Proxemics Understanding Personal Space

Proxemics are the study of personal space, first introduced in 1963 by Edward Hall who was interested in studying the impact of individual personal space on non-verbal communication.  In the years since it has brought the attention of cultural anthropologists and others in the social sciences to the differences between different cultural groups and its impact on population density.   Promexics are also important for social interaction between individuals but are often difficult for individuals with disabilities to understand, especially for individuals with autism spectrum disorders.  Since how we feel about personal space is partly cultural (taught through constant interactions) and biological, since individuals will respond viscerally, it is often difficult for individuals with disabilities to understand this important part of the Hidden Curriculum, the set of social rules that are unspoken and often untaught but generally accepted as the standard of acceptable behavior. Typically developing individuals will actually experience anxiety in the amygdala, a portion of the brain which generates pleasure and anxiety.  Children with disabilities, especially autism spectrum disorders, often dont experience that anxiety, or their level of anxiety is high over any unusual or unexpected experience.  Those students need to learn when it is appropriate to feel anxious in another persons personal space. Teaching Proxemics or Personal Space Explicit Teaching:  Children with disabilities often need to be taught explicitly what personal space is.  You can do that by developing a metaphor, like the Magic Bubble or you can use a real hula hoop to define the space which we call personal space. Social stories and pictures can also help understand appropriate personal space.  You might stage and take pictures of your students in appropriate and inappropriate distances from another.  You might also ask the principal, another teacher and even a campus policeman to show examples of appropriate personal space, based on relationships and social roles (i.e., one does not enter the personal space of an authority figure.) You can demonstrate and model approaching personal space by having students approach you and use a noisemaker (clicker, bell, claxon) to signal when a student enters your personal space.  Then give them the same opportunity to be approached. Model, as well, appropriate ways to enter anothers personal space, either with a handshake, a high five, or a request for a hug. Practice:  Create games that will help your students understand personal space. Personal Bubble Game:  Give each student a hula hoop, and ask them to move about without overlapping anothers personal space.  Award every student 10 points, and have a judge take points away each time they enter anothers personal space without permission.  You can also award points to students who enter anothers personal space by asking appropriately. Safety Tag: Put several hula hoops on the floor and have one student be it.  If a child can get into a personal bubble without being tagged, they are safe.  In order to become the next person to be it, they need to get to the other side of the room (or a wall in the playground) first.  This way, they are paying attention to personal space as well as being willing to exit that comfort zone to be the next person who is it. Mother May I:  Take this old traditional game and make a personal space game out of it:  i.e. Mother, May I enter Johns personal space?  etc.

The Heroes Of Elephants From The Early Movies Of The Disney

Elephants seem to have a gigantic part in the modern culture. The wisdom of elephants as they get older is something that we see reflective in people. The calmness and strength of the elephant are virtues that many cultures would love to see as part of their own selves. One of the most famous among all elephants is Dumbo from the early movies of the Disney. Dumbo is an adorable elephant born to a circus mom. However, all of the other elephants and animals make fun of him due to his enormous flappy ears. On the bright side, Dumbo is able to overcome that problem and even learns to fly with his big ears. He teaches us the value of friendship and of finding good things within ourselves instead of just giving up. In reality, an elephant is†¦show more content†¦In order to preserve and increase the number of the elephants in Asia, these animals should be protected and reintroduced to the wild and their habitats must be restored and expanded. One of the greatest threats to Asian e lephants in Asia is the loss of habitat. Throughout the tropical regions of Asia, humans have cleared large areas of forest and river valleys for settlement (AMNH.org, par. 3). The World Wildlife Fund states that large industrial and development projects such as dams, tea and coffee plantations, roads, and railway lines have broken up what was once elephant habitats into small fragments (par. 1). This fragmentation process hinders the seasonal migration and breeding of the clan. In addition, habitat loss also affects the elephant’s diet. According to National Geographic, an adult elephant consumes up to 300 pounds of food every day (par. 5). â€Å"These hungry animals do not sleep much, and they roam over great distances while foraging for the large quantities of food they require to sustain their massive bodies,† (National Geographic, par. 6). Without having a big chunk of land for the elephants to graze and roam around, their lifestyles and well-being would be in dan ger. According to Choompol Ngampongsai, wild elephants in Thailand are mostly confined to small protected areas that are unable to support the complete home range of an entire

