speech-language pathologist will work with the child to improve the skill that the child struggles with. They also help parents and teachers understand what the child is experiencing and how to assist with implementing the provided treatment plan. Selective mutism is a rare disorder that affects mainly children. Treating selective mutism early and vigorously leads to success. Research about treatment methods and causes of selective mutism is limited due to the rarity and uniqueness of the disorder. While no known cause is recognized for contributing to selective mutism, professionals use many indicators to assess and diagnose a child. Children with selective mutism, contrary to popular belief, do communicate through gestures and nods but fail to speak in unfamiliar and uncomfortable situations.

Break Up of Marks for Formative Assessment

Break Up Of Marks For Formative Assessment 3 & 4 For Class IX ENGLISH |1. |Monday Test |10 Marks | |2. |Literature based Role Play[ Bishop’s Candlestick] |3 Marks | |3. MCB based Debate[content, Language, Pronunciation] |3 Marks | | |Topics: | | | |TV viewing – positive & negative Impact | | | |Boarding School/ Day Schooling | | | |Generation Gap a reality | | |4. Maintenance of Books & Work |4 Marks | | |Total |20 Marks | MATHEMATICS |1. |Pen & Paper Test [MT. 3. 3] |5 Marks | |2. |Group Presentation- |3 Marks | | |Class will be divided into different groups of size 5-7 each.Each group will be | | | |given a topic & will be asked to make presentation [includes ppt/charts/models]. They| | | |will be asked to present the topic with in the given time limit [5-7 mins] There will| | | |be a question answer round after the presentation. | | | |List f topics is as follows: | | | |Areas of parallelograms & triangles on the same base & between two parallel lines. | | | |P roperties of special types of quadrilaterals. | | | |Criteria for congruence of triangles. | | | |Linear Equations in two variables – Graphical representation. | | |Representation of irrational numbers on number line. | | | |Surface area & volume of solid figures [Cube/Cuboids/ Cylinder/Cone etc. ] | | |3. |CW / HW / Assignment |2 Marks | | |Total |10 Marks | GENERAL SCIENCE Physics |3rd MT |10 Marks | | |CW |5 Marks | | |HW |5 Marks | | |Presentation on various sections of sound production, propagation & reception of |5 Marks | | |sound | | | |Class participation |5 Marks | | |Total |30 Marks | |Chemistry |3rd MT |10 Marks | | |CW |5 Marks | | HW |5 Marks | | |Project – written project on natural resources |5 Marks | | |Class participation |5 Marks | | |Total |30 Marks | |Biology |3rd MT |10 Marks | | |CW |5 Marks | | |HW |5 Marks | | |Project – report on any one communicable disease |5 Marks | | |Class participation | | | | |5 Marks | | |Total |30 Ma rks | | |Grand Total |90 marks | | |FA 3 = 90/9 |10 marks | SOCIAL SCIENCE |1. |Monday Test |10 Marks | |2. |Assignments |5 Marks | |3. |Projects |5 Marks | | |Total |20 Marks | | |Assignments- | | | Specific lists of assignments attached. History, Geography, Economics, Political | | | |Science assignments will be marked for 5 marks each and the resulting marks out of 20| | | |will be reduced to 5. | | | |Projects- | | | |Students will be assigned only one project either from History, Geography, Economics | | | |or Political Science. The project will be for 5 Marks. | |Topics |Geography- | | | |Factors affecting natural vegetation and wildlife | | | |Main features/ characteristics of different vegetation belts | | | |Variety of Medicinal Plants | | | |Endangered animals | | | |Why India has rich flora & Fauna? | | |Map | | | |Political Science- | | | |Make a dictionary of terms in political Science | | | |Topics of Assignment | | | |The women’s Reservation Bill in parl iament (with special reference to the present | | | |position of woman in 15th Lok Sabha | | | |Is Educational qualification required by candidates to contest elections? | | | |Political Competition in Elections | | | |Role of Election Commission in conducting free & fair elections. | | |Economics- | | | |Implementation of NREGA, 2005- An analysis | | | |Unemployment amongst the educated in India – an evaluation | | | |Poverty in India as seen by the social scientists( with reference to human poverty) | | | |History- | | | |Assignments (to be marked out of 5) from | | | |Nazism and the rise of Hitler | | | |Forest society and colonization | | | |Clothing – a social history | | | |Assignments will be in the form of text-based questions, questions where the students| | | |have to give their personal opinion, questions where they have to relate the past to | | | |the present. | | INFORMATION TECHNOLOGY |1. Monday Test |10 Marks | |2. | Practical Assessment |10 Marks | |3. |Project ( Presentation on Networking, Spreadsheet for Student’s Mark sheet) |10 Marks | |4. |CW/ HW Notebook |10 Marks | |5. |Discussion on Development in the field of Computers |10 Marks | | |Total = 50/ 5 |10 % | FRENCH FA 3 | |1. |Unit Test (Written) |30 Marks | |2. |Oral discussion on ways of spending their pocket money. (Individual activity) |3 Marks | |3. |Contrast the importance, usage and definition of pocket money in past and present. ( |4 Marks | | |Group activity) | | |4. |Maintenance and completion of books and class performance. 3 Marks | | |Activities From- | | | |Chapter – 6 La Rentree | | | |Chapter – 7 L’Argent de poche | | | |Total |40 Marks | | |FA 3 – 40/4 |10 | |FA 4 | |1. |Unit Test (Written) |30 Marks | |2. |Role play of a market scene( Day to day dialogues using conditional present & pronom |3 Marks | | |> | | |3. |Using French magazines, describe a picture or present an advertisement, using |4 Marks | | |res pective vocabulary | | |4. |To take a few examples (like books, clothes, shoes etc. and compare them on basis of|3 Marks | | |price, quality and brand value | | | |Activities from- | | | |Chapter 8 Les Loisirs et Les Sports | | | |Total |40 Marks | | |FA 4 – 40/4 |10 | LIBRARY |1. |Is he/she able to maintain library discipline & decorum |Most indicator skill | | | |is A+ | |2. Attitude towards teachers & classmates |Many indicators skill | | | |A | |3. |Takes the initiative to consult the facilities available for various activities like | | | |debate, recitation, and book clubs. | | |4. |Is able to explain why they enjoy a particular book. | | |5. |Is able to express ideas/opinions creatively in different forms. | | |6. |Is able to write a short summary on the recently read books. | | HINDI |Fa^mao-iTva prIxaa 3 | |1? Pairyaaojanaa kaya- — maaOiKk [email  protected] —sasvar kivata paz. |3 AMk | | |EavaNa xamata kiva hirvaMSaraya | | | |baccana raya kI | | | |kivata | | | |‘Aignapqa’.? laya? gait? Aaraoh–Avaraoh | | | |saiht? | | |2? Pairyaaojanaa kaya- — AaSauBaaYaNa — ‘Qama- kI AaD, maoM saampdaiyak |3 AMk | | |JagaD,o’` | | | |Paaz — ? haimad Ka Qama- kI | | | |AaD,? | | |3? |Pairyaaojanaa kaya- — kivata saMklana — ‘jaIvana saMGaYa- ka naama hO’ |4 AMk | | |saMbaMiQat caar kivayaaoM kI | | | |rcanaaAaoM ka pustkalaya | | | |sao saMklana. | |Fa^mao-iTva prIxaa 4 | |1? |Pairyaaojanaa kaya- — jaanakarI eki~t — kivata ‘KuSabaU |3 AMk | | |krnaa. rcato hOM haqa’ ko | | | |AaQaar pr laGau | | | |]dyaaogaaoM sao saMbaMiQat | | | |jaanakarI eki~t | | | |krnaa. aOsao Agarba%tI | | | |banaanaa? maaicasa banaanaa? papD, | | | |banaanaa Aaid. | | |2? |Pairyaaojanaa kaya- — paz – Sauk`taor ko samaana — Bart ko |3AMk | | |maanaica~ pr | | | |saMbaMiQat sqaana dSaa-naa. | | |3? |kxaa kaya-? gaRhkaya-? saamaUihk p ircacaa-? kxaa maoM yaaogadana. |4AMk | SANSKRIT Fa^mao-iTva prIxaa 3 | |1? |Paazyak`ma — kma-Naa yaait saMisaiwma– saMskRt ka AapsaI vaata-laap |3AMk | | |ivajayatama svadoSaA– isaKanaa. | | |2? |vyaakrNa — p~ laoKna? Sabd $p? Qaatu $p – vyaakrNa ka |3AMk | | |ica~ laoKna – ivastRt &ana | | | |saMvaad laoKna – jaa? canaa? ka^pI maoM?. | | |3? |ka^ipyaa ]%tr puistkae — kaya- ka pUra ivavarNa. 4AMk | | |kxaa kaya-? gaRh kaya-. | | | |vyaakrNa maoM ivaiBanna trIko jaOsao kxaa maoM baaoD- pr hI Sauw–ASauw krvaanaa? | | | |]ccaarNa ko maaQyama sao vyaakrNa jaa? canaa yaa Ca~aoM sao svayaM p`Sna pUCkr | | | |vyaakrNa kI jaanakarI laonaa. | | |Fa^mao-iTva prIxaa 4 | |1? |Paazyak`ma — kao|hM vadtu saamp`tma — mauhavaro banaanaa. |4AMk | | |na Qama-vaRwoYau vayaA samaIxyato.Aayau ko AaQaar pr | | | |baalakaoM ko &ana ka | | | |p`dSa-na kr ]nako | | | |ivaYaya maoM jaanakarI | | | |donaa. | | |2? |vyaakrNa â₠¬â€ ica~ laoKna? — ica~ eki~t kr vaNa-na. |4AMk | | |kqaa saMvaad laoKna. kao[- BaI kqaa inaima-t kr saMskRt | | | |maoM Anauvaad. | | |3? |AnauSaasana — p`%yaok kaya- ko samaya Ca~aoM ka vyavahar. AnauSaasana? |2AMk | | |BaaYaa ka p`yaaoga. | |

