Ip conflict

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Event Type ErrorEvent Source TcpipEvent Category NoneEvent ID 41

Custom Essays on ip conflict

Date 4/16/00Time 184 PMUser N/AComputer DENVERDescriptionThe system detected an address conflict for IP address 10.1.15. with the system having network hardware address 007F81F1. Network operations on this system may be disrupted as a result. Data0000 00 00 00 00 0 00 50 00 ......P.Event Type ErrorEvent Source TcpipEvent Category NoneEvent ID 41Date 4/16/00Time 184 PMUser N/AComputer DENVERDescriptionThe system detected an address conflict for IP address 10.1.15. with the system having network hardware address 007F81F1. Network operations on this system may be disrupted as a result. Data0000 00 00 00 00 0 00 50 00 ......P.0008 00 00 00 00 67 10 00 c0 ....g..À0010 00 00 00 00 00 00 00 00 ........0018 00 00 00 00 00 00 00 00 ........000 00 00 00 00 00 00 00 00 ........Cipconfig /allWindows 000 IP Configuration Host Name . . . . . . . . . . . . denver Primary DNS Suffix . . . . . . . ----check Node Type . . . . . . . . . . . . Broadcast IP Routing Enabled. . . . . . . . No WINS Proxy Enabled. . . . . . . . No DNS Suffix Search List. . . . . . ---checkEthernet adapter Local Area Connection Connection-specific DNS Suffix . Description . . . . . . . . . . . Intel(R) PRO/100 VM Network Connecti ----changeon Physical Address. . . . . . . . . 00-0-47-A-6-BE -- change DHCP Enabled. . . . . . . . . . . No IP Address. . . . . . . . . . . . 10.1.15..54 Subnet Mask . . . . . . . . . . . 55.55.55.0 Default Gateway . . . . . . . . . 10.1.15.100 DNS Servers . . . . . . . . . . . 10.1.15.100Cping arthurPinging arthur [10.1.15.] with bytes of dataReply from 10.1.15. bytes= time10ms TTL=18Reply from 10.1.15. bytes= time10ms TTL=18Reply from 10.1.15. bytes= time10ms TTL=18Reply from 10.1.15. bytes= time10ms TTL=18Ping statistics for 10.1.15. Packets Sent = 4, Received = 4, Lost = 0 (0% loss),Approximate round trip times in milli-seconds Minimum = 0ms, Maximum = 0ms, Average = 0msCarp -aInterface 10.1.15.54 on Interface 0x100000 Internet Address Physical Address Type 10.1.15.100 00-d0-b7-d-0-11 dynamic --- check 10.1.15. 007F81F1 dynamicEvent Type ErrorEvent Source TcpipEvent Category NoneEvent ID 41Date 4/16/00Time 184 PMUser N/AComputer DENVERDescriptionThe system detected an address conflict for IP address 10.1.15. with the system having network hardware address 007F81F1. Network operations on this system may be disrupted as a result. Data0000 00 00 00 00 0 00 50 00 ......P.0008 00 00 00 00 67 10 00 c0 ....g..À0010 00 00 00 00 00 00 00 00 ........0018 00 00 00 00 00 00 00 00 ........000 00 00 00 00 00 00 00 00 ........Cipconfig /allWindows 000 IP Configuration Host Name . . . . . . . . . . . . denver Primary DNS Suffix . . . . . . . ----check Node Type . . . . . . . . . . . . Broadcast IP Routing Enabled. . . . . . . . No WINS Proxy Enabled. . . . . . . . No DNS Suffix Search List. . . . . . ---checkEthernet adapter Local Area Connection Connection-specific DNS Suffix . Description . . . . . . . . . . . Intel(R) PRO/100 VM Network Connecti ----changeon Physical Address. . . . . . . . . 00-0-47-A-6-BE -- change DHCP Enabled. . . . . . . . . . . No IP Address. . . . . . . . . . . . 10.1.15..54 Subnet Mask . . . . . . . . . . . 55.55.55.0 Default Gateway . . . . . . . . . 10.1.15.100 DNS Servers . . . . . . . . . . . 10.1.15.100Cping arthurPinging arthur [10.1.15.] with bytes of dataReply from 10.1.15. bytes= time10ms TTL=18Reply from 10.1.15. bytes= time10ms TTL=18Reply from 10.1.15. bytes= time10ms TTL=18Reply from 10.1.15. bytes= time10ms TTL=18Ping statistics for 10.1.15. Packets Sent = 4, Received = 4, Lost = 0 (0% loss),Approximate round trip times in milli-seconds Minimum = 0ms, Maximum = 0ms, Average = 0msCarp -aInterface 10.1.15.54 on Interface 0x100000 Internet Address Physical Address Type 10.1.15.100 00-d0-b7-d-0-11 dynamic --- check 10.1.15. 007F81F1 dynamicEvent Type ErrorEvent Source TcpipEvent Category NoneEvent ID 41Date 4/16/00Time 184 PMUser N/AComputer DENVERDescriptionThe system detected an address conflict for IP address 10.1.15. with the system having network hardware address 007F81F1. Network operations on this system may be disrupted as a result. Data0000 00 00 00 00 0 00 50 00 ......P.0008 00 00 00 00 67 10 00 c0 ....g..