Doping in Sport Essay Example for Free

Doping in Sport Essay English Group discussion on Doping in sport. 22nd As we may all know doping can and has been a problem in some specific sports, cycling being the main scapegoat of course because of the Lance Armstrong scandal. However does that mean doping Is not involved with any other sports. Absolutely not, what many people believe is that cycling is a dirty sport because so many drugs and supplements are involved, however they do not realise some of the sports they love are heavily armed with many different cases. Cycling In fact Is now the cleanest sport n the industry because they dont let anything slip past. After seeing a documentary on Mark Cavendishs wins in the tour de France and the first Brit to become world champion In ages, he actually said that the doping chaperones wouldnt leave him alone and had to pester him until he took his drug test. What I am trying to get at is that people are being extremely close minded in terms of believing that their own favourite sport is clean. What do you think about banning athletes? Banning athletes is a very hot topic in the media whether or not it should happen, in y opinion the athletes that take and have taken these substances. For example Alberto Contador the Spanish cyclists who allegedly won the tour de France two years in a row, did this whilst taking a substance known as EPO. When he later got found out he was banned but not for life to the present day he still competes in the tour de France with no hassle, As well as still being able to compete he Is known as the two time tour winner still even though he doped. I dont think this is very fair in reality as why should he still be allowed that title when he cheated for it.

How Mary Shelley Influences the Readers Reaction to the Creature :: Mary Shelley Frankenstein Essays

How Mary Shelley Influences the Readers Reaction to the Creature When Mary Shelley wrote Frankenstein in 1816, it was the birth of a new genre – the creation of a being, sci-fi at its earliest. Frankenstein’s creature, the concept way ahead of its time but a terrifying thought to its first audiences. In the following pages I will be discussing how Mary Shelley influences the readers reaction to the creature, I will be viewing the context of her writing, the way she portrays her view of what it means to be human, the anticipation of the creature’s coming to life, and the language Walton and Frankenstein use to describe the creature. In Walton’s first letter, after he sees the creature, he describes it as ‘the shape of a man†¦ but of apparently gigantic stature’ At first Walton doesn’t know what he saw but thinks the creature is a local and the crew is intrigued that there, out in the ice deserts, man has strayed. Through Waltons enquiring nature, Shelley encourages curiosity in the reader, and Waltons encounter with the creature ‘excites our unqualified wonder’. When Frankenstein first describes the creature, he describes it not as a mother would her newborn baby, but with horror and disgust, he describes its waking moments and its appearance, with and abhorrent attitude, and as soon as the creature awoke, Frankenstein, with a mixture of fright and disgust ran to his bedroom. When Shelley first describes the creatures coming to life, it gives the reader a feeling of both anticipation and anxiety, the detailed and emotive language of the description draws the reader in and captures their imagination. Frankenstein’s first description of the creature, â€Å"†¦ His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was a lustrous black and flowing, †¦ but these luxuriance’s only formed a more horrid contrast with his watery eyes that seemed almost of the same colour as the dun white socket in which they were set† The adjectives Shelley uses to describe the creature are visual allowing the reader to visualise the creature as Shelley portrays. The use of rich, textural language animates the creature in the readers mind, such as ‘his yellow skin scarcely covered the work of muscles and arteries beneath’, and ‘his hair was of lustrous black, and flowing’. Shelley’s use of the words â€Å"horrible contrast† give the reader the opinion that the creature is too ‘horrible’ and thus Shelley imposes an opinion on the reader. Before the creature awakes, Shelley has already created an anticipation in the readers, when Frankenstein goes grave hunting and when he is first up in his room where he assembles the creature,

