Modern Art Essay Example for Free

Modern Art Essay Some people consider modern arts not serious. In this regard, the question â€Å"Can we think of modern art as real art? † comes into existence. So to answer to this question we need to take for consideration what is art in general and what forms it has. There are a variety of arts, including visual arts and design, decorative arts, plastic arts and the performing arts. So, Art is defined as the expression or application of human creative skill and imagination. And artistic expression takes many forms: painting, drawing, printmaking, sculpture, music, literature, and architecture are the most widely recognized forms. To begin with, when we speak about modern art, in most cases we think about the field of fine arts. Because exactly fine arts underwent the visible changes for centuries. The number of styles of painting is enormous. Artistic works can be grouped by styles according to the common principles of creative thinking. Each epoch is characterized by a certain worldview; that is why throughout the centuries the ways of thinking about art was also changing. Fine arts faced such styles as Gothic, Renaissance, Baroque, Classicism, Realism, Impressionism and so on. Modern art refers to works produced during the period from 1870. Typically, modern artists rejected previous Renaissance-based traditions, in favour of new forms of artistic experimentation. They used new materials, new techniques of painting, and developed new theories about how art should reflect the perceived world. And nowadays there exists a great amount of styles of Modern art, for example: Abstract Expressionism, Pop Art, Performance Art, Dada Style, Neoplasticism, Surrealist Style, Postminimalism, Graffiti Art, etc. Concerning the question of modern art it’s quite difficult to judge, but nevertheless people are divided into two sides: pros and cons. First and foremost art implies the inseparability of form and content and of course talent. Famous artists affirmed that it is necessary to master the skill the main component of the art. But many modern works have lack of this component. Modern art has no its purpose to create the artistic work, that is why modern artists are indifferent to internal connection of form and content. Therefore it is impossible without accompanying comment; for example the artist can grab a canvas, paint it in different colours and put some strokes on it, and this kind of painting can represent his happiness. Because it is often said that modern art can be done without any talent or efforts. After all real art needs to show emotion, beauty, and needs to be a window to the artists  emotions. Art is something that you see and must look deeply into to understand or find beauty in. Modern art is art that a 5 year old can do so it has too little effort to be considered art. Many people believe that such so called artists are supported by the mass media, that is why their works are sold for million dollars. Every person could take a brush and do smth like that, but no one would buy this daub. They say Leonardo was a great artist. Raphael was a great artist, but modern ones can’t be compared. So for the great majority of people modern art is not serious. On the other hand, who is anyone to judge what real art is? After all our understanding of art comes to nothing more than our school knowledge about periods of Renaissance, Classicism or Modern. Just because one doesnt like or understand the art, doesnt mean that the art is not real art. Besides, it should be noted that there is the term contemporary art, meaning the work of artists of the 90-ies of XX century. It represents the mirror of contemporary world. And often great

Depictions of Paranoia in Art Exhibitions

Depictions of Paranoia in Art Exhibitions An essay relating a text from Art in Theory (ed. Harrison and Wood) to a current exhibition or work of art located in United Kingdom In this essay I will look at a selection of art from the exhibition entitled â€Å"Paranoia† situated at the Freud Museum. The exhibition is intended as an investigation of â€Å"suspicion, fear, trauma and delusion in the post 9/11 world† and investigates the abuses of political power and the media in generating a public consensus of good and evil in the world. In particular, I will look at the work of Franko B., a London based artist who uses paintings and performance to challenge perceptions of our bodies and of how the political relates to the artistic and the individual. In this exhibition there are exhibits of a couple of his black acrylic