À0010 00 00 00 00 00 00 00 00 ........0018 00 00 00 00 00 00 00 00 ........000 00 00 00 00 00 00 00 00 ........Cipconfig /allWindows 000 IP Configuration Host Name . . . . . . . . . . . . denver Primary DNS Suffix . . . . . . . ----check Node Type . . . . . . . . . . . . Broadcast IP Routing Enabled. . . . . . . . No WINS Proxy Enabled. . . . . . . . No DNS Suffix Search List. . . . . . ---checkEthernet adapter Local Area Connection Connection-specific DNS Suffix . Description . . . . . . . . . . . Intel(R) PRO/100 VM Network Connecti ----changeon Physical Address. . . . . . . . . 00-0-47-A-6-BE -- change DHCP Enabled. . . . . . . . . . . No IP Address. . . . . . . . . . . . 10.1.15..54 Subnet Mask . . . . . . . . . . . 55.55.55.0 Default Gateway . . . . . . . . . 10.1.15.100 DNS Servers . . . . . . . . . . . 10.1.15.100Cping arthurPinging arthur [10.1.15.] with bytes of dataReply from 10.1.15. bytes= time10ms TTL=18Reply from 10.1.15. bytes= time10ms TTL=18Reply from 10.1.15. bytes= time10ms TTL=18Reply from 10.1.15. bytes= time10ms TTL=18Ping statistics for 10.1.15. Packets Sent = 4, Received = 4, Lost = 0 (0% loss),Approximate round trip times in milli-seconds Minimum = 0ms, Maximum = 0ms, Average = 0msCarp -aInterface 10.1.15.54 on Interface 0x100000 Internet Address Physical Address Type 10.1.15.100 00-d0-b7-d-0-11 dynamic --- check 10.1.15. 007F81F1 dynamicEvent Type ErrorEvent Source TcpipEvent Category NoneEvent ID 41Date 4/16/00Time 184 PMUser N/AComputer DENVERDescriptionThe system detected an address conflict for IP address 10.1.15. with the system having network hardware address 007F81F1. Network operations on this system may be disrupted as a result. Data0000 00 00 00 00 0 00 50 00 ......P.0008 00 00 00 00 67 10 00 c0 ....g..À0010 00 00 00 00 00 00 00 00 ........0018 00 00 00 00 00 00 00 00 ........000 00 00 00 00 00 00 00 00 ........Cipconfig /allWindows 000 IP Configuration Host Name . . . . . . . . . . . . denver Primary DNS Suffix . . . . . . . ----check Node Type . . . . . . . . . . . . Broadcast IP Routing Enabled. . . . . . . . No WINS Proxy Enabled. . . . . . . . No DNS Suffix Search List. . . . . . ---checkEthernet adapter Local Area Connection Connection-specific DNS Suffix . Description . . . . . . . . . . . Intel(R) PRO/100 VM Network Connecti ----changeon Physical Address. . . . . . . . . 00-0-47-A-6-BE -- change DHCP Enabled. . . . . . . . . . . No IP Address. . . . . . . . . . . . 10.1.15..54 Subnet Mask . . . . . . . . . . . 55.55.55.0 Default Gateway . . . . . . . . . 10.1.15.100 DNS Servers . . . . . . . . . . . 10.1.15.100Cping arthurPinging arthur [10.1.15.] with bytes of dataReply from 10.1.15. bytes= time10ms TTL=18Reply from 10.1.15. bytes= time10ms TTL=18Reply from 10.1.15. bytes= time10ms TTL=18Reply from 10.1.15. bytes= time10ms TTL=18Ping statistics for 10.1.15. Packets Sent = 4, Received = 4, Lost = 0 (0% loss),Approximate round trip times in milli-seconds Minimum = 0ms, Maximum = 0ms, Average = 0msCarp -aInterface 10.1.15.54 on Interface 0x100000 Internet Address Physical Address Type 10.1.15.100 00-d0-b7-d-0-11 dynamic --- check 10.1.15. 007F81F1 dynamic0008 00 00 00 00 67 10 00 c0 ....g..À0010 00 00 00 00 00 00 00 00 ........0018 00 00 00 00 00 00 00 00 ........000 00 00 00 00 00 00 00 00 ........Cipconfig /allWindows 000 IP Configuration Host Name . . . . . . . . . . . . denver Primary DNS Suffix . . . . . . . ----check Node Type . . . . . . . . . . . . Broadcast IP Routing Enabled. . . . . . . . No WINS Proxy Enabled. . . . . . . . No DNS Suffix Search List. . . . . . ---checkEthernet adapter Local Area Connection Connection-specific DNS Suffix . Description . . . . . . . . . . . Intel(R) PRO/100 VM Network Connecti ----changeon Physical Address. . . . . . . . . 00-0-47-A-6-BE -- change DHCP Enabled. . . . . . . . . . . No IP Address. . . . . . . . . . . . 10.1.15..54 Subnet Mask . . . . . . . . . . . 55.55.55.0 Default Gateway . . . . . . . . . 10.1.15.100 DNS Servers . . . . . . . . . . . 10.1.15.100Cping arthurPinging arthur [10.1.15.] with bytes of dataReply from 10.1.15. bytes= time10ms TTL=18Reply from 10.1.15. bytes= time10ms TTL=18Reply from 10.1.15. bytes= time10ms TTL=18Reply from 10.1.15. bytes= time10ms TTL=18Ping statistics for 10.1.15. Packets Sent = 4, Received = 4, Lost = 0 (0% loss),Approximate round trip times in milli-seconds Minimum = 0ms, Maximum = 0ms, Average = 0msCarp -aInterface 10.1.15.54 on Interface 0x100000 Internet Address Physical Address Type 10.1.15.100 00-d0-b7-d-0-11 dynamic --- check 10.1.15. 007F81F1 dynamic