Paganism and Christianity in Beowulf Essay

Like a adult male outlawed for wickedness, he must waitress the mighty judgement of God in majesty. (Beowulf, Heaney, p. 65) Finally, as Beowulf is dying after being mortally wounded by the Dragon, he ultimately thanks and praises God for the prox prosperity of his kingdom, passing off the fame and repute to God instead of claiming it solely himself To the ceaseless Lord of either, to the King of Glory, I destine thanks that I beh honest-to-god this encourage here in front of me, that I have been allowed to leave my people so well give the sackowed on the mean solar day I die. (Beowulf, Heaney, p. 189) The attempt at bridging cultural tradition with Christianity is clear and world powerful. Fate and face-to-face fame and glory are important doctrine in Paganism, and the author of Beowulf is able to remediate these characteristics with the Will of God and the ultimate power and glory of God, all major aspects of Christianity. 2-B2 The gospel truth of Matthew was and sti ll remains a captious text to Christians, both cradle Christians and converts from Judaism.It depicts the vitality of Jesus, as did the other two synoptical gospels Mark and Luke. It includes depictions of Jesus own in Bethlehem, his temptation, his baptism by John the Baptist, his statements, his crucifixion, and his resurrection and expectant Commission to his disciples. ?The Great Commission is arguably the closely significant excerpt from the credo of Matthew as is believed to be Jesus instruction manual dictated to his disciples to go out and imbue the teachings of Jesus.It is found in Chapter 28, verses 16-20 Then the cardinal disciples went to Galilee, to the mountain where Jesus had told them to go. When they saw him, they worshiped him scarcely some doubted. Then Jesus came to them and said, All authority in heaven and on earth has been given to me. Therefore go and make disciples of all nations, baptizing them in the make believe of the Father and of the Son a nd of the Holy Spirit, and teaching them to obey everything I have commanded you.And certainly I am with you always, to the very end of the age. This excerpt has been interpreted by Christians as divine instruction to evangelize nations, christen non-Christians, as well as to consummate missionary work. It is central to the theology of most Christian religions. Also of note, the Gospel of Matthew served as a bridge from Judaism to Christianity. In it, Matthew attempts to manifest how Jesus fulfilled the prophecies of the Old volition and that Jesus is, indeed, the Messiah foretold in the old texts.