paintings. These paintings are heavily wrought, naively painted and concerned with depth and texture rather than with notions of prettiness. Because they eschew certain relationships between what comprises art, and are coupled with Franko B’s place as a performance artist, whose blood-letting performances in 2003 at Tate Modern, they challenge the aestheticism and the inability for the artist to be a politically relevant individual. A number of video installations also attempt to directly politicise art in crude rather than subtle ways. Jackie Salloom’s Planet of the Arabs and other works is a 20 minute video that pieces together stills from films, magazines, newspapers, television and advertising media, and functions to expose how myths and prejudices are developed and disseminated across society. Because I am interested in the political effects of art, and whether art can be established effectively as a critiquing tool to place against society, I will be looking in particular at how this exhibition relates to Joseph Buoys theories on the democratization of art, and upon whether performance based â€Å"Action Art† by artists such as Franko B. can effectively empower the individual, making him or her an artist him or herself. The 1960s signalled a movement away from the perception of the artist as a unique purveyor of singular genius towards a more inclusive, incorporative process that questioned the underlying mechanisms and mythologies of artistry. Andy Warhol in particular sought to fabricate the notion of the artist as a Promethean character; a sort-of demented idiot-savant, whose suffering brought light upon the world, by questioning the very foundations of the artist. Warhol’s techniques were designed to automate and remove any particular response from the art. Similar to the collage techniques of the futurists, the pop art movement could be seen as both an attempt to contemporize art and furthermore to erode or, at the very least, to change the perception of the artist and how he or she relates to the world around him. Politically this has important connotations. Because of Warhol’s techniques towards the mass dissemination of art and of factory produced Warhol pieces of art, the arti st is no longer seen as objective and singular, and the â€Å"truth† offered by the artist is no longer situated above society, but alongside it. Politically, this means that the sweeping and grandiose ideologies signified by futurism, cubism, surrealism and other modernist movements no longer have the same currency. Therefore, politics have changed and art has become a fusion of high and low forms of entertainment and politics. The video installation and performance-based art that looks to remanufacture the artifice of the artistic self is innately political in Joseph Beuy’s terminology because it seeks to confront and democratize the artistic world, making artists of everybody that interacts with it. â€Å"To impose forms on the world around us is the beginning of a process that continues into the political field. Discussion used to centre on the participation of the public and it became apparent that actionism as a sort of joint play was not enough; the participant must also have something to contribute from the resources of his own thought† (905). Therefore, in accordance with Buoys, the political field of art is in its struggle to empower and to transform others into artists. Buoys’ theory posits that, while there are people excluded from art, there can be no democracy. Thus, rather than art being a peripheral critique of society and politics, it forms a principle component of art i tself. He continues by saying that â€Å"A total work of art is only possible in the context of the whole of society. Everyone will be a necessary co-creator of a social architecture, and, so long as anyone cannot participate, the ideal form of democracy has not been reached† (905). At the exhibition, techniques are adopted which serve to democratize art. Two books are present in the museum in which people draw things related to their dreams. Also, in a more abstract way, much of the art leaves gaps and ambiguities into which the artist can place his or her engagements. The use of video footage and stills from mass market publications in Salloom’s Planet of the Arabs suggests that the artist is attempting to democratize the art in question. The intentionally crude collage nature of the work which juxtaposes images sharply, quickly and crudely also serves to denounce the role of the artist as talented, serving instead to perceive the artist as a facilitator to