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Mcbeth

If you order your cheap research paper from our custom writing service you will receive a perfectly written assignment on mcbeth. What we need from you is to provide us with your detailed paper instructions for our experienced writers to follow all of your specific writing requirements. Specify your order details, state the exact number of pages required and our custom writing professionals will deliver the best quality mcbeth paper right on time.

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Golding uses a variety of structures to chart the steady decline of the boys in "Lord Of The Flies" from civilized children to utter savages. Each stage in the structures indicate a new level in the repression - a further development in the inevitable movement from order to chaos."Lord of the Flies" has more than one theme, or meaning, but the overall and most important one is that the conditions of life within society are closely related to the moral integrity of its individual members.William Golding presented numerous themes and basic ideas that give the reader something to think about. One of the most basic and obvious themes is that society holds everyone together, and without these conditions, our ideals, values, and the basics of right and wrong are lost. Without societys rigid rules, anarchy and savagery can occur. In "Lord of the flies" Things start to change about halfway through the book, "Things are breaking up. I don't understand why. We began well; we were happy. And then ...Then people started getting frightened." (Page - 84), this is where the boys start to lose society's rules.Golding is showing that morals come directly from our surroundings, and if there is no civilization around us, we will lose these values. And that the boys in "Lord Of The Flies" must stick together but they do not do this, And jack is the first one to break off from the group, "I'm not going to play any longer. Not with you." (Page - 17).

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Something else Golding is showing in this novel is, probably, the fact that often times people single out another person, or another group of people to look down upon in order to feel secure. Piggy's character personifies this societal flaw, as he is always shunned and made fun of. Shown near the end of the book, "Ralph wept for for the end of innocence, the darkness of man's heart, and the fall through the air of a true, wise friend called Piggy." (Page - 0).

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Triage - "There is no pattern to who lives and dies in war". Examine the ways in which three characters view war.

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Triage"There is no pattern to who lives and dies in war". Examine the ways in which three characters view war.Every individual has a different opinion or view on war. Some become involved for different reasons; whether it is intentional or forced upon. War often leave different individuals in different mental states, but it is certain that all survivors of war are left with scars of their horrific experiences, such as a death of loved one. It is learning to accept these outcomes that is important.The novel, Triage focuses on war and its affect on different people. Three main characters in this novel challenge conventions by performing a kind of mercy killing. Talzani selects who will live and who will die through the false 'triage' process. Joaquin Morales executed Perez and others for the betterment of society and Mark allows Colin to die because he has no other choice. In affect, these characters are mentally affected from their position in war.

