Xenophobia Essay Example | Topics and Well Written Essays - 1000 words

Xenophobia - Essay Example However, unlike the Holocaust which built up gradually from Fascist ideas developed by Hitler and his followers in the years after the First World War, and what was seen as the humiliation of the German people, ( The Israeli- American Co-operative 2011) it could be argued that one incident sparked the Rwandan atrocities. The Hutu uprising against their countrymen was triggered when Juvenal Habyarimana, a Hutu, and at that time the Rwandan president, was killed when he was in a plane which was shot down during a rocket attack near Kigali airport on 6th April 1994. The blame was placed firmly on the shoulders of Tutsi leader Paul Kagame, who is now the current Rwandan President, but then leader of the Rwandan Patriotic Front (RPF), (BBC News and Le Monde 2004). This was denied by Kagame who blamed the attack on Hutu extremists. Nevertheless, within a few hours of the attack, violence broke out all over the country; and such violence would not wane until three months after the assassination of Habyarimana. By then nearly a million Rwandans would lose their lives. The persecution of the Jews began in the early 1930’s. when Adolf Hitler became chancellor of Germany in 1933. The persecution he engendered continued and built up into and through World War II., finally ceasing in 1945 when war in Europe finally ended. .It is believed that some 6 million Jews died , as well as members of other minorities such as Gypsies. Others were tortured or suffered in other ways and some 5000 Jewish communities were totally destroyed. ( Nazi Germany 1933-1941) The deaths did not begin as soon as the Fascists came to power. Time was spent first in spreading propaganda across Germany against those seen by the government as the enemies of the Aryan race, a the same time making life very difficult for the minority group. The aim was to encourage Jews to leave the country and to some extent this succeeded, but Hitler could not wait and in 1938 came Kristallnacht - state

Polycyclic Aromatic Hydrocarbons (PAHs) Research Paper - 4

Polycyclic Aromatic Hydrocarbons (PAHs) - Research Paper Example 52).). Delaney clause on the other hand states that carcinogenic in food is unacceptable. Through this it protects public health and especially children who are vulnerable. However, every alternative to Delaney incorporates some risk assessment which defines certain levels of acceptable risks. Delaney clause is subject to some limitations in prioritizing the level of risk management for Polycyclic Aromatic Hydrocarbons. One of the problems is that it does not take into account the exact risk that a carcinogenic substance can pose once consumed (Dickey, p. 42). This is because the analytical chemistry has been improved and can detect even smaller quantities of chemicals as chemicals have become widely used nowadays. Regulatory agencies are thus faced with difficulties in trying to administer Delaney’s Clause because it applies to quantities used in large amounts and can easily be detected. The Food and Drug Administration (FDA) confronted this problem by using quantitative risk assessment and set a standard known as â€Å"de minis†, which held that risk was negligible if a carcinogenic food additive was concentrated at less than 1part in 1,000,000 (Dickey, p. 45). The issue regarding pesticides use for which Delaney’s Clause prohibited also had limitations. This is found in section 409 and it poses difficulties to those agencies which has the mandate to regulate pesticides (Shimada and Fujii-Kuriyama, p. 71). Agencies like Federal Insecticide Fungicide and Rodenticide Act (FIFRA) and Federal Food Drug and Cosmetic Act (FFDCA) conflicts with Delaney’s Clause because they license the sale of pesticides and most probably if they are of more benefit to the country than the risk they pose. This is contrary to Delaney’s Clause which does not take into account the risk-benefit analysis but have a clear conclusion that if the pesticide in a food additive is evident to cause cancer inhuman being or in animals then it should

People's lives continue to be shaped in the main by social Essay

People's lives continue to be shaped in the main by social structures'. Discuss this view, drawing on material from at the least three blocks of DD100 in your answer - Essay Example tity of a man is not only vital representation of his self but it is also medium that significantly contributes to a knowledge base that others can instantly access to have a general idea of their orientation towards conflicts and other relevant issues. The social construction of human identity thus becomes the most important element which significantly impacts people’s lives. Construction of social structures and social identities are often influenced by hordes of issues, which are defined by individual ideology, group representation, professional competencies, intercultural compulsions etc. which facilitate better understanding and access to networking with organizations and groups in order to avail the emerging opportunities for their personal and professional growth. Thus giving rise to behavioural pattern of the people that directly correlates with the values and value system of the person and his environment. There are various means through which persons imbibe the values that they carry all through their life. Some of them may be through the socio-religious culture that they follow while others might be acquired through changing paradigms of the work environment that is in perpetual influx. A person identified as student, as American or as an artisan etc. can proclaim certain privileges that are associated with that particular identity. ‘Identities are produced in a social context, but through individuals thinking about what links them to the social world†¦ Symbols and representations are important in the production of identities. This is how we signal our identities to others and how we know which people we identify with.’ (Woodward, 2004, p.12). Social construction is a distributed network of human relationship with respect to its environment. The role of religion in the life of a man is one of the most important facet that has long lasting effect not only on an individual’s life but its influence can be observed as a kaleidoscope of mixed

Administrative Law in Public Health Essay Example | Topics and Well Written Essays - 750 words

Administrative Law in Public Health - Essay Example This essay is going to examine the Public Health Emergency Law in the United States as an example of a health administrative law. Administrative health laws are public policies ratified to regulate and govern the health sector either in a country or globally. Public health policies are implemented by a governmental agency or by players in the health sector. In most cases, a governmental agency is appointed to oversee the implementation of the public policy. Public health policies are laws which must be respected and practiced carefully due to its recognition in the constitution. Administrative health laws are distinct from other laws such as criminal laws which are practiced at a courtroom (Gostin, 2000). However, the breach of these public health laws amount to breach of the constitution and thus, legal action is usually taken against individuals breaking these laws. For example, in the case of Frank v. Maryland, 359 U.S. 360 (1959), the court held that the defendant was liable to pay fines amounting to $ 10,000 for operating a health facility without a license after CDC official inspection. Understanding adm inistrative public law is vital in the implementation of these vital laws in the society. Public health administrative law explains the relationship between government agencies, courts and the regulated institutions. The Public Health Emergency Law is a public policy enacted in the United States to govern, regulate and respond to health emergencies in the quickest form possible. In everyday life, several health risks, threats and emergencies are exposed to several individuals. Due to the exposure of US citizens to these health risks the senate passed the law to protect US citizens in the occurrence of health emergencies. After the September 2001 bombing, the US has undergo exposure to several health related risks such as an anthrax

Domain Name Disputes and Arbitration Essay Example for Free