bring abo ut other artists. The use of footage that we are all familiar with; war torn countries, bombings, newspaper images and other forms of mass media serves to invoke a sense of feeling in the viewer, and the satirized nature of the piece helps the viewer confront one’s own prejudices, which in turn empowers the viewer and helps to denounce the controlling mechanisms of mass-media. â€Å"Truth† and the specific role of artist are further interrogated by the artist Tim Blake and his piece The Big Secret. This simply features an interview with the prominent conspiracy theorist David Icke. Although widely denounced in scientific communities for his â€Å"crackpot† theories, here David Icke is allowed to speak in an unmediated way about his theory that extraterrestrial insects control and govern the planet. Here Tim Blake attempts to provoke the viewer into a reaction by filming Icke in an unelaborated way. In the accompanying pamphlet, he uses a quotation from Freud: â€Å"The psycho-analyst, in the light of his knowledge of the psychoneuroses, approaches the subject with a suspicion that even thought-structures so extraordinary as these and so remote from our common modes of thinking are nevertheless derived from the most general and comprehensible impulses of the human mind† (1). Thus, here there is an attempt made to democratize humanity a nd to assume that all emerges from a general principle. Coupled with the absence of any particularly artist-like pretensions in the film, the question of artist is interrogated and jeopardised, allowing for democracy, in Buoys’ sense, to occur: â€Å"In a true democracy there are no other differences than capability; democracy can only develop freely when all restrictive mechanisms are gone. One of the greatest of these restrictive mechanisms is the present-day school, because it does not develop people but channels them† (905-6). In Franko B’s retrospective of his art, he posited that the best reaction to his work would be for somebody to mention themselves in relation to it. His work has always attempted to denigrate his own position as technical artist in favour of more openly politicised attempts to democratize his viewers. His work in multiple medias over the years, from performance art involving blood letting to mass-produced flags that he would stain with his own blood, to more â€Å"traditional† painting, suggests that he is attempting to transform the image of the artist and how it is conceived by the masses. As most people feel politically isolated from art, it is of especial importance that the artist relates to people outside of the artistic world. Franko B’s crude and naà ¯ve painting, his simple iconography, and his lacerating, self-sacrificing performance pieces attempts to achieve this by making his work both accessible and vague simultaneously. His massive black portraits echo Rothko in their minimalism, but are concerned with iconic and image based themes that Franko B. takes from his own life. Because these pieces don’t use any colour other than black, they appear more concerned about depth and line. Also, because they are made from blown up photographs, they also deny singular artistic talent in favour of a more inciting, democratic painterly technique. Buoys argues that â€Å"The times educate people to think in terms of abstract concepts†¦ most people think they have to comprehend art in intellectual terms – in many people the organs of sensory and emotional experience have atrophied† (905). Buoys attacks what he sees as â€Å"the prevailing scientific concepts†, which constrain and hamper the development of artistic imagination. According to Buoys, the concept of art must be widened to incorporate all things. The use of multimedia and various sources fragment the traditional role of artist as a singular paradigm of a truth that cannot be interacted with. Also, the conception of mass-produced art, which can be disseminated through video also serves a similar purpose – to allow for a larger audience to be incorporated into art, not as passive but as active components. The crudity of the art on offer at the museum, which directly and unambiguously interrogates the role mass media has to play in the f ormation of mechanisms of racial hate, terrorism and power, echoes the sentiments of Joseph Buoys. Works Cited Leaflet for Paranoia at the Freud Museum, 2007 Beuys, Joseph (1921-1986) ‘Not Just a Few Are Called, But Everyone’, Art in Theory, pp 903-6 Harrison, Charles Wood, Paul (2003), Art in Theory: 1900-2000: An Anthology of Changing Ideas, Oxford: Blackwell Publishers