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Mark Walsh a war correspondent, who photographs the centres of modern welfare. Mark believed that he is unaffected by the horrific scenes he witnesses. Yet Mark's trauma was generated by too many wars and too many unnecessary deaths during his assignment. Although Mark was able to distance himself from these incidents, the loss of Colin proved to be too much. When Mark returns to New York he realises that his own life has changed forever and suffers a mental breakdown.Dr. Talzani who must decide those to live and who die is a doctor trained in modern medicine in USA. Although Talzani's actions appear shocking and disturbing, it is evident that he does not find this role easy. With few medical resources at his disposal he must decide who lives and who dies in his hospital cave. He is shown to be a compassionate but, in this desperate situation, makes subjective decisions about who will be saved. Talzani attempts to assure Mark that 'there is no pattern to who lives or dies in war'. The 'triage' is merely because his parents 'need to believe there is a system'. In reality 'sometimes he is so tired, or the cave is so dark, he's not even sure of the colours he gives them'; 'some live, some die, that's all'Joaquin Morales who is introduced to Mark by Elena, worked as an unqualified psychotherapist with Franco's traumatised officers. Morales' own experience parallel Mark's, for he, too, is a victim, having lost his entire family in the war. Joaquin, on the other hand, is an innocent victim of war. He did not choose to be at the place and time when war broke out. Unlike Joaquin, Mark denies that he is affected by the horrific scenes of war. Mark Purposely puts himself in the position of War. As a self-styled psychotherapist, Joaquin has also killed. Like Talzani, he has not been traumatised by his actions. But Mark, Talzani and Morales are all shown as having a conscience. Joaquin learns that either he 'accepts this new life' or he dies. He concludes, as Mark must do, that 'you have to turn away from the past. All of us, we have to turn away. It is the hardest thing' to do.Where Joaquin has forgiven himself for his subsequent killings of 'the incurables', Mark still feels guilty for being unable to save his friend Colin. Mark's feelings of guilt are cumulative because he has witnessed other killings in other wars and he feels that, somehow, he might have saved the victims. Joaquin has not allowed his residual feelings of guilt over the execution of Perez and other dangerous individuals to lead to the kind of mental trauma that Mark suffers. Instead, he accepts that his attempts to save 'the incurables' were futile. There is no logic or rationale to explain who lives or dies. This is the most difficult lesson for Mark and the one that causes him the most guilt.Mark must undergo a spiritual journey in his quest for self-awareness. He must accept that suffering is part of life and that the pain of surviving is part of being human, that it is, indeed, his duty to accept the guilt he feels. He comes to understand that it is never possible to have complete control over one's life and that he must accept that scars only ever partially heal. Mark's spiritual quest ends when he learns to 'forget the dead', to 'turn away from the past' and look to the future.