Domain Name Disputes and Arbitration Essay The sudden explosion over the use of the internet in today’s world has placed domain names in direct conflict with trademarks. The use of a domain name would apply throughout the world, as the internet is accessible throughout the world. On the other hand, the trademark laws of a particular nation would vary with that of another, and hence, there is always a chance that trademark laws and domain name laws are in direct conflict with one another. Domain names would apply to the product and services of a service provider and hence ought to be given the same protection as trademarks . On the other hand, registries that register domain names give the importance of registering on a first-come-first served basis. Oppositions would say domain names contains alphabets and numerals, and hence, qualify to become a trademark. However, no rule is hard and fast. Domain name owners feel that the domain names are not protected under trademark laws as the internet is a global media having no offline limitation. On the other hand, the trademark owners feel that domain names are trademarks and hence are liable to file for dilution, unfair competition, etc . One of the main reasons as to why there is intense disputes with regards to domain names, is due cyber-squatting, in which somebody would register a particular domain name, and later try to sell it to the trademark owner. Domain name registries are accepting registration of domain names on a first-come first-served basis, and hence any person can register a popular trademark as a domain name and later plan to sell to the trademark owner. Often the prices quoted by the cyber-squatters are much more than what is paid of registration. Besides, cyber-squatters can misuse the trademark of the owner, and in turn wrongfully attract customers or tarnish the name of the original trademark owner . In the year 1995, the NSI framed a policy to settle disputes between domain name holders and trademark holders. The NSI is left out of the conflict and does not have the right to suspend the services of the domain name holder. Slowly, the importance of the trademark owners began to be felt. Trademarks owners can extent their services on to the internet, considering that it would be an ideal environment for business purposes. Customers on the other hand may also consider domain names being similar to trademarks for search purposes . One of the means of solving domain name disputes is by adopting the Uniform Dispute Resolution Policy implemented by the ICANN in 1999. This is mainly to solve the disputes that arise between domain name owners and trademark owners. The WIPO Arbitration and Mediation Centre would conduct the UDRP procedures. The process is much faster than the courts, and besides the decisions given is credible and impartial. The fees that are imposed are less than the routine courts . ICANN and UDRP The ICANN UDRP has been implemented for several TLD’s including . net, . com, . org, etc. However, it is not applicable to the country level TLD’s, such as . uk, . in, etc. The dispute resolution policy would occur between the domain name holder and the registering authority, such as country-coded domain registering organisation. The UDRP would set the terms and conditions that would arise in case of conflict arise between the domain name holder and any other party, except the registrar (ICANN). According to the ICANN, certain terms and conditions need to be followed when registering for a domain name. The registrant should ensure that all statements made are true, complete, and the domain name would not violate the rights of others. The domain name so registered would not be done for an illegal cause and would not be used to overcome any law. Any action done for the domain name would be lead to the owner being held responsible. The ICANN can transfer, modify or cancel a domain name registered if the domain name registrant requires so, if the court having a jurisdiction requires that the domain name be changed or cancelled or if a relevant administrative body requires that the domain name be changed or expelled. Depending on the situations, the ICANN would make a request to the domain name holder to perform such changes. The URDP procedure would be conducted before an administrative tribunal. Usually such tribunals would come into action whenever a third party has an issue with a particular domain name and files an application for objection before the ICANN.

A Reflection On My Learning Styles Education Essay

A Reflection On My Learning Styles Education Essay INTRODUCTION This reflective essay aims to draw reflection from experience acquired from the Learning from Practice and Reflection (LFPR) module studied at level 1. My own development during this period will be examined in addition to issues encountered in the progression of the event/activities endeavoured upon. In an attempt to demonstrate significant comprehension of my learning from experiences encountered during this process, emphasis would be made on the learning style(s) utilised and how these were examined and developed. My preferred and actual pursued roles will also be highlighted to show how I developed and/or changed behaviours. How I have managed to develop new and existing skills will be assessed and the extent to which I understand myself and my learning. Finally, I would evaluate the potential scope of improvements made and in need of being made by looking ahead in order to perceive how things would be done and what I would do differently resulting from lessons learnt from past experience. The aforementioned analysis will be well structured to cover the different stages (planning, implementation and evaluation) involved in the activity pursued, and will be made against a backdrop of theory and models that would be utilised and act as supporting evidence accumulated from the module. In doing so, one must also acknowledge the importance and relevance of such a topic due the wide scope it possesses to the extent of being applicable far and beyond this module, university life, but to greater dimensions at the peak of ones career. Learning styles, preferences and skills learnt and adopted could be further honed and tailored around ones expertise in order to maximise ones potential and capacity. This would prove crucial and particularly beneficial in areas where there is much at stake, not to mention the flexibility involved in its transferrable nature (the acquisition of transferrable skills such as organisational, decision making, communication, research, IT appropriate numeracy and group work) where its concept could be implemented in areas/situations of a less magnitude such as nurturing kids to adopt such learning techniques a an early age when starting a family or general everyday experiences. LITERATURE ON LEARNING STYLES/CYCLES PREFERENCES Honey and Mumford The process of learning has been found to be multi-dimensional as various schools of thought have come up with various theoretical models that conjure how people learn. Among the most renowned is Kolbs (1984 1995), who presented learning as a cycle; evolving on a constant basis. Viewing this one can easily reason perhaps why academics such as the likes of Kunzel(no-date) would argue from a psychological standpoint that learning is a journey or a lifelong process. The diagram below illustrates the Kolbs (1984; 1995) initial development of learning as a cycle: Subsequently deduced from the original cycle above is Honey and Mumfords (1992) learning cycle illustrated below: The second enhanced version seems to suggest that in every learning situation, the learning process involving the learner should move consciously through every stage of the cycle. However, this may be found contrary to practical reality and experience which show significant preferences for one or more of the stages over others and that not all learners are well grounded in all stages of the cycle. Although some learners may positively or negatively dislike one or some of the stages, there is nothing to prove or indicate that such preference systems make learners better or worse than one another. Relevant and directly aligned to each stage of the learning cycle, Honey and Mumford (1992) identified four different preferential methods in which people prefer to learn, namely; Activist, Reflector, Theorist and Pragmatist. People tend to operate in just one or in a combination of these modes depending on the degree of preferences, because rather than being fixed characteristics, these are assumed to be acquired characteristics adaptable either through evolved circumstances or at will. Additionally, it is said as mentioned by Honey and Mumford (1992), that ones managerial approach usually reflects ones learning style or vice versa. Honey and Mumford (1992) also found: Activists tend to prefer being proactively involved and dominated by imminent and new experiences with a philosophy of wanting to give a go at anything at least once. This consumes their days with activity and problems are usually tackled through brainstorming. Honey and Mumford (1992) also suggests that activists are busy looking for another activity once the short bursts of excitement from one has sedated. Apparently according to Honey and Mumford (1992), activists are bored with implementation and longer-term consolidation processes and are least productive in learning from passive situations centred on concept or theory that may include the likes of watching and listening to lectures or reading, but rather tend to thrive on and relish the challenge of new experiences. One may argue however, that this element of interest does in fact involve implementation however short-termist it may be, so perhaps it is long-term