Practice Organic chem Midterm 1 Free Essays

This exam is designed to give you a small glimpse as to the format of the exams I write. The content of the exam has no direct correlation to the difficulty of the actual exam you will take. Use this exam as another problem set so you can get a little more practice in where multiple chapters are combined into one document. We will write a custom essay sample on Practice Organic chem Midterm 1 or any similar topic only for you Order Now It would greatly benefit you to try doing this exam first.That way, you will et a better idea as to how well you may be prepared for an actual CHM2510 exam. ) For each set of molecules below, circle the one that would undergo a solvolysis reaction more rapidly. 2) 2,2†²-azobis(2-methylpropionitrile) (AIBN) is a radical initiator that results in the formation of alkyl radicals that are then able to undergo propagation. Use arrows to point out the two bonds that are most likely to break in a radical initiation sequence. 3) Each of the following reactions will not proceed as written. Use no more than ifteen (15) words per response to explain why the reactions would fail under the given conditions. ) THF is readily soluble in water while a similar solvent molecule, diethyl ether, is completely insoluble in water. What major intermolecular force is responsible for such a solubility property? Why is this force more likely to participate with THF than with diethyl ether? 5) Predict the products for the following reactions. If more than one product can be made be sure to draw all of them. For problems labeled with ‘major’ and â⠂¬Ëœminor’ eaction products, be sure to draw the appropriate product(s) above the major/minor label. Inorganic byproducts and mechanisms are not required to be shown. 3 2 4 6) Provide the reagents for the following transformations. Be aware that more that more than one synthetic step may be required and there may be more than one route to synthesize each product. 7) Provide the mechanism for the following transformation. Be sure to include all intermediates, formal charges and arrows that depict electron movement. 8) Provide the mechanism for the following transformation. How to cite Practice Organic chem Midterm 1, Papers