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Death of A salesman

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How important is the "Dinner Sequence" to the play Death of a Salesman as a whole?The dinner sequence is very important to the play death of a salesman as a whole. I think that this sequence is like a " wake up call" for the Loman's as their final hopes are dashed. In this sequence Biff realises that the Bill Oliver deal has gone, and that he is going down the same road as his dad. But for him he still has a chance to be successful. But for Willy he is coming to terms with the fact that he is a failure and that he has to lie to impress people. It is generally about self realization as Biff starts to realize that he has so far in life he is a failure but he still has a chance to do something in his life. For Willy though his last chance has gone but he is yet to realize this. In this sequence Biff starts to realise that his father needs help and support but Happy is yet to realise this.The dinner sequence starts of with Happy showing that he has not really grown-up and that he is obviously not ready to settle-down and have a family because he acts like a teenager at a party, not like a man looking for a wife. Also he has not changed from earlier in the play (pg 15) when he was in college because then he was only interested in getting dates and he still is. In the dinner sequence Happy continues to try to impress the woman and he offers her champagne. This shows that Happy is under the illusion that just because Biff might get a deal with Bill Oliver then he has money to burn, even though he still has no job and is relying on the Bill Oliver deal. He then says, "It's all company money. This is an example of the Loman's having to lie to impress somebody and this relates back to other parts of the play. E.g. on pg 18 Willy says to Biff and Happy, "And they know me boys, they know me up and down New England….I can park my car in any street in New England and the cops protect it like their own." Willy has to lie to his children in this passage to earn their respect and it shows in the dinner sequence that it has been passed on to his children. On pg 76 Happy says to Biff, "You want her." ("Her" being the girl.) Biff basically says no and changes the subject. This is the start of Biff realizing the fact that he has to tell his dad about the Bill Oliver deal failure and get on with his life and not waste his time on a girl. Happy has not yet 'self-realized" and continues to try to lie to impress the girl. " Biff is one of the greatest football players in the country," says Happy. Biff' self-realization continues on pg 78 when he says " I realized what a ridiculous lie my whole life has been. We've been talking in a dream for fifteen years." At this point Biff just wants to tell his dad about it, and continue with his life but this Willy doesn't want to hear it.I think that Willy starts to realise the fact that he has been living a lie on pg80 when he says, "I haven't got a story left to tell. He is basically saying that he hasn't got a lie left to tell and that he is a failure. I think there are aspects of tragedy because Willy is a failure but he doesn't realise this and keeps trying. This tragic because he is wasting his time and he is fighting a losing battle. This is the idea of reality vs. illusion. The illusion is for Willy that Biff and Happy will get the deal with Bill Oliver. Biff is starting to see reality because he knows that Bill Oliver didn't even recognise him and that basically there was no chance of the deal happening. This relates to the rest of the play for Willy because he had the illusion earlier on in the play that Howard would give him what he wants which was an easier job closer to home. "I've come to the decision that I'd rather not travel anymore." Howard's reply later on in this section is, "I don't want you to represent us anymore." Willy has been hit with the reality that he has no chance of getting a raise, and that he can't even keep his job because he is a failure. He isn't making much money for the company, so Howard wants to bring in someone younger, and more able. Willy cannot understand this because he is still under the illusion that he deserves a raise. Willy has to go back to 18 when he was doing well to prove that he deserves a raise. " I averaged a hundred and seventy dollars a week in commissions." This shows that he is doing badly now so he has to go back to when he was doing well. "In the dinner sequence from pg 7 Biff is trying to tell Willy about how the Bill Oliver deal went. I think that Willy deep down knows that Biff did not get the deal so he keeps cutting in and says things like, "Is that where you had the drink," and " Did he put his arm around you?" He is basically running from the truth. He is trying to delay the inevitable. Happy also keeps trying to cut Biff off and finish his sentences for him. Willy-"He gave you a warm welcome. "Happy- "Sure Pop." I think Happy is doing this because he just simply wants to make his father happy. As this section continues Biff starts to get annoyed with Willy for not letting him finish. Willy is starting to sense that Biff has bad news to tell him and he has to shelter from this. He does this by going back into the past to what he thinks is the root cause of Biffs failure to when Willy finds out that Biff flunks maths preventing him from graduating and going to university. Willy does this because he always has to find someone else to blame. Later in this section Biff tells Happy and Willy that he stole a pen of Bill Oliver. Biff did this because he knew that Bill Oliver had rejected him so he though that by stealing an expensive pen from him was like getting one back. Earlier in the play Biff steals but they were for different reasons. On pg 17 Biff steals the football not for revenge but because he probably didn't have the money to buy one, but now Biff steals purely for revenge. Willy's reaction to both incidents are the same at first but then in the first incident he decides to let Biff keep the ball and says that the coach would congratulate Biff on using his initiative but in the second instant he is disgusted with Biff and because of this drifts of into another daydream. Biff and Happy are confused by what their father is saying and Biff starts to worry. This forces Biff to lie and say to Willy, "He- he talked to his partner, and he came to me, I'm going to be alright, you hear…" He goes on to tell his dad that Bill Oliver wanted to have lunch with him. He does this because he can't bear to see what all this failure is doing to his dad. He thinks that his dad will be alright if he tells him that Bill Oliver offered him a deal but he didn't want to take it but this back fires as Willy thinks that Biff is just doing it to spite him. Her we see that what Biffs lie just made things worse as Willy has to resort to violence (pg85). I don't think that Willy did this because he is generally an aggressive person towards his children but I think that Miller does this to show all Willy's anger that has built up each time he failed, building up to the point where he lets it out. Biff just happened to be the person who pushed him over the edge, and therefore he received the punch. In the next section Willy has to escape from the present so he flashbacks. Miller merges the past and the present, which shows the confusion of Willy. Willy becomes more engrossed in the past e.g. He is in the restaurant and saying "The washroom... the door." This is confusing for Biff and Happy because they don't know what he is talking about but Happy is just worried about his image as on pg 87 he denies that Willy is his father. "No that's not my father." This shows how much of a failure Willy is and that Happy does not really care that his father is wreck, he just cares about impressing the girls. Biff is not like Happy though, and he does show that he cares for his father, "Don't you give a damn for him Hap?" Throughout the play Happy has strived for his father's attention e.g. he repeatedly asked his father whether he was putting on weight earlier in the play just to get his attention. I think now he has given up on his father, which is shown by the lack of sympathy for his delusional father. I think Happy is running away from the inevitable. He knows deep down that his father is suicidal but he thinks if he ignores it, it will go away. That is why even when Biff says that their father is going to kill themselves and Biff breaks down, he still leaves his father alone and runs to console Biff. I don't think Happy doesn't care about his father; he just cares more about himself.

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The dinner sequence is the end for the Loman's. Willy has strived to fulfil the American Dream and all his hopes rested on the Bill Oliver deal. Deep down he knew that the deal wouldn't go through so he thought that if he was overly positive about it- ("did he put his arm around you") then his illusion would come true but it didn't. All through the play Willy has had his hopes rest on something, which shows what a fragile character he is because if these hopes fail Willy is broken. E.g. all his hopes rested on the Ebbets field game. If things went well Biff might go pro. His hopes rested on getting a raise but he ended up getting fired. Willy has seen his hopes dashed throughout this play, which is a main reason for his downfall. Willy is a tragic character not because he is a failure and ultimately kills himself, but because he is a failure that never knows when to give up. What also makes Willy a tragic character is the fact that he has people around him that are trying to help him e.g. Linda and he has just found out that he is loved by his son Biff and still commits suicide. Willy Loman failed in life and died because he tried to follow the American Dream no matter what, even though the American Dream is not for everyone.