Electronic Music

Electronic Music may include tape music (existing only on tape, and played through loudspeakers), live electronic music (created on synthesizers or other electronic equipment in real time), musique concrà ¯Ã‚ ¿Ã‚ ½te (created from recorded and subsequently modified sounds), or music which combines live performers and taped electronic sound. Although these types of music refer primarily to the nature of the technology and techniques involved, divisions are increasingly blurred. Other terminology, such as computer music, electro-acoustic music, acousmatic music, and radiophonic music, has also come into use, more often to indicate aesthetic rather than technological preferences. In the early 1900s the Italian Futurists, led by composer Luigi Russolo, envisaged a music created with noise and electronic â€Å"music boxes†, and the first commercially available electronic music instruments appeared at this time. However, although visionary composers like Scriabin and Henry Cowell had dreamt of music created by purely electronic means, electronic music first became realistically possible when recording technology developed during World War II. Several studios came into being in the 1940s and 1950s, and were associated with key figures and specific artistic aims. In France, sound engineer and composer Pierre Schaeffer formed the French Radio studio (RTF) in Paris, built around several tape recorders, microphones, and tape editing equipment. The principal techniques for creating music were the cutting, splicing, looping, or reversal of lengths of recorded tape. These tape manipulation techniques resulted in a kind of sound montage, painstakingly created from recordings of sounds from the â€Å"real world†. Schaeffer referred to the results as musique concrà ¯Ã‚ ¿Ã‚ ½te, a term still in wide use today, especially in France. His first experiment in this new genre used recordings of the sounds of trains, and all his works of this time were brief sound studies with evocative titles, such as Symphonie pour un homme seul, composed in collaboration with his younger colleague, Pierre Henry. Schaeffer's practical experiments in electronic music composition were supported by his influential theoretical writings on the subject, and the studio of Henry and Schaeffer attracted several emerging composers, among them the composer Pierre Boulez. In the late 1940s in Germany, Werner Meyer-Eppler, a physicist and Director of the Institute of Phonetics at Bonn University, first demonstrated a Vocoder, an analytical device which included a synthetic human voice. His theoretical work influenced the composers associated with the West German Radio studio in Cologne (founded 1953), who were concerned with the electronic synthesis of sounds, through the use of tone generators and other sound-modifying devices. The first director of the Cologne Studio, Herbert Eimert, was highly influential in his method of using total serialism as a basis of constructing electronic works. In this method all aspects of music, including pitch, rhythm, and relative volume were controlled by numerically defined principles. Electronic sounds and devices provided a suitable precision and control for the realization of this concept. By a process known as additive synthesis (see section on sound synthesis, below) composers such as Maderna and Stockhausen lab oriously constructed short electronic pieces, derived entirely from electronic sounds. In the later 1950s many electronic music studios were established in Europe, the most significant being the RAI studio in Milan, founded by Berio and Maderna, the Institute of Sonology in Utrecht, and the EMS studio in Stockholm. The division between musique concrà ¯Ã‚ ¿Ã‚ ½te and pure electronic music was a largely European phenomenon. Although various studios arose at the same time in the United States, aesthetic distinctions were less important. In the 1950s in New York, composers Otto Luening and Vladimir Ussachevsky produced tape music from very basic studio equipment. Their music transformed the recorded sounds of instruments and voices through tape manipulation techniques and simple reverberation units. In the late 1950s they became associated with the Columbia-Princeton Electronic Music Center, at which composer Milton Babbitt used a huge RCA computer, filling an entire room, to create music composed on similar serial principles to Eimert and Stockhausen in Cologne. His work Philomel (1964) was one of the first to be written for live performer and tape. The development of computing technology in the 1950s and 1960s led to the establishment of a number of studios specifically concerned with computer music at American universities and, to a lesser extent, in Europe. During the 1960s and 1970s the Americans Paul Lansky and Barry Vercoe, among others, developed music software packages (computer programs specifically designed for the manipulation and creation of sound) which were freely available to interested composers. This tradition of software development at American universities has done much to aid the growth of computer music worldwide. The Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University, in California, and the Institut de Recherche et de Coordination Acoustique/Musique (IRCAM) in Paris, founded by Pierre Boulez in 1977, both made significant use of computers and remain influential centres of electronic music composition today. The rapid development of computing technology, in the last 15 years or so, has brought about a revolution in computer music and electronic music in general. Computers are now more affordable, and computer programs which originally took hours to run can now be completed in a matter of seconds, or even in real time. Today, many universities have a computer music studio and several countries have national studios, devoted to the composition of electronic music. In addition, composers are increasingly working independently, in personal studios.

Analysis Of Martin Luther King Jr. And Ghandi Essay

Cesar Chavez was a great leader that left a legacy in the United States, just like Martin Luther King Jr. and Ghandi. These great leaders preached for equality and fairness. They were elegant, civilized and thoughtful about their approach against oppression. Cesar Chavez recognized and praised his predecessors. He studied and learned from them and their techniques. He used many of the approaches that MLK and Gandhi used to become successful. Non- violence was crucial to Cesar, among many other principles. Just like in the generations of these great leaders, hostility and oppression still exists in the world. In the United States, there are racial, ethnic, and religious groups that are still being oppressed. There are many ways to go about fighting this oppression, at the moment I believe that many people are doing it wrong. I feel that protestors, activists and other organizations should come together to learn and organize an elegant, smart, and respectful movement that will lead th e affected groups into a better tomorrow. Caesar Chavez was at times addressed to as the â€Å"Mexican Moses’’ as a reference to the biblical story of the Exodus of the Israelites from Egypt. Cesar’s followers saw themselves as the Israelites, because farm workers at the time were being oppressed and exploited by farm owners and other civilians. Even though the affected were Mexicans and Mexican Americans, there was a smaller population of Filipinos who were also affected. Chavez and his family wentShow MoreRelatedPolynices Should Be Buried In Sophocless Antigone1681 Words   |  7 Pages exposed to the elements for the wild dogs and vultures to tear apart his body. The play opens at the end of Polynices’ attempted invasion, which made him a traitor of Thebes, and it is revealed that both Polynices and Eteocles had fallen. The new king of Thebes, Creon, decrees that Eteocles will be buried with honored, but Polynices will be left unburied and exposed to the elements. Antigone tells Ismene, her sister, that Eteocles, they, say, has been given full military honors, rightly so—Creon