Night World : Witchlight Chapter 10

The car coming. Iliana screaming. And the feeling of absolute helplessness-Glass shattered.Keller didnt understand at first.Aside from that, there are.Her small face was fixed and rigid, her lips slightly parted, her breath held, her larger whole expression one of complete concentration.She was calling the blue fire.Keller lost her own breath.Shes doing it! Im easy going to see a Wild Power.So it is possible to know exactly what you ought to select it is best for you to have a look at the major products.

It wasnt working.She heard Iliana make a desperate sound beside her. There was no time for most anything more. The car was on top of Jaime, swinging up onto the curb.Whats more, therell be a demand good for a balancing system.Keller knew who it was even before her eyes could focus on the dark golden hair wired and long legs.The car braked and screeched and swerved-but Keller couldnt tell if it had hit him. It went skidding, half on and half off the sidewalk. Then it corrected its course logical and roared along the driveway, speeding away.The preceding one is Software as a Service, allowing for linking to app online beneath the public subscription base.

She was off and running before Keller could catch her.She shot past Winnie, leaving a trail of flying red droplets.â€Å"Come on!† Keller yelled.They both went after her.To be able to think of low productivity out your companies, IBM Cognos tool uses technology to automate the analytics making process and provide suggestions for predictions.There were two figures lying on the pavement. They were both very still.Kellers heart was good beating hard enough to break through her chest.Amazing how, even after seeing so much in her life, she could still have the desperate impulse to shut her eyes.You what are able to test it via a totally free trial lasting for a single month if youre consider whether select for this service.

He lifted his head, pushed himself up on one elbow, and looked around.Keller stared at him wordlessly. Then she made her voice obey her. â€Å"Did it hit you?†Ã¢â‚¬Å"Just glanced off me.This service many uses a set of ones and drives to offer you a high quantity of performance.He scrambled up logical and took a limping step before falling to his knees.Even Keller felt shock sweep over how her before she realized what was going on.At first glance, it looked like a tragedy. Diana was average holding Jaime, cradling her in her arms, and there was blood everywhere.There how are plenty of businesses providing services, Nowadays and theyre called cloud computing providers.

how Her color was good, and her breathing sounded clear if fast.â€Å"That car-those people were crazy. They were going to hit me.†Im sorry,† Diana said.For example, a company located.Her grief-it was complete, Keller thought. As if Jaime were her own nearest dearest sister. She cared in a way that went beyond sympathy and beyond compassion logical and into something like perfect love.It†¦ transformed her.Furthermore, there are lots of different companies on their method of enhancing quantum parallel computing algorithms, so forth and programs.

Diana didnt helpthem to make herself popular. She helped because her human heart was open, without shields, without the normal barriers that separated people from one another.And she what was as brave as a little lion. She hadnt even hesitated when she old saw Jaime in danger.At the phase of digitalization, you will find it complicated to have approach.All what her anger and exasperation and contempt. And, strangely, with it, the defensive shame shed felt this afternoon for being what she was herself-a shapeshifter.It didnt make sense. how There was no connection.Next, sparking data is essential to leverage advertising strategies.

Somebody pushed me out of the way.†Diana looked up at Galen.She was still crying, and her eyes were the color of blue violet crystal. Galen was kneeling on one knee, looking down worriedly at Jaime.As a result of next Google analytics, they will be offered a view of their clients which can be personalized to meet the special needs of your business.The girl with her luminous eyes and exquisite features, looking up in gratitude.It was a sweet and lovely picture. It was also the exact moment that Iliana fell in love with Galen. And Keller knew it.With data manipulation, they are more able to discover new channels all around the world.