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Arousal

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Arousal/Anxiety5.0 Arousal/AnxietyAll players aim to reach optimal arousal to work to their best ability. A task was performed to analyse the impact of arousal on personal performance in volleyball of task . (see appendix )5.1 Record the results of the observation group

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Observation groups recorded results, see appendix 6.5. Identify the characteristics of Under, Over and Optimal Arousal Under-arousal Shown as over-relaxation or lack of interest to physical performance or game play.Over-arousal Shown as excessive tension and nervousness towards physical performance.Optimal arousal a point at which you can give your best performance.5. Behaviour of Arousal PerformanceArousal Performance BehaviourUnder-arousal - Less accuracy- Not focused- Quiet- Not supportive- Not in positionOver-arousal - Feeling pressure- Nervousness- Argument- SwearingOptimal arousal - Confident- Focused- Positioned well- Accurate- Positive Encouragement 5.4 Identify the indicators that put each person on level of arousal Brain waves There are different types of brain waves associated with the differing levels of arousal.Alpha waves Alpha waves indicates relaxed but wakeful.Beta waves Beta waves are also associated with tension and anxiety.Theta waves Theta waves indicate light sleep or daydreamingHeart rate Shows the change in activity. It indicates the state of arousal. The higher the hearts rate the higher the arousal, but not always a good indictor. Biomechanical indicators Catecholamines is a type of biochemical indicators of arousal. They include a commonly known as adrenalin. The arousal response in the brain triggers the release of catecholamines unto the blood. It is secreted in response to increase stress.Muscle tension muscle tension levels are approximate indicators of levels of arousal. The higher the tension levels, the higher the level of arousal.Respiration rate A person's respiration rate is a reasonable indictor of arousal. The higher these measures are, the higher the levels of arousal.Under-arousalTheta waves measuredLow heart rateLow biomechanical indictor levelsLow muscle tensionLow respiration rateOptimal-arousalAlpha waves measuredOptimal heart rateOptimal biochemical indictor levelsOptimal muscle tensionOptimal respiration rateOver-arousalBeta waves measuredHigh heart rateHigh biomechanical indicator levelsHigh muscle tensionHigh respiration rate5.5 To produce best performance in VolleyballTo obtain the best performance in volleyball, the player needs to reach optimal level of arousal. It is important to reach this level They need to each this level because the performance needs to be consistent and 5.6 Identify the Relationship Between Anxiety and Personality Types.Athletes respond differently to varying levels of arousal and anxiety, and are stimulated in different ways. Anxiety is split into to components, cognitive and somatic. Cognitive component is the fear or worry of failure. Somatic component is the changes that occur to our body as a result of performance anxiety. The different types of personalities will deal with anxiety in different ways. The submissive personality will take a sign of anxiety poorly. Instead of using the somatic signs to benefit from them on their performance, the submissive person may take it as negative feedback. They may become anxious and have worrying thoughts and reduce their performance. The assertive person appears energetic yet relaxed and will use anxiety to their advantage. They will realise the signs of on-coming anxiety and can focus on the goal set and continue with the task. On the other hand an aggressive personality will also not respond well to anxiety. They may feel pressure when loosing and will result in nervousness, frustration and confusion. The best personality is an assertive person and will deal with anxiety and will reach optimal level of arousal to produce their best performance. 5.7 Suggest Methods that Athletes use to Decrease AnxietyStrategies to manage anxiety can be available to the performer once they are aware of what the optimal level of arousal is for them. The first step to gain control of the increased anxiety is to recognise the signs early. Then the performer is ready to respond positively to help work towards their performance. Another strategy is to use relaxation techniques to lower the anxiety with quiet time and muscles relaxation. Relaxation can be attained through deep breathing and learning to coordinate breathing. Another technique used is a warm-up. This lowers the anxiety levels and to become more focused and determined. Also athletes should concentrate on the goals set for that particular task. Task goals provide focus and take the attention away from worrying thoughts. Therefore strategies used to decrease anxiety are - Acknowledging warning signs of increased arousal- Using relaxation skills to lower anxiety, (muscle relaxation, deep breathing.)- Energising techniques, warn-up- Focus on goals set, to direct attention away from worrying or anxious.