Measuring Partition Coefficient

Measuring Partition Coefficient Abstract This Laboratory study deals with the Analytical Procedure of the Measurement of Partition Coefficient. Partition Coefficient is a very important criterion for Organic substances. It finds use in Pharmaceutical Industry, Pollution abatement systems, Agro Chemicals, and Chemical Industry. There are many methods available for determining the Partition Coefficient, especially Instrument methods like, Chromatography, Electrophoresis etc. The method adopted here is a simple, reliable and versatile one, which utilizes basic principles of Chemical Analysis. The method used was by measurement of pH and Colorimetric determination of the organic Ligand. The process used for partitioning was à ¢Ã¢â€š ¬Ã…“Shaking Flask methodà ¢Ã¢â€š ¬Ã‚ . The given sample was diluted and buffered appropriately and an aliquot was partitioned with an equal quantity of the given oil. The pH of the aqueous phase was measured. The clear aqueous solution was further diluted appropriately and used for Colorimetric estimation using a Calibration graph prepared. These data were used for computation of apparent Partition coefficient and then true Partition coefficient. Measuring Partition Coefficient Chemistry is a material Science, dealing with the study of Physical and Chemical properties of the matter found in the universe. There are many disciplines in Chemistry dealing with different materials and properties, like Inorganic Chemistry, Organic Chemistry, Physical Chemistry, Pharmaceutical Chemistry, Analytical Chemistry etc. The Analytical Chemistry is a special branch of Chemistry dealing with the determination of Chemicals, quantity wise and quality wise. The Analytical Chemistry uses the knowledge available in other branches of Chemistry, like Inorganic Chemistry, Organic Chemistry, Physical Chemistry, and many principles of Physics. The uses and applications of Analytical Chemistry are wide, and practically, in every aspects of human life, analytical Chemistry is involved in some way or other, say, in Clinical Chemistry, Pharmaceutical Chemistry, Forensic Chemistry, in commerce, in Customs Department and so on. The measurement of Partition Coefficient is a typical analyti cal procedure using many theoretical principles of various branches of Chemistry. It denotes the differential amounts of the substances found at equilibrium conditions in the organic phase and the aqueous phase for a set of conditions like Concentration, pH, Temperature etc. This Lab study aims at and involves, in addition to learning partitioning technique, Electro Chemical application the pH measurement, colorimetric measurement, computational techniques, and Calculation procedures. The partition coefficient study assumes significance, because it finds use in Pharmaceutical Chemistry for drug design, development, and delivery, Pesticide design, soil Chemistry, designing of Chemical Plants by Chemical Engineers, and also for Chemists and Scientists working on Liquid Liquid Equilibrium data. METHODS Sample preparation: Sodium salicylate solution of 0.2 gram mol per liter (mol) was taken for this study. From this stock standard solution four Test samples, named A to D, were prepared. 10 ml of 0.2 mol standard solution was pipetted into each of the four 100 ml volumetric flasks marked A to D and diluted to the mark with four buffer solutions of different pH, and mixed thoroughly. So the concentration of the resultant diluted samples was 0.02 mol each. Partitioning: Aliquots of 25 ml of the above diluted samples, 4 Nos, were taken in 4 separating funnels. Then, 25 ml of the given oil was added in each of the 4 separating funnels, marked A to D, and mixed thoroughly and gently by inverting and rotating for 10 minutes. Then the mixture in the separating funnels were allowed to settle thoroughly. After the aqueous and organic layers became clear, the aqueous layers of the four separating funnels were drained into four glass beakers marked A to D. pH measurement of aqueous phase : The pH of the four partitioned aqueous samples were measured using a pH meter. Determination of Salicylate concentration in the Aqueous phase: For determining the Salicylate concentration, Colorimetric method was adopted where the absorbance of the Iron- Salicylate complex was measured. The procedure adopted for developing the standard and test samples is given below. Preparation of Standard color Solutions: Four different Standard solutions of Sodium Salicylate, namely, 0.00125mol, 0.0025 mol, 0.00375 mol and 0.005mol were prepared along with