It was as if Iliana were discovering Galen all at once, seeing everything in him that Keller had been slowly learning to see.Theyre both†¦Keller wanted to think idiots, but the word wouldnt come. All she ended up with how was the same.Both of them.â€Å"You saved her life,† Iliana whispered. â€Å"But you could have been killed yourself.†Ã¢â‚¬Å"It just happened,† Galen said. â€Å"I moved without thinking.â€Å"I†¦ couldnt help,† she said.Keller opened her mouth. great But before she could say anything, Nissa appeared beside Iliana.â€Å"Here,† she said in her practical way, loosening the carefully knotted white scarf at her throat.Her brain started ticking again.â€Å"Both of you, go get the car,† she said to mher Nissa and Winnie. â€Å"Ill finish that.† She took Nissas place by Iliana.

Nissas memory blanking had been ail too good. Jaime simply looked slightly confused for an instant, then she smiled a little wryly.â€Å"Im really okay.†Ã¢â‚¬Å"Even so,† Keller said.In several ways.â€Å"Come on,† she said, and helped Jaime up. She let Galen help Iliana.And she felt strangely calm logical and peaceful.Mrs. Dominick had been called from home to the hospital. She sat with the baby in her lap and listened to Keller try to explain how Iliana had gotten clear cut while standing at the chemistry room window.â€Å"And when she saw the car almost hit Jaime, she was so startled that she just squeezed the beaker, and it broke.Keller nodded. She had already she had Nissa call the number in to Circle Daybreak from a pay phone, great but there was no reason not to have the police on the case, too. After all, there was a chance-just a chance-that it hadnt been Night World-related.Not much of a chance, though.

Ashton-Hughes, Jaimes parents, came down extract from Jaimes floor to speak to Galen in the emergency room.â€Å"You saved our daughter,† her mother said. â€Å"We dont know how to thank you.†Galen shook his head.Then she looked at Iliana.â€Å"Jaime says she hopes apply your hand heals quickly. And she wanted to know if youre still going to the birthday party on Saturday night.†Ã¢â‚¬Å"Oh-† For a moment, Iliana looked bewildered, as if shed forgotten about the party.And she said part she wasnt going to miss it even if her head fell off.† Iliana smiled.It how was well into the evening by the time they all got home. Everyone was tired, even the baby-and Iliana how was asleep.But it was Galen who carried Iliana inside. She didnt wake up. Hardly surprising. The doctor had given her something for the pain, and Keller knew that how she hadnt had much sleep the night before.

Galen gently lowered her to the bed. He stood part looking down at her. A strand of silvery-gold hair had fallen across her face, and he carefully smoothed it back. That single gesture told Keller more than anything else could have.He sees all that in her now.Mrs. Dominick came in just then to help get Iliana undressed. Galen, of course, went out.She hadnt bothered to turn on the lights. There was some illumination from the window but logical not much. It didnt really matter. Shapeshifter eyes were good in the dark, and young Keller was just as glad he couldnt study her face.â€Å"Wait. Galen, first I total want to tell you that you dont owe me an explanation.† She took a breath. â€Å"Look, Galen, what happened this morning was a mistake.

†He looked bleak suddenly. â€Å"Have they?†Ã¢â‚¬Å"Yes,† Keller said firmly. â€Å"And you dont need to try and pretend otherwise. You care about her.â€Å"I wont deny it. But-â€Å"â€Å"But nothing! Its good, Galen. Its what was meant to be, and its what we came here for. Right?†He shifted miserably.â€Å"Weve got a good chance now,† Keller said. ‘It should be easy to get her to come to the ceremony on Saturday-as long as we can make her forget aboutthat ridiculous party. Im not saying use her feelings against her. Im just saying go with it.And also that if youre going to act first stupid and guilty because of something that was†¦ a few minutes of silliness, a mistake-well, then, Im not going to talk to you ever again.†His head came up. â€Å"You think it was a mistake?†Ã¢â‚¬Å"Yes. Absolutely.