Installation Art And Theatrical Experience Essay Example For Students

Installation Art And Theatrical Experience Essay Throughout Modernism, installation art has abandoned the confines of designated art spaces in an attempt to fuse art with life. As the role of the viewer and everyday life became increasingly important installation art became comparable to the theatrical environment. Audiences found themselves enveloped in sensations, memories, and narratives. Space and time reborn when Vladimir Tatlins Monument to the Third International was conceived in 1919 as a union of purely artistic forms (painting, sculpture and architecture) for a utilitarian purpose1. In 1917 Tatlin designed the interior of Moscows Cafe Pittoresque with Rodchenko and Yakulov, in which constructions on the walls and ceiling disturbed and fractured the solidity of the space. Futurists celebrated this death of Time and space2 and Constructivists like El Lissitzky extended the sculptural possibilities of the gallery space itself; exemplary in the hanging of his Prouns in Berlins 1923 Russian exhibition. This new approach to space in turn had a liberating effect on set design which concerned itself with deluding and involving its audience. Meyerholds productions presented to the spectator a new consciousness of space and making him participate in the action3. In the first performance of Famira Kafirel Exters scenography sought to construct its own environment by appealing to the spectators and inviting them to discover the autonomy of pure forms4. Contemporary set designers like Richard Wilson also manipulate space to the point of deception as shown in The life and Times of Joseph Stalin. This relates to Gregor Schneider and Richard Wilsons installation art which is interested in the relationship between appearance and construction and the function of architecture and the environment it creates. Gregor Schneiders Haus ur undermines its architectural foundations so that its occupant is aware that the space is false. Similarly, Richard Wilson illuminates the way in which self-contained spaces are taken for granted, most memorably in 20:50, a pool of oil, impossible to see through, and without any double reflections. In Elbow Room he employs a theatrical-style false perspective by giving the illusion that the floor runs through to the back wall of the gallery. Similar distortions of space are seen in Anish Kapoors The Healing of St Thomas (1989), Robert Gobers Drains (1990), Simon Ungers Post and Beam(1991), Arakawa/Madeline Ginss Reverse-Symmetry Transverse-Envelope Hall (1998) and in much of Dan Grahams work. Various movements at the beginning of the 20th century attempted to unify art and life which derived from Wagners ideal; the Gesamtkunstwerk. One of the initiators was Gropius, the head of the Bauhaus school, who asked fine artists to go into buildings, endow them with fairy tales and build in fantasy without regard to technical difficulty. 5 Likewise in the De Stijl movement, Van Doesberg insisted that the word Art no longer meant anything to them as it existed in the same domain as life. This concept recurred in 1957, with the forming of the Situationist International, led by Guy Debord who regarded art as inherent to everyday life rather than as an elite interest. This new ideal of art effected theatrical performance shown in the creation of The Moscow Art Theatre. Director Stanislavsky instigated Method acting and Naturalist theatre which abolished the lines between theatre and life, imagination and dreams. Simultaneously art became a spectacle, but without a stage a daily undertaking6 . In Oskar Schlemmers work, for example, he broke the narrow confines of the stage and extend the drama to include the building itself7 . Art as object to be addressed, had shifted to art as environment. It had become the product of an reaction between onlooker and stimuli. Lucy Lippard has famously termed this as ? the dematerialisation of the art object8. In 1967, Michael Frieds Art and Objectionhood implied that one could no longer straightforwardly perceive art as being somehow manifest in the objects before one. Experiencing Minimal art was, for Fried, an instance of theatre9 ; the meaning unfolded as a consequence of the spectators awareness of his or her relationship, psychological, physical and imaginative, to the object. .u848735ba34bcb69951042e01a9fabe04 , .u848735ba34bcb69951042e01a9fabe04 .postImageUrl , .u848735ba34bcb69951042e01a9fabe04 .centered-text-area { min-height: 80px; position: relative; } .u848735ba34bcb69951042e01a9fabe04 , .u848735ba34bcb69951042e01a9fabe04:hover , .u848735ba34bcb69951042e01a9fabe04:visited , .u848735ba34bcb69951042e01a9fabe04:active { border:0!important; } .u848735ba34bcb69951042e01a9fabe04 .clearfix:after { content: ""; display: table; clear: both; } .u848735ba34bcb69951042e01a9fabe04 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u848735ba34bcb69951042e01a9fabe04:active , .u848735ba34bcb69951042e01a9fabe04:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u848735ba34bcb69951042e01a9fabe04 .centered-text-area { width: 100%; position: relative ; } .u848735ba34bcb69951042e01a9fabe04 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u848735ba34bcb69951042e01a9fabe04 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u848735ba34bcb69951042e01a9fabe04 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u848735ba34bcb69951042e01a9fabe04:hover .ctaButton { background-color: #34495E!important; } .u848735ba34bcb69951042e01a9fabe04 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u848735ba34bcb69951042e01a9fabe04 .u848735ba34bcb69951042e01a9fabe04-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u848735ba34bcb69951042e01a9fabe04:after { content: ""; display: block; clear: both; } READ: Political Correctness: Essay PaperFredric Jameson