implementation that activist dislike, but can tolerate short-term as long as it serves their needs of interest and preferences. Activists also prefer not to review their learning achievements and opportunities and dislike situations requiring detailed preparation, solitary work or repetitive tasks. Reflectors prefer to stand back, listen, observe and ponder on experiences from various perspectives, and learn best when doing this. This process usually involves collecting information (either first-hand or from others) to be thoroughly thought through from every possible angle before coming to any definite conclusions, comments or actions. As a result, characteristics traits present in reflectors include postponing outcomes as long as possible; always exercising caution, whilst watching other people in action preferring to occupy a back seat in discussions and meetings, always thinking before speaking, adapting a low profile and possessing a slightly tolerant, distant and unruffled aura. Honey and Mumford (1992) suggests reflectors are weaker in learning when rushed into things without time to plan or with inadequate data, when pushed into role play duties like chairing a meeting. Theorists as learners enjoy analysing and synthesising; by combining and converting distinct facts and observations into comprehensive logical theories. Theorists are said to learn best when presented with a concept theory, system or model irrespective of the potential distance from reality associated with such application. This philosophy relishes logic and rationality. Honey and Mumford (1992) state that theorists enjoy being intellectually challenged; preferring to work with structure, a clear purpose, and being allowed to: investigate associations and interrelationships question assumptions and logic analyse reasons and to generalise from deductions Theorists are said to usually think things through in a well structured and logical manner with high perfectionist tendencies; restless unless and until things fit well into a rational scheme or sequence. Characteristic of this learning preference is keen interest on principles, theories, models, assumptions and systems thinking, and detached, analytical and dedicated to rational objectivity in nature. Anything flippant, subjective in judgement, ambiguous and lateral in thinking, tend to be of discomfort to theorists, who are weaker in learning when: supposed to do something without clear purpose activities are unstructured and ambiguous emotion is emphasised faced with shallow activities subject supporting data is unavailable feeling out of tune with the rest of the group (Honey and Mumford, 1992). Pragmatists are more concerned with making things work on a practical reality by possessing a keen interest on implementing theories, ideas and/or techniques learnt (either recently or previously) to test if they work. This is a feat in slight contrast with reflectors and theorists. Pragmatists are said to positively (and perhaps proactively) search out new ideas and relish opportunities to experiment with applications. They enjoy getting on with things, making practical decisions and solving problems, and are confident and decisive when acting on ideas proving attractive. Pragmatists are also practical and down-to-earth in nature; responding as a challenge to problems and opportunities with a can do, there always a better way or an it is good if it works attitude. Such attitude can be easily perceived as positivist and optimist in mentality or way of thinking. Honey and Mumford (1992) suggests that pragmatists are best at learning when there is a clear link between their current job or (team) role and what is being learnt (the subject matter). They are said to enjoy exposure to processes or techniques clearly practical in nature with immediate relevance where there is a high probability for an opportunity to exist for implementation. As identified by Honey and Mumford (1992), points of weakness in learning with such preference are where there are no immediate rewards, benefits and/or relevance existing from learning activity and/or event(s). After completing Honey and Mumfords (1992) learning styles questionnaire, my highest and second highest score was against reflectors and theorists respectively. This indicated that strengths and learning preferences centred on those of reflectors and theorists and weaker in comparison to adapting traits of activists and pragmatists learning styles. Additionally, my personal results of Honey and Mumfords (1992) learning survey indicated that I preferred watching and thinking than doing and feeling; which effectively placed me in a philosophy category. This complemented the theorist style of learning more than the reflectors by suggesting that I preferred: to dwell on observations and pull thoughts into an integrated whole in a structured manner, logical reasoning, theories, projects and models, analogies, systems, case studies and lectures; courtesy of Clarke (2010). Equipped with this knowledge, placed me in a better convenient position to benefit from choosing the most suitable and adaptable learning techniques, experiences and opportunities at given activities/event(s)/tasks such as the group activity we embarked upon as on a module requirement. Additionally, there are options now available at least consciously where learning styles can be developed in order to expand the range skills available for learning purposes. Considering that by preference, with regards to the three main stages involved in any given task/activity/event (planning, implementation and evaluation), reflectors and theorists are more keen and productive in the planning and evaluation sides of things as opposed to activists and pragmatists implementation, it is of no surprise that I also enjoyed and performed better during these stages (planning and evaluation) of our group activity. Pragmatically speaking this does not suggest however, that Honey and Mumfords (1992) learning cycle theory was not at all contradicted or called into question at times in reality, as it would be quite naive to deem it flawless especially considering the wide dimension of learning styles preferences theory and literature out there. This criticism of Honey and Mumfords (1992) learning cycle matches Smiths (2001) fourth criticism of the cycle which outlines that the ideological sequences do not necessarily equate to reality. Among other criticisms by S mith (2001) worth mentioning is the fact that cultural conditions and experiences are not at all considered and acknowledged, not to mention the subjective perhaps pre-judgemental and weak empirical evidence it relies on for diagnosis. The overriding criticism of this learning cycle is Smiths (2001) sixth but not least criticism which quite rightly points out that the relationship between knowledge and learning processes is much more complex than Kolb (1984) and Honey and Mumford (1992) suggest. Emphasising this point is the Islamic principle and philosophy described so eloquently by Abdalati (1975) as; the truth and knowledge are not entirely confined to sensory knowledge or perception alone. This principle is so firmly rooted when pondered upon that it goes further to expose the fact that any view held or derived by an individual(s) without infallibility or divine revelation, is usually based on the rationalisation of ones own prejudices. LEARNING LOG These were noticed and considered upon critical reflection of critical incidents aided by the utilisation of a learning log which kept track of how I was managing my learning. Consciously and deliberately, time was taken out to focus on my performance during the course; as is the emphasis of this essay. The objective of this is to review thoughts that led to specific actions, outcomes, and lessons learnt from experience in order to be well equipped and informed for future practice; weaknesses could be developed and repeated mistakes avoided. From an enhanced version of the earliest known version of the renown proverb initiated by Julius Caesar,: experience is the teacher of all things, author Pliny the Elder in Naturalis Historia (A.D. 77) mentioned experience as the best teacher, which does emphasis the rationale behind such learning methods. When used critically, the technique of critical reflection can assist one to hone skills. The learning log; which in essence is a diary, a pro gress file or a journal of event/activities with short term reactions to activities, can significantly in the reflecting process. The learning log used during this module can be summarised into three main sections, these were: An actual log; this was a detailed/brief account of what happened Immediate Reactions to situation/activity A Rear View; looking back at what significant outcomes would I take away from event/activity, what lessons were learnt and if anything could have been done differently looking ahead for the future One of the most significant of critical incidents logged (courtesy of Gallagher (2010)) during our group activity within the period of this module was recording