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The Essence of a BrownEye

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I wish that I could sniff a nice stinky brown everyday of my life. I love brown more than anything in this entire world. I once sniffed a cat eye while fishing in the forest. One day while eating candy at Cedar Point, I saw a dolphin. The dolphin had one stinky brown. Let me tell you. It smelled better than anything that I have ever smelled. I once liked the dolphins stinky brown, but I almost died and went to heaven. It was so totally sweet. I walked through the park and met a girl named Sally. We went in the bathroom, and I sniffed that brown for hours. It only felt like I was sniffing it for like two or three minutes, but I was there for half of the day. Can you believe it? I went and got sugar cone and found a clown. I met the clown and found out that his name was Freddy. He was a totally sweet clown, but his brown did not smell too fresh. I think that Freddy needed to clean that brown a little better. I shoved that sugar cone right up his shoot just to keep that awful stench from ruining my keen sense of brown. Call me silly, but I believe that that was quite possibly the stinkiest bronw ever. Now whenever I hear the name Freddy, I run. If I ever had to smell that brown again, I would probably die of bad brown inhalation. After I lost Freddy, I went to another bathroom to look for some fresh brown. I finally found what I was looking for in the bathroom by the Magnum. It smelled so delicious that I wanted to eat it all up. I would have if Freddy would not have walked into the bathroom at that point. He was kind of angry at me for using that sugar cone on him. I grabbed a brown out of the toilet and smashed it in his face. I ran. It was so funny, but it was also so sad. That particular brown smelled so fantastic! I probably would have kept it in my collection of stinky brown.

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Gaugin

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Paul Gauguin's Le Grand Bouddha (The Idol), c. 187 an analysis and interpretation.By its subject matter and compositional elements Gauguin (1848-10) expresses symbolically in The Grand Bouddha, painted during Gauguin's second and final period in Tahiti, a mysterious, sensuous and exotic world, that, by its differences makes the viewer, corrupted by western civilization, rethink not only artistic practice but the way we look at the world and its people. Gauguin admired the virtues of less developed societies and used art from these "primitive" societies because its difference, its alternative look, force and creativity, challenged the viewer to make a connection or affinity with these "other" societies. The use Gauguin made of this "primitive" art was revolutionary and initiated a different approach that resulted in tribal art being recontextualized as not only of value in anthropological terms in natural history museums but as aesthetic works of art to be appreciated in art galleries. The images he uses to portray this "other" world are an eclectic mix of recognizable, evocative and decorative elements from Maori, Marquesan and Buddhist art, images of which he studied and collected in drawings, postcards and which he called "my little world of friends." Other non-naturalistic compositional elements, which include broad bands of flat colour, shortened perspective and definite outlines, also help create this exotic, mystic "other"-worldliness of the painting.The subject of this painting comprise two naked Tahitian women with a bitch feeding her litter, sitting before an exotic, religious and cultural idol, with a depiction of the Last Supper where Jesus and his disciples are being served by clothed Tahitian women in the background. The naked women represent the indigenous, "primitive" folk who sit relaxed, with one woman challenging the implied viewer to acknowledge their situation, at ease with their religious and cultural heritage and destiny as represented by the idol. While not complying with traditional western concepts of beauty, the women with their exposed, heavy limbs and direct gaze represent the sexual "other" that Gauguin was not adverse to exploiting to gratify the desires of his buying public, men, many of whom were well aware of the legendary availability of the Tahitian women. The scene from the life of Jesus represents the impact of Christianity on the indigenous people who, now clothed, have turned their backs both literally and figuratively from their traditional culture.