named these experiences as material occasions for the viewing process10 In turn there was a growing sense that the viewer was important, and that arts meaning was actively produced in its reception or consumption as much as its production11 one which has always existed in the theatrical environment. . In the 1960s the Situationists created idea of psycho geography which studies ones passage through a number of different city quarters in order to observe their varying effect. The audiences viewing experience could no longer be overlooked by the artist. So John Cages Happening (New York, 1952) involved a number of participants artists, musicians, poets and dancers ? doing what they do12 in front of an audience that was spread among four differently orientated blocks of seats. The audience were left to construct their own path through the various elements bombarding them and construct the meaning of what was going on before them. Written in 1952, 433 his silent piece13 equally depends on its audience; as they create the sound to be heard. Claes Oldenburg was also involved in early Happenings, followed by Jim Dines 1960 Car Crash performance and the work of Allan Kaprow. Today we see a similar engagement with audience reaction in the work of Mike Kelly. Take Activity Projective Reconstruction no. 1 (A Domestic Scene) which is concerned with the way in which society finds it hard to tolerate or come to terms with unorthodox views and lifestyles. This theatrical pedigree recalls Kurt Schwitters Merzbau and Johannes Baaders Das Grosse Plasto-Dio-Dada-Drama ? Deutschlands Grosse und Untergang, from the 1920s. The spectator temporally experiences being in the space and so the art work depends on the impulses of the social encounter. Exemplary in this respect is Mary Kellys Post-Partum Document, which examines the relationship between the artist and her son during the first five years of his life. Additionally, Vito Acconci used the gallery as a place where the art actually occurred By making choice, then, I was shifting my concentration from art-doing to art-experiencing. This is seen in Bill Violas description of his Room for St. John of the Cross (1983) or The Sleep Reason (1988): We all get dreams like this every once in a while throughout life. What is interesting is that their vividness is not really about visual clarity or detail-it is a fidelity of experience, of being. The total sensation of what it is like to really be there fills our body These are the real images. 14 Installation arts skirmishing with a sense of theatre and life led to the belief by many such as John Cage that it is what were really living in; art had grown out of its own ideal realm into that larger dream world of reality15 . During the 1960s this idea led to the development in installation and performance was the wish to address economic and political realities through an unsettling of the certainties of the art world16 as they are addressed in the theatre. For example Robert Smithsons Partially Buried Woodshed and Texas Overflow are metaphors for the kind of mental deliberations demanded by the fragmented world. Joseph Kosuth uses installation art to deliberate upon the complexities of representation in our culture. It is above all, the narration and performance that links installation art and theatre. In recent years Mike Nelson has become known as a maker of the observed17 he brings to life narratives by taking his spectator on a extensive journey. In the same way Paul Carter creates alternative realities, which take the viewer from the bedroom to the ends of the universe and beyond18 . The line between performance art and installation is smudged by Joseph Beuys to Matthew Barney (Field Dressing or Transsexuals, 1991), to Gail Pickering (Pradal, 2004). .ue7d523639b5e2f53ad496ff39052d733 , .ue7d523639b5e2f53ad496ff39052d733 .postImageUrl , .ue7d523639b5e2f53ad496ff39052d733 .centered-text-area { min-height: 80px; position: relative; } .ue7d523639b5e2f53ad496ff39052d733 , .ue7d523639b5e2f53ad496ff39052d733:hover , .ue7d523639b5e2f53ad496ff39052d733:visited , .ue7d523639b5e2f53ad496ff39052d733:active { border:0!important; } .ue7d523639b5e2f53ad496ff39052d733 .clearfix:after { content: ""; display: table; clear: both; } .ue7d523639b5e2f53ad496ff39052d733 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ue7d523639b5e2f53ad496ff39052d733:active , .ue7d523639b5e2f53ad496ff39052d733:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ue7d523639b5e2f53ad496ff39052d733 .centered-text-area { width: 100%; position: relative ; } .ue7d523639b5e2f53ad496ff39052d733 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ue7d523639b5e2f53ad496ff39052d733 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ue7d523639b5e2f53ad496ff39052d733 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ue7d523639b5e2f53ad496ff39052d733:hover .ctaButton { background-color: #34495E!important; } .ue7d523639b5e2f53ad496ff39052d733 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ue7d523639b5e2f53ad496ff39052d733 .ue7d523639b5e2f53ad496ff39052d733-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ue7d523639b5e2f53ad496ff39052d733:after { content: ""; display: block; clear: both; } READ: The Philosophy Of Truth Making You Free EssayThe collective quality of theatre has merged into performance groups, providing a supportive and stimulating basis. Station House Opera combined theatre and art in The Bastille Dames of 1989, whilst the Danish group, Hotel Pro-Forma, composed of artists, musicians, architects and scientists, produces works that combine installation and performance (Facte Arte Fact, 1991). Richard Wilson too sometimes works with Anne Bean and Paul Burwell, of The Bow Gameelan Ensemble, who use industrial detritus as instruments to produce sounds and as a source of carnivalesque spectacle.