briefly that I had left my phone behind on the day we were supposed to be selling cupcakes at university and only realising it 15 minutes after leaving the house on my way to pick up the cakes from a group members house. My immediate reaction was one in rational non-panic mode; with less emotional attachment to the situation I assessed the fact that it was not at all imperative to have my as opposed to the imperativeness attached to actually having cupcakes for sale, being on time to secure a good spot and to allow enough time to plan ahead on the day to make sure everything was in order running smoothly than rushing into things with less thought; traits usually associated with lateness. So I decided not to go back for it and proceeded to my destination which was to a team-members house to pick up the cupcakes. This of course complemented a philosophy style of learning, with the only contradiction being that if philosophers due think things through logically and prefer structure, then surely there should have been provisional scope made in my thoughts to make sure I did not leave my phone behind especially in an important occasion as our big day as far as our group activity was concerned where communication could play crucial roles for organisational and logistical purposes. The counter argument to this would perhaps be acknowledging the fact that no man is perfect not even the best of philosophers not to mention a mere student and besides, surely not all group members would forget their phones; so in such terms this was not a deal breaking error that would seal ones fate, but was easily absorbable and offset by other more superseding factors. In the looking back section of this log, lessons learnt was to go that extra mile to prepare a little bit more; perhaps by making a shortlist of essentials and to dos and tick each one and I go along; this ensures all bases are covered in events leading to a big day/event/activity/occasion/meeting and so on. This is something I could do differently in the future in any role applicable. Overall, I rated my performance and confidence in this critical incident as 4. PERSONAL DEVELOPMENT PLANNING Subject to necessary changes a personal development plan (PDP) is most relevant to target driven job/role as highlighted by Honey and Mumford (1992) and is usually utilised for unexpected opportunities and/or weaknesses. To monitor ad record progress, a PDP also identifies areas in need of improvement. Set criteria/targets are usually individualistic and unique to individual performance. Overleaf is a copy of one among PDPs made during module, but this drew reference to the group activity: What I am going to do Open the sales of cupcakes by picking up cakes, setting up stall and begin selling the cakes and the documented accounting for sales Why I am going to do this My personal contribution as s a group member in an attempt to achieve success; a goal that unifies all group members as we are all in this together How I am going to do this Plan ahead, through structured and logical manner, logical and rational reasoning over the logistics involved with the delivering of the above target. Make sure estimated time of arrival is early, cakes are ready for pick up on time, use selling, numeric and bilingual skills to the best of my ability to close as many sales as possible When I am going to do this On the 21/03/11 When I will review the results /how I will know I was successful Post 21/03/11 Courtesy of Honey and Mumford (2006) Quite similar to a learning log to the extent that it extracts from ones learning log and appraisal documents, but perhaps more challenging, target driven and development orientated. A PDP would usually include dates, event/activity, achievement/results, interpretation of achievement/results against a benchmark, lessons learnt and any possible room for improvement or what could be done differently is under-achieving. OTHER RELEVANT MODELS: VAK Leite et al. (2009) highlights one of the most renowned classifications of the different kinds of learning styles is Flemings VAK also known as VARK which is an expanded version of neuro-linguistic programming models. As an abbreviation the VAK stands for: Visual learners; prefer seeing/thinking things through pictures, handouts, visual aids like PowerPoint slides and so on. Auditory learners; prefer learning by listening via lectures, tapes, discussions and so on. Kinesthetic learners; prefer learning by experience; actually doing on a physical dimension; be it experiments, moving, touching, and active exploration to name a few (Walter et al., 2009). Upon taking the VAK survey, Visual learning was revealed as my preferred learning style and my goal thereon was to focus on visual aids as a main source of learning in order to maximise my educational experience. However, to avoid getting too carried away with this model, it is hard not to recognise the fact that all three styles within VAK are required for effective learning in the pursuit of knowledge and experience as they are inter-related/-dependent and used more often than not interchangeably. Although it supplemented my other identified styles of learning (reflector/theorists/philosophy), my preference for visual aid for instance as a visual learner would still require listening when benefitting from a PowerPoint presentation being presented by a lecturer unless one was deaf or chose to cover their ears and kinaesthetic element involved would be efforts and energy required to access it in the first place be it using a computer/laptop, jotting down notes or taking a walk into t he classroom again unless one was immobile or chose to be stationary. Emphasising this fact of objective criticism is the mere fact that losing any one of the imperative senses directly associate specifically with anyone of VAK classifications would equate to having a learning disability irrespective of what type of learner/learning preferences one is/has. BELBIN TEAM ROLES Source: XenerGie (no date) The above illustration outlines the nine different main team roles that people are scored on depending on how strongly they express behavioural characteristics of the nine roles, which are more or less self explanatory. The overall assessment process involved to derive such results is known as the Belbin Team Inventory or Belbin Self-Perception Inventory (SPI), which was instigated by Belbin (1981; 1994) to measure preference for the main roles. My SPI results indicated that my most natural roles (where I scored exceptionally high) were as: A Plant; described by Belbin (1981; 1994) as someone with bright ideas who prefers to work on his or her own and generates ideas without considering the practicality or considering others views and can be bored easily by others inputs. Plants are also described as weak at communicating with, learning from, or managing, other people. A Monitor Evaluator; Excellent in reasoning for solutions, views from a wider perspective when all options are considered, but similar to plants weaker at motivating, acknowledging, or facilitating others as rationality is favoured over emotions. A Completer Finisher; Possesses depth to efficiently assist a team to see task(s) through but with major emphasis on accuracy and perfection which can frustrate other practically minded members. Members feel safe by him although there still remains a tendency to annoy due to perfectionism characteristics. My results in totality with key for decipher and interpretation purposes are illustrated below: Courtesy of Belbin (1981; 1994) IM Implementer CO Co-ordinator SH Shaper PL Plant RI Resource Instigator ME Monitor Evaluator TW Team Worker CF Completer Finisher Very Low 0-5 0-3 0-3 0-1 0-2 0-2 0-3 0-1 Low 6-8 4-5 4-6 2-3 3 3-4 4-5 2-3 Mid-Range 9-12 6-9 7-14 4-7 4-7 5-9 6-10 4-8 High 13-15 10-13 15-18 8-9 8-10 10-11 11-13 9-10 Very High 16+ 14+ 19+ 10+ 11+ 12+ 14+ 11+ Courtesy of Belbin (1981; 1994) BELBIN SELF PERCEPTION INVENTORY EXERCISE DT360 From the results shown above, it is clear that absolute coordinating and team worker roles are best avoided as I had very low scores on them, although on average I am capable of assuming shaper and resource instigator roles with relative ease. Some may argue that a more objective and rational method of executing this model would have been to rank each statement in order of preference with the highest rank being made on a statement that best described ones behaviour/personality rather than being confined to 10 points where it is inevitable that some statements would be unaccounted for even though one may have a degree of response for them. Surely it would be fairer in distribution and unbiased if all statements were accounted for to some degree, although keeping the key hidden among the statements and not revealed until ones completed the survey does account to an extent for objectivity. The model can also seem quite daunting and complicated for participants with poor numeric skills; (as a total of 10 points has to be maintained for each number), to the extent that they may be easily confused, put off or end