The theme of The Grand Bouddha is the exploration and extolling of the superiority of the non-westernized society. Gauguin depicts the indigenous people as being uncorrupted, simple and unspoiled, instinctively in tune with the real and spiritual world a spiritual world that was shared by different non-western races as coming from a common source. Gauguin struggled to find his own identity, being from French and Peruvian ancestry, and he developed a strong antipathy towards western civilization and what he saw as its corruption. He wrote to the Danish painter J.F.Willumsen, "In Europe…everything is rotten, man and art alike. People are constantly being torn apart" and agreed with Jean Jacques Rousseau in "A Discourse on the Origins and Foundations of Inequality Among Men"(1755), who argued that modern society had been perverted away from the noble instincts of the primitive community. At the Exposition Universelle of 1878, for the first time, a selection of primitive art was displayed and later exhibited at the Palais du Trocadero that Gauguin frequently visited and at the 188 Exposition Gauguin was fascinated by the reconstructed and peopled villages from Africa, Indochina and the Pacific. Tahiti, since the first western contact had been portrayed as a paradise, for example, Capt. Bougainville called it the new Cythera, after the mythical erotic isle of Venus' birth and Pierre Loti in his 1880 work "The Marriage of Loti" told of an idyllic relationship between the author and a thirteen-year-old Tahitian girl. Gauguin believed he would find paradise in Tahiti and continues in his letter to Willumsen, "…the Tahitians …are the happy inhabitants of the unknown paradises of Oceania and experience only the sweet things in life." In fact much of Tahiti in the late 1th century was not utopia but degraded and debased by colonization and missionary zeal so Gauguin created in his paintings this idealized world of the primitive world. In The Grand Bouddha he develops this theme firstly by the portrayal of the women. The Tahitian women are "Eve after the Fall, still able to go about unclothed without being immodest still with as much animal beauty as on the first day." In The Grand Bouddha the women are as Eve, strong, confident, with one staring at the implied viewer perfectly at ease and in tune with the looming idol behind. The idol further develops the painting's theme of the idealized primitive society. As the Tahitians' idols had been destroyed at the behest of the missionaries, Destruction of the Idols of Otaheite (181), Gauguin uses a conglomeration of images firstly to portray these societies' spirituality and tradition, and with its coupling figures, nature and sex, but also portrays the interconnectedness and commonality of these primitive religions. Thus the idol's shape imitates the bell-shaped stupas of Buddhist temple architecture, with the embracing children and head shape of the Maori caring, Pukaki, with the Marquesan tiki figures at the base. Gauguin had found in 18 Jacques Moerenhaut's book on the pre-European culture and mythology in which the author likened the religions of ancient Polynesia to Greek gods and goddesses and from 185 Gerald Massey's book "The New Genesis," in which the author argued that all existing religions and myths drew on one single source, ancient Egypt, a basis for his belief that primitive societies enjoyed a interconnectedness and commonality. Gauguin further develops this theme in The Grand Bouddha with his rendition of The Last Supper where Christ is served by clothed Tahitians women who have literally and figuratively turned their back on their culture and tradition.The theme is enhanced by the different compositional elements in the painting, one of which is the placement of real or physical objects, in this case the women and the dog, in the foreground, moving to the spiritual, of the idol and the Last Supper, in the background. Gauguin uses this same technique in The Vision after the Sermon where the Breton women in the foreground "see" Jacob wrestling with the angel in the background and in Spirit of the Dead Walking where Tehamana lies in the foreground with the background figure of the tupapau or specter. Composition was also highly influenced by the Japanese art and, in particular the woodcut prints that often arrived in Europe as packing when Japan was forced, in the middle of the 1th century, to enter trade relations with Europe. The prints provided Gauguin with the inspiration to reject Impressionism where the artists "search around the eye and not in the mysterious centre of thought" . The Japanese accomplishments he described as "primeval qualities of honesty" . In The Grand Bouddha the Japanese influence can be seen in the blocks of colour in simple shapes with a defining outline and shortened perspective. These elements he also used in The Vision as well as actual figures from Japanese prints, in this case, the wrestlers. The key compositional element in the painting, however, is the use of the idol by which means Gauguin forces the viewer to acknowledge the differences in societies and, from this point, to "allow a plurality of valid, independent and truly different ways of constructing the world" Gauguin was the first artist to appreciate the power these tribal arts had to challenge the ways of depicting the world and, as a consequence, how the world was interpreted and as such he can be called the father of "primitivism". In The Grand Bouddha the image of Pukaki is important both decoratively, to convey the exotic "other" worldliness of the painting, but also symbolically. Gauguin uses the image of Pukaki, part of the five to six metre, carved gateway at the Pukeroa Pa and seen by Gauguin at the Auckland museum, with others from Marquesan and Buddhist art, to convey the message of a universal philosophy, above any racial or cultural differences. Massey had recorded the Maoris' surprise that Jesus reminded them of their own Tawhaki and so to Massey, and Gauguin also, this was further evidence that all religions were inter-connected, linked by a single common source. In The Last Supper Gauguin uses instead of the idol, tiki figures from the Marqueses with the figure from the stern of Te Toki-a-Tapiri, the Maori war canoe that Gauguin had drawn in Auckland, at the base. As with The Grand Bouddha the use of this taonga Maori is for decorative and symbolic purposes. The other paintings, however, that incorporates taonga Maori, do so for purely decorative purposes and to convey an exotic place rather than a world of ideas. In Te rerioa 187, Faa iheihe 188 and Still Life with Sunflowers and Mangoes 101 Gauguin recreates the intricately carved kumete, or bowl, created by Patoromu Tamatea, a respected carver who worked in the Rotorua area in the 1870s. Bronwen Nicholson in her book Gauguin and Maori Art identifies three further paintings that incorporate Maori motifs, Te tamari no atua and two still lives entitled Bouquet of Flowers.Gauguin by his use of taonga Maori and other tribal or "primitive" art challenges the viewer to appreciate such artifacts not only as works of art but as a catalyst for establishing affinities between societies. BibliographyEisenman, Stephen F. Gauguin's Skirt, London, 17.Mead, Sydney Moko, ed., Te Maori Maori Art from New Zealand Collections, Auckland, 184.Nicholson, Bronwen, Gauguin and Maori Art, Auckland, 15.Rubin, William, ed., "Primitivism" in 0th Century Art, vol.1, New York, 184.

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