a blank. Five test tubes were taken. The first one was marked as 1 (Blank), and the others as 2,3,4, and 5. To the blank, 1 ml of water was added, and in the others, one ml each of the prepared standards were added. Then 2 ml of the given Ferric Nitrate was added to all the test tubes. Then 5 ml of water was added into all the five test tubes. All the test tubes were shaken gently to mix the contents thoroughly and waited for some time for the complete development of the color. The five solutions represented 0.0000 mol, 0.00125mol, 0.0025 mol, and 0.00375 mol and 0.005mol Salicylic acid concentration respectively. Preparation of Calibration Graph: The Colorimeter (Spectrophotometer) was set at the wave length of 624 nm. Placed the blank in the cuvete in the colorimeter and adjusted the absorbance as zero. Then the other standard solutions were placed one by one and noted the absorbance readings. Calibration Graph was plotted, plotting concentration of salicylic acid in X axis and Absorbance at the y axis. Preparation of Test samples: 10 ml of each of the four Partitioned aqueous layers were diluted with water to 50 ml, thus making a diluted sample. From these, 1 ml solution each were placed in four test tubes, marked A, B, C, D. Then, 2 ml ferric Nitrate and 5 ml water were added in all the four test tubes and treated similar to the Standard tubes. Measurement of Salicylic acid concentration of the test samples: The absorbance of all the four test samples were measured similar to the standards. The Salicylic acid concentration of the test samples were arrived from the Calibration graph. The concentration arrived was of the diluted samples. So the concentration of the partitioned aqueous phase was multiplied 5 times to get the concentration of the salicylic acid. This gives the Cw , i.e., the concentration of the salicylic acid in the partitioned aqueous solution. Determination of CO: The Cw was subtracted from the concentration of the buffered solution, i.e., 0.02 mol, to get the CO. Determination of Hydrogen Ion concentration: From the pH of the four partitioned aqueous solutions, Hydrogen Ion concentrations were calculated. CALCULATIONS Step 1. Calculation of H+ and 1/H+ from the pH Model calculation for Experiment A; pH = 2.35. pH is the negative logarithm to base 10 of Hydrogen ion concentration. So Hydrogen ion concentration is the antilog of 2.35= 0.00447 Reciprocal of Hydrogen ion concentration = 1/H+ =1/0.00447 = 223.9 Similarly H+ and 1/H+ are calculated for other experiments and tabulated below. Experiment pH of the buffer added Resultant pH [H+] 1 / [H+] A 2.0 2.35 0.00447 223.9 B 2.8 3.22 0.000603 1660 C 3.3 3.85 0.000141 7079 D 4.0 4.02 0.0000955 10471 Step 2a. Calculation of the concentration of salicylate added to each separating funnel: The salicylic acid concentration of the sample taken = 0.2 gm. mol/Liter. 10 ml of this solution was diluted with buffer to 100 ml. So the concentration of the diluted solutions, added to each separating funnel, taken for the Partition experiment were 0.210/100 = 0.02 gm mol/L each. Step 2b. Calculation of Cw and Co: The partitioned concentration of salicylic acid in water and oil, denoted by [S (aq)] and [S (org)] are Cw and Co in the formula respectively. 25 ml of the Solution A ( 0.02 gm mol Sodium Salicylate, buffered with buffer of 2.0 pH) was partitioned with 25 ml of oil. After separation of the phases, the pH was measured in the aqueous phase. Then the aqueous phase was diluted five fold for colorimetric estimation. The absorbance obtained for experiment A was 0.065 and the corresponding concentration obtained for experiment A from the calibration graph = 0.00054. So the concentration of this undiluted Partitioned aqueous solution, [S(aq)] , is five times of the value determined calorimetrically = 0.00054x 5 = 0.0027. This is CW The concentration of salicylic acid in the organic phase is the concentration of the diluted solution taken for the Partition experiment, minus concentration of the undiluted Partitioned aqueous solution, i.e. CO = (0.02- CW) = (0.02 -0.0027) = 0.0173gm mol/L. Apparent partition coefficient P = CO / CW = 0.0173/0.0027 = 6.4 1/P = 1/6.4=0.156 CW, CO, P and 1/P for other experiments were also calculated like wise and tabulated below. The calibration graph of this study is attached separately. Exp Absorbance Salicylate Concentration in aqueous phase of the diluted aliquot, from calibration Graph Salicylate Concentration in aqueous phase the undiluted aliquot, CW i.e. ([S(aq)] ) Salicylate Concentration in Organic phase CO i.e. ([S(org)] ) = 