up providing a false reflection due to inaccuracies or poor calculations. Additionally, the fact that Belbin (1981; 1 994) defines an ideal team as consisting of 4 members and anything over this constitutes of a group. This implies that the model is best applicable to teams than groups, but in practicality teams in the workplace and in most cases than not are usually exceeding 4 members. The contradiction of this is that the total number of team roles being tested are 9 (far excessive than 4), although one may argue that depending on the overall goal/objective/activity/event at hand, it may not be an imperative to have all 9 roles present in your team, but perhaps the best/most suitable 4 selections from the 9 that would best serve the overall task at hand. JOHARI WINDOW Initiated by Luft and Ingham (1955), a Johari Window is usually used as a heuristic activity in an attempt to assist people to comprehend interpersonal relationships and communication much better and is seen as a cognitive psychological tool. In terms of input and facilitation, in comparison to the other models aforementioned, this model tends to be less individualist and more interactive (imperatively requiring others input). As revealed by Luft (1969), in practice, a list of 56 adjectives is provided (to both the subject and peers) and utilised by both in the same way but independently input (picking 5 or 6 adjectives), to describe the subjects personality, which are then sieved and mapped onto a grid similar to the one found below (relevant to myself and completed for this module): 2. BLIND SELF Warm Sympathetic Warm Proud Self-conscious OPEN SELF Happy Kind Nervous Adaptable Friendly Known to self Not known to self Known to others 3. UNKNOWN SELF Reflective Observant Logical Adaptable Organised 4. HIDDEN SELF Complex Independent Loving Modest Dignified Not known to others Handy (2000) describes this concept as a house with 4 rooms; moving in a clockwise direction: Room 1; represents traits of my personality that I share in common with peers in terms of awareness. These adjectives were selected by both me and peers. Room 2; represents traits of my personality that I am unaware of, but revealed by peers. These descriptions were selected by my peers only without my input. Room 3; represents traits of my personality that were oblivious to both me and my peers. These were in effect selected by the other aforementioned models revelations and indications; these adjectives that best described my found learning preferences/styles. Handy (2000) describes this room as the most mysterious where the unconscious or subconscious part of us noticed by neither ourselves nor others. Room 4; described as confidential; the part of us known only to us and not others. These adjectives were selected by only me. The limitation with this window is that the number of adjectives does not always tally with what is required; and an uneven distribution of selections would have to be made more often than not; which may invalidate findings to an extent in terms of bias. However, this only tends to be an issue if a requirement is made to ensure an even distribution of adjectives across all 4 rooms is achieved. There is nothing to suggest in the theory that an uneven distribution across the rooms is unacceptable or invalid, rather the main emphasis is actually only made on an even independent selection of adjectives between subjects and peers. The problem with this is, if I did not select any adjective that matched my peers selection, would mean room 1 would remain empty. There is also some ambiguity on the frequency of selection required for each participant; is it confined to once or are multiple frequencies of selection allowed to offset such limitation? CONCLUSION PLANNING This was part of the group activity that I enjoyed the most and quite rightly so as indicated by the learning cycle/preferences models. I was proactively involved in this part of the session and my confidence in doing so was mostly thanks to completing most of the learning style/preferences models in precedence to the actual activity. I made the most of knowing where my learning preferences, strengths and skills lay by maximising my potential input/contribution to the group activity. Demonstrating traits of a reflector, theorist, plant, monitor evaluator, completer finisher, in a visually orientated dimension meant this role and stage of activity was performed naturally. One of my most productive and influential contributions at this stage of the activity was the highly imaginative idea to suggest that we considered raising money for charity as this seemed feasible under the circumstances considering our limited resources in terms of lack of funding (a concession from which the idea to submit a funding request stemmed from; although this attempt ultimately proved futile), and limited capacity to produce a lucrative venture under such confinements such as limited timeframes and manpower. Deciding on actually which charity (in this case red nose) to support/represent came from another team member. I must admit that I did not pay much interest or attention on the ins and outs involved in seeing through, although I was quite passionate about the idea. Moving forward perhaps I should develop my pragmatism on this aspect a bit further in order to be more specialised on hands-on experience. IMPLEMENTATION It is obvious that this was not my strongest point and as opposed to the brainstorming phase of the activity, I was not too much involved in this part of the procedure. My main input in this stage of the process was merely driving to picking up the cakes from a group members house (who happened to be more involved with liaising with the producer and negotiating on a price) setting up the stalls and a passive participation in selling on the day of sale. During this time I was better at observing spanners at work, how they work and generating ideas from gone wells and not gone wells. I was more committed to tracking our progress on sales projecting sales based on current sales ad how long we may be expected go on for. It was my idea that we always made sure we had spare change available, which required for each of us to bring coins along on the day. This highlighted preferred passion for the evaluation sides of things as similarly expressed for the planning stages. There is a lot that I have learnt from the implementation process and there is also a lot more to learn provided I am more involved in this stage, the realisation that theories do not always work in reality for instance would more easily verifiable and assessable. EVALUATION I did enjoy the evaluation stage other than the aspects of implementation involved in this process. My evaluation skills contributed toward the drive that was derived from projected findings on sales that led to us completing sales three hours ahead of schedule whilst generating a healthy profit of 64.5% and a total contribution of pou

The Personal Research Project Animation Essay

The Personal Research Project Animation Essay This research document was undertaken to discover and analyse character acting in animation, and the different methods used to express emotion and thought process. The document is focused around how an audience is influenced by techniques of character acting, and what elements contribute to its believability. Research of various literature, articles and online sources have been ventured to aid the analysis and conclusion. The evidence researched, suggests that thought process must occur before an action takes place by the character. Developing a character with empathy through their emotions helps the audience relate to them, contributing to a richer, more believable outcome. Various techniques are used to express thought process and emotion, however, discovery has led to the understanding that body language can be just as expressive without dialogue. Internal thought process is best expressed through a characters eye movements in conjunction with body language. Introduction The aim of this research document is to gain a deeper knowledge and understanding of how acting methods in character animation can be utilised and articulated to express emotions through the display of internal thought processes in a character. This research will explore the methods used by animators to create the illusion of life and discover how it can become believable and engaging for the audience. Acting is defined as the art of practise of representing a character on a stage or before cameras and derives from the Latin word agere, meaning to do an obsolete meaning for the word acting is animate. (John Kundert-Gibbs, 2009, p4) Research will be applied to specific methods of real/stage acting to develop an understanding of acting in character animation. Background to the Research Animate verb /annimayt/ 1. bring to life or activity. 2 give (a film or character) the appearance of movement using animation. adjective /annimt/ alive; having life. Derives, animator noun. Origin, Latin animare, from anima life, soul. (Oxford English Dictionary) Animation has been thought to have originated over 35,000 years ago, after the discovery of ancient wall paintings in places like Altamira and Lascaux; which depicted various types of humans, objects and animals as Richard Williams (2001, p13) explains, sometimes with four pairs of legs to show motion. In the early 1800s, Williams shows (2001, p14-15) that there were various different devices developed for the sole purpose of creating an illusion of movement such as the Thaumatrope, the Phenakistoscope, the Zoetrope, the Paxinoscope and the Flipper book. All these devices were based on the rediscovery, in 1824, of The persistence of vision by Peter Mark Roget. The principle of this rests, on the fact that our eyes temporarily retain the image of anything theyve just seen. (Williams, 2001, p13) In 1896, this sparked the interest of Thomas Edison, who ended up publicly releasing a combination of drawings, drawn by James Stuart Blackton, in sequence called Humorous Phases of Funny Faces. Since then, we have seen many different approaches to the genre of animation. With the rise of Disney animation studios, in 1928, Steamboat Willie was introduced with synchronised sound and a new character, Mickey Mouse. By 1936, Snow White and the Seven Dwarfs was released which received amazing success. This was the starting point of the Golden Age of animation which was shortly followed by the popular Disney titles: Pinocchio, Dumbo, Bambi and Fantasia. It wasnt until November, 1995 that Toy Story, the first full-length computer animated film was released by Pixar Animation Studios. This sparked another new era of animation. Studios like Dreamworks and Blue Sky soon followed. Acting in animation has been adopted as the key element for creating believability in an animated sequence, But to make these designs work, the movements have to be believable which leads back to realism What we want to achieve isnt realism, its believability. (Williams, 2001, p.34) All animated acting is designed to give a character personality and believability. Just like in stage acting. Doron Meir (2008) explains that believable acting is a result of the audience feeling a characters actions of its own inner motives. Williams (2001) notes that animation principles that were developed by Disney Studios very early on, are still being used today in all types of animation to bring characters to life. Research Question How are emotions and internal thought processes expressed through techniques of acting in character animation to make characters believable and engaging to the audience? Survey of Literature Works Acting is a very broad subject, and can be applied to many different genres of acting for stage and camera. Animation has had a direct influence by the techniques and discoveries on how to portray a character through movement. This is why To the Actor: On the Technique of Acting by Michael Chekhov is an ideal choice that links directly to acting. Chekhov is famously known for his in-depth acting methods, and has stood as an iconic teacher for famous actors of today. Chekhov reflects on the methods used to call up emotions, develop characters and strengthen awareness as an actor. All these things help to develop specific Psychological Gestures that he explains within the book, that show the audience what the character is trying to express through body language, which is also the key to a characters believability in an animated sequence. To get a more specific understanding of how characters move, and the principles surrounding character animation as an art, The Animators Survival Guide by Richard Williams is an in-depth manual on the style and techniques of hand-drawn animation. Containing the specific principles used by animators to achieve believable movement. Williams has been one of the true innovators, and serves as a link between the golden age of animation by hand and new computer animation successes. (Williams, 2001, blurb) Everything in this book relates to the overall aim of producing a character that moves in a believable way. Acting relies on these techniques that are shown through drawing methods of frame by frame animation. By adopting these techniques, animators can be taught to study the anatomy of the human body to further understand how to produce successful animated characters. The analysis of how characters display emotion needs to be taken into account throughout this research. Acting for Animators by Ed Hooks explains the tried and tested methods in acting that reflect personality and feeling within a character. This book takes us through Hooks lessons on acting and the theoretical approach behind his techniques. Empathy occurs a lot in this book, answering the need to create characters with feeling, for the audience to empathise with. Analysis into character movement and acting by example will allow the discovery of techniques used in popular film. Acting in Animation: A Look at 12 Films is a second book by Ed Hooks, where he analyses twelve different animated films, going through chapter by chapter, describing the expressive and emotive methods used in each scene. Led by these film examples, the techniques discovered through research, can be firmly reinforced. Theoretical Approach for Selecting Data Data will be collected, analysed and displayed from a variety of published secondary sources including: books, articles, web articles, web blogs and conferences. All data and necessary information will be collected for the purpose of research, but will not all be related to the analysis of animation. Acting technique and method will be the main subject source of research, which will provide a broader context to base opinions, ideas and thoughts discovered in secondary literature sources by other people in the industry. Literature sources containing examples of proven practise will be used to further enforce the topic of research. Description of Proposed Practise By an extended discovery and analysis on the subject of character acting in animation, I plan to produce at least six interesting and achievable artefacts that reflect the knowledge gained through this research document, that will provide further understanding about how emotion can allow an audience to empathise with an animated character. The preliminary design practise will include the development of key character poses to emphasise specific emotions directly influenced by an internal thought process. This will then indicate how a character can be developed further into a collection of believable animation sequences. Each artefact plans to contain one of the six basic emotions, as stated by Ed Hooks, happiness, surprise, fear, anger, disgust and sadness (2000, p.36) Characters used will be designed and rigged by a secondary source, which will provide a simple, easy to use marionette for the purpose of animation. Dialogue will not be used, as this may stand as a distraction from the emotions that are aimed to be expressed through body language and facial expressions. These artefacts will provide a clearer understanding of subconscious body movements that are often overlooked. Discussion Character animation can take many forms within the context of animation in both the traditional sense as well as in modern computer animation. The following principles were developed and named: 1. Squash and Stretch 2. Timing and Motion 3. Anticipation 4. Staging 5. Follow Through and Overlapping 6. Straight Ahead Action and Pose-to-Pose 7. Slow In and Out 8. Arcs 9. Exaggeration 10. Secondary Action 11. AppealPersonality in character animation is the goal of all of the above. (John Lasseter, 1987, pp. 35-44, 21:4) Lasseter explains that these specific traditional animation principles and techniques developed in the 1930s by Walt Disney Studios should be incorporated into all animated media especially character animation to develop characters look to make them more realistic and entertaining (Lasseter, 1987, pp. 35-44) Richard Williams explains, The old knowledge applies to any style of approach to the medium no matter what the advances in technology. (2001, p. 20) This shows that successful, believable animation of all types have spawned on the basis and influence of these traditional principles and techniques. Richard Williams also tells us that, in relation to classical and computer animation, Both share the same problems of how to give a performance with movement, weight, timing and empathy. (2001, p. 20) This underlines a key point into the advances of technology in animation, showing that 3D animation software packages only act as a technique of animating and not an easier way to influence believable movement. Lasseter explains, To make a characters personality seem real to an audience, he must be different than the other characters on the screen. A simple way to distinguish the personalities of your characters is through contrast of movement. No two characters would do the same action in the same way. (1994) Creating a unique character, develops its personality. John Kricfalusi (2006) reminisced of how he got drawn in by Chuck Jones cartoons, noticing the unique expressions he drew. Specifically as an example, the way he draws two whites of the eyes joined together, one bigger than the other to form a D-uh expression. We can see that individuality is very important when introducing personality to a character, Chekhov (1953, p.83) explains on the subject of characterisation, that particular features indigenous to a character; like a typical movement, manner of speech, recurrent habit, odd way of walking and so on, expresses the finishing touches to a character. Characters become more alive and more human with this small feature. Hooks (2000, p.36) explains, When we speak of creating the illusion of life in animation, it boils down not to mannerisms and naturalistic movement, but to emotion. Hooks continues to state that theoretically speaking, emotion is the essential element of acting as the point of empathy for the audience. Hooks, Empathy is as essential to dynamic acting as oxygen is to water. (2000, p.9) Characters of all descriptions, in an attempt to make them believable to an audience, need to have a particular personality. The audience needs to be directly affected by a characters on-screen emotion, to really feel a sense of empathy. Without, the audience will lose interest easily and the objectives within the storyline can diminish. Hooks (2000, p.41), reflects on Charlie Chaplin as one of the most influential comedians that used a great deal of empathy in his work to touch the audiences emotions. He explains that his innovation as a performer has had a huge influence on the world of comics and animation. As Chuck Jones has said I admire Chaplin very much because you could see him think, and plan, and you cared for him. (Hooks, 2000, p.40) Chaplins unique relationship with the audience has seen a great influence on character animation from the beginning of Walt Disneys profession. Dick Huemer (Hooks, 2000, p.40), Disney storyman, tells us Walt had an image of Mickey Mouse as a little Chaplin. In order to successfully accomplish empathy within a character, there needs to be elements of individuality to provoke emotions. These can be developed through simple recurring mannerisms that correlate with the characters thoughts and actions. In every respect, the audience needs to be the main influence when deciding a characters actions. Hooks states humans express six basic emotions, happiness, surprise, fear, anger, disgust and sadness (2000, p.36) He also tells us that there is disagreement on whether facial expression is primarily a reflection of the inner emotional state, or if it is simply a social display. Hooks concludes that it could be either, depending on the situation. Emotion can be expressed through both facial expression and body language, although the influence of each method can be different. Williams (2001, p. 324) believes that words should be kept to a bare minimum and as an animator, make everything as clear as possible through pantomime using only the body to tell the story. The movements of the body are thought about a lot more by animators than real actors, as animators have to create it rather than do it, although the physical expressive nature of emotions are identical. Different types of feelings can be expressed easily as Chekhov shows, grasping or catching (greed, avarice, cupidity, miserliness) roughly with palms turned earthward lusts to overpower, to possess. (1953, p.67) Equally, Chekhov (1953, p.73) explains here that in order to build up your characters expressive nature, hands and arms should act first for example; hands up near the chin expresses unavoidability and loneliness, palms turned outward displays self-defence and slight humour is evoked when bending the three middle fingers of each hand. Hooks agrees, The truth is that our hands and arms are the most expressive parts of our bodies. (2000, p.60) An example to this, Hooks demonstrates, Arms folded across the chest indicate that the person is closed, intractable When you are embarrassed, you tend to shrink in space. (2000, p.62) This reveals that many body language patterns in human figures are emphasised through the movement of hands and arms. Williams (2001, p. 324) explains a method called Twinning where arms and hands are doing the same thing, symmetrically. He teaches that this is used to show authority by preachers, leaders, politicians and so forth. Kevan Shorey agrees that, Symmetry is a good way of adding force to an action to get a point across! (2008) Both animators, believe that twinning should be broken up to avoid an exact mirror image of movements that would produce unbelievable messages to the audience. Jeff Lew (2004) explains that to make twinning animation look more interesting, the perspective of shot needs to be changed so they dont physically look identical at a particular camera angle. Walt Disney in 1930s found that expression is better when the whole body is involved and not only the face, Movement begins in the area of your navel and radiates outwards into your limbs. (Hooks, 2000, p.60) John Kricfalusi (2006) explains that animators have evolved a style that has become more stagy than live action by reading characters emotions through body language and poses. Evidentially, facial expressions arent enough to provoke a meaningful emotion, and that the whole body needs to be articulating through hand gestures and arm movements to compliment facial expressions, to achieve a believable emotion through a character. In an example from Toy Story 2, Hooks notes, She (Jessie) doesnt simply greet Woody enthusiastically, she turns him over and gives him nuggies! She tosses him this way and that. Her emotion is leading her to energetically celebrate. (2005, p.90) This is a specific example of how body language is reflecting emotion successfully. If this same bit of acting was acted on the stage, or in front of a camera with real actors it would have a very different outcome. The emotion may be similar, but another way of emphasising actions used in animation is through exaggeration. Shawn Kelly (2009) informs us that he was taught to exaggerate something more than it should be, then double it. Exaggeration is one of the original animation principles. Lasseter (1987, pp. 35-44, 21:4) suggests exaggeration of characters by the animator must be very carefully chosen. If there is too much distortion it could result in an unrealistic look. Looking back much earlier, to 1927, the classic film Sunrise: A Song of Two Humans was released. Without synchronised dialogue, films of this era had to rely on the characters acting and the backing compositions as the two main elements for the story. Sunrise is considered one of the finest films of the silent era, and Janets Gaynors performance is one its greatest virtues Her supple face and soulful eyes convey a range of thoughts and emotions that pages of dialogue could only suggest. (DeFreitas, 2009) Later, DeFreitas (2009) tells us that Sunrise became a winner of the 1929 Best Picture Oscar for Unique and Artistic Production. This film sets as an evidential example of how acting without dialogue can influence and empathise with an audience just as good, if not more so. Often in animation, Lasseter (1987, pp. 35-44) explains that the eye can easily pick up when the motion of a character seems to die, which can come across as looking particularly fake and unbelievable. To overcome this loss of motion, Lasseter uses a moving hold which is a technique used that continues the motion of a body part after an action. This breaks up the animation and results in a smoother and more believable sequence. Preston Blair (Hooks, 2001, p.60), states that an actor should never pause without a specific reason, and when a pause occurs, it should be shown for long enough so the audience can register it. These are both techniques that engage the audience into what the character is acting out. Before a movement of any sort can occur, thought processes need to become apparent through the character. Hooks outlines, Thinking tends to lead to conclusions; emotion tends to lead to action. (2000, p.1) Hooks defines a thought process as a method in discovering a conclusion. Lasseter (1994) mentions that every movement of a particular character must exist for a reason, and, ultimately, develop feelings in a character through their thought processes. As an observation, before a human being puts his body into action, a thought process must occur. In animation, this thought process must be shown to the audience to illustrate believability of an action that has just been revealed. To show a thought process in a character, Disney animator/teacher Eric Larson shows a technique, in Frank Thomas and Ollie Johnsons Illusion of Life, The subject gradually lowered his brows into a frown paused and then lifted one brow and glanced to the side, you immediately would sense a change from one thought to another (Richard Williams, 2001, p.320) This action was discovered when the first Mickey Mouse shorts were being created, and stands as a key element into how change of expression can reflect a meaningful thought process. Shawn Kelly (2009) expresses his ideas, explaining that there isnt anything more important than showing a characters thought process and changes which occur within it to provoke emotions and actions. It is down to these thought processes, he concludes, that drives everything we do. Looking at character animation in Toy Story 2, Hooks (2005, p.87) explains how Woodys realisation that Andy has gone to camp without him, leads him to his express sadness (emotion) which then leads him to withdraw to the back shelf, out of sight. He adds that, The more specific the characters thought process, the better the performance. (2005, p.87) Thought process in character animation, as mentioned, is very important for believability. This has been true for many years since the beginning of Disneys Golden Age in animation. Walt Disney said, In most instances, the driving force behind the action is the mood, the personality, the attitude of the character-or all three. Therefore, the mind is the pilot. We think of things before the body does them. (Lasseter, 1987, pp. 35-44, 21:4) It is widely agreed that thought process is the main building block that needs to be perfected and shown successfully in any animated character. Bill Tytla (Hooks, 2005, p.3), concluded that the pose is a reaction to something. Hooks refers to Aristotle, Aristotle referred to this as a unity of action small actions that lead to a bigger action, or objective. This simple rule lies at the base of all acting theory. An action without a thought is impossible, and action without an objective is just a mechanical thing, moving body parts. (Hooks, 2005, p.4-5) Aristotle finds that the thought process of a character separates a character with life to a robotic, lifeless machine. As mentioned earlier, Eric Larsons technique of showing a thought process in a character is very believable. But more specifically, it has been discovered that the eyes are the most important parts of the character to express and emphasis these thoughts. Williams (2001, p.325) advises on how the eyes are the focal point that people watch in a character. As an example, he notes, When listening on the phone the eyes flicker around in a Staccato fashion reflecting the listeners shifting thoughts in reaction our eyes are rarely still. (2001, p.326) The eyes, the driving force behind a characters actions. Kelly agrees that decisions can be reflected successfully with the eyes, They will very often dart their eyes around a bit as they consider and weigh their options. Its almost as if they are reading an imaginary list of possible choices! (2009) Lasseter (1987), explains that eyes lead before the action, and that the only time they wouldnt lead, would be if there was an external force acting upon the character. He mentions further, that the trick to showing thought process through the eyes of a character is with anticipation. The eyes should move first, followed by the head and then the rest of the body. The eyes of a character are the windows to its thoughts; the characters thoughts are conveyed through the actions of its eyes. (Lasseter, 1987) As well as eye movements, the timing and speed of a characters blinks can also affect the outcome of what is portrayed as a thought process. Kelly (2009), explains that different blinks can offer up our own different perceptions of what the character is thinking. A ton of blinks will feel as though the character is going to cry, is nervous, uncomfortable, shy, or possibly relieved after a big build up; while very little to no blinking will either feel dead, stoned worried, angry, or just very intense. (Kelly, 2009) Kelly teaches that blinks should be there for a reason to further enhance a particular emotion. Before an animator can even start to animate a particular thought process, they need to know about the character to be able to understand what they would be feeling at a certain moment, in an attempt to achieve a believable outcome. The most important foundation of believable character acting starts with finding out about a specific character. Williams states, Got to get inside the character. What does he/she/it want? and even more interesting why does the character want it? (2001, p.20) To develop our understanding of what a character is thinking, and in order to provoke emotion in a character, these questions need to be posed. Ed Hooks also explains to us that, Every character in a scene should be able to answer the question. What am I doing? in a theatrical sense. In other words, what action am I playing in pursuit of what objective? And what is the obstacle/conflict? (2005, p.89) Just like this, in the context of acting for an audience, Michael Chekhov suggests to, Ask yourself what the main desires of the character might be (1953, p.67) This approach sets the scene for any character in order to discover what the characters personality is trying to portray in what they are thinking or doing. Hooks notes, If you want to understand what a character is feeling, it is best to start by asking what the character is thinking and what his value system is. (2000, p.2) To understand how a character must move, the animator needs to discover the atmosphere and influence of the obstacle that the character is being confronted with. Only then can a thought process occur, and a feeling be evoked by a specific situation or conflict. Jeff Lew (2004) , expresses his thoughts on the development of a characters bio before learning how a character will react in any animated scene. This develops further understanding of a characters background that could be significant in influencing the way their emotions are expressed. This evidence shows us that there are a lot of elements contributing to developing a characters emotional state and to make it believable to the audience. To develop his understanding of a character and what they are thinking, Ed Hooks uses a definition coined by Michael Chekhov called a Psychological Gesture, which, Chekhov explains as the psychology of a character containing thoughts, feelings and a human free will which is expressed physically through external feelings, thoughts and desires. Hooks gives the example, Have you ever noticed someone who wrings his hands a lot while hes talking? A Bully punches someone in the chest with his finger. That is a psychological gesture. (2000, p.66) A psychological gesture is an internal thought process, manifesting itself into an external action to express an emotion. Chekhov gives an acting example, The qualities which fill and permeate each muscle of the entire body, will provoke within you feelings of hatred and disgust. (1953, p.64) The above, is very similar to the way animators approach the discovery of a characters psychological gesture by calling up ideas of how thoughts can influence the emotions that are displayed. Conclusion Character animation, in both the traditional and computer medium, rely heavily on the original animation principles that were discovered by Disney Studios. This emphasises how improvements in 3D animated software are used as only as a tool for the creation of animation, and does not rely on the computer to make things look believable by itself. Analysis has shown that acting techniques in animation are almost identical to stage and film acting. It is the exaggeration of body language and the ability to adapt a character in specific detail that sets it apart. It is evident that the emotional state of a character is a direct influence of its thought process. Thought process can be best expressed through body language to enhance an emotion. This research has lead to discover that eye movements are one of the focal points that enhance a characters thought. Emotions need to be manifested into an external, physical body movement, however slight, in order to engage an audience. The conclusion to the discussion has shown that creating empathy as a result of expressing an emotion, is the key element for engaging any audience. A characters believability is successful when an audience can relate to it in some way or another. This can be done by giving a character a personality through mannerisms and specific body language. Bibliography and List of Works CHEKHOV, M., CALLOW, S To The Actor: on the technique of acting, Oxon: Routledge, 2002 DEFREITAS, J MOVING PICTURES: Motion and Emotion in F.W. Murnaus Sunrise, 2009, http://www.berkeleydailyplanet.com/issue/2009-0212/article/32219?headline=MOVING-PICTURES-Motion-and-Emotion-in-F.W.-Murnaus-Sunrise- HOOKS, E., BIRD, B Acting for Animators, Portsmouth: Heinemann 2000 HOOKS, E Acting in Animation: A Look at 12 Films, Portsmouth: Heinemann 2005 KUNDERT- GIBBS, J, Action! Lessons for CG Animators, Oxford: John Wiley Sons, 2009 KRICFALUSI, J Personal Blog, 2006, http://johnkstuff.blogspot.com KELLY, S Animation Mentor Blog, 2009, http://www.animationtipsandtricks.com LASSETER, J Principles of Traditional Animation Applied to 3D Computer Animation, Siggraph, 1987, http://www.siggraph.org/education/materials/HyperGraph/animation/character_animation/principles/prin_trad_anim.htm