0.02- S(aq) A 0.065 0.00054 0.0027 0.0173 B 0.138 0.00116 0.0058 0.0142 C 0.221 0.00218 0.0109 0.0091 D 0.267 0.0025 0.0125 0.0075 Calculation of P and 1/P Exp [S(aq)] i.e. CW [S(org)] i.e. CO P = (CO / CW ) 1/P A 0.0027 0.0173 6.4 0.156 B 0.0058 0.0142 2.45 0.408 C 0.0109 0.0091 0.83 1.200 D 0.0125 0.0075 0.6 1.667 Step 3. Preparation of 1/H+ vs. 1/P Graph and Calculation of P and Ka: A graph was plotted with 1/H+ in X axis and 1/P in Y axis. The slope, Ka/P was estimated from the graph = 0.0001518. The intercept, 1/P, was at 0.13, and hence, P = 1/0.13 = 7.69. Ka = (Ka/P) x P = 0.0001518 x 7.69 = 0.001167; pKa = log of 0.001167 = 2.93 DISCUSSION The study results show a definite trend of higher ingress of the organic acid, i.e., Salicylic acid, into the organic layer at a lower pH and vice versa. This is in accordance with the theory, which implies, at a lower pH, the H+ ion concentration will be higher, which will in effect enhance association of the ions, R- + H+ à ¢Ã¢â‚¬  Ã¢â‚¬â„¢ RH, to form unionized molecule that can enter the organic phase. So the unionized acid will be predominantly in the organic layer. At higher pH, the H+ ions will be low and there will be the tendency of the acid to ionize in the aqueous phase, RH à ¢Ã¢â‚¬  Ã¢â‚¬â„¢ R- + H+ , thus preventing the acid to enter the organic phase. So the ionized acid ion will be predominantly in the aqueous layer. This is established in this experiment; CO, the concentration of salicylic acid in organic phase is highest, 0.0173mol, in Experiment A, where the pH is the lowest, 2.35 ; and lowest, 0.0075 mol, in Experiment D where the pH is the highest ,4.02. Consequ ently the Apparent Partition coefficient P which is the ratio of CO / CW is highest in Experiment A and lowest in Experiment D. This shows, the pH of the solutions affect the partitioning. The accuracy of the study depends both on the accuracy of pH measurement and the measurement of absorbance. The linearity of the graph- 1/H+ vs. 1/P depends on both the measurements. But the curve was not perfectly linear as expected. The potential sources of errors . While carrying out the Chemical Analysis, one has to be aware of the potential sources of errors. Alexeyev (p 48) classifies the errors in à ¢Ã¢â€š ¬Ã…“Quantitative Analysisà ¢Ã¢â€š ¬Ã‚  as Systematic errors, random errors and mistakes. The systematic errors are: errors of the method, errors of apparatus reagents, and Operative errors. Random errors do happen during any analysis and one has to be vigilant and careful to avoid them. Mistakes are crude errors caused by careless noting of the readings in the instruments, parallax error, improper labeling of the various test samples ending with confusion while tabulating the readings etc. The possible systematic errors in this study are: errors of the method, say non uniform pH among the four test in the colorimetric estimation. Lyalikov.Y (p 40) warns, à ¢Ã¢â€š ¬Ã…“many colored compounds are sensitive to Hydrogen Ion concentrationà ¢Ã¢â€š ¬Ã‚ . à ¢Ã¢â€š ¬Ã…“Changes in pH not only affects extinction, but change spectrophotometer curve of the substance as wellà ¢Ã¢â€š ¬Ã‚ , Lyalikov.Y (41). The calibration curve obtained is not straight as expected, showing the colored complex did not obey Beer Lambert Law, which states, absorbance is proportional to molar extinction coefficient, ÃŽÂ µ, depth of the solution layer, L, and concentration, C. (A=ÃŽÂ µ x L x C). It was expected at least to be a smooth curve of a definite pattern . But the curve is not very smooth indicating some error, may be varying final pH of the colored solutions. Possible errors of apparatus: leaking separating funnel. Possible errors of reagents: accuracy of the buffers. Operative errors: Possible non uniform mixing during partitioning, incorrect and non uniform draining from pipettes. It was expected that the curves of Calibration graph and that of 1/H+ vs. 1/P to be straight lines. But they are not straight as expected. The reason may be due to some or a combination of the above cited errors. Comparison of the result with Literature : The literature value for Ka of salicylic acid as given by Harris, Daniel. C. (p 183) is Ka = 1.07 x 10 ¯3. The result obtained in this Lab study is 0.001167. This is higher than the value reported in à ¢Ã¢â€š ¬Ã…“Quantitative Chemical Analysisà ¢Ã¢â€š ¬Ã‚  by about 9% The phenomenon of partitioning: The chemical substances exhibit different solubility in different solvents. Solvents may be classified into two groups, Aqueous and Non aqueous, in other words polar and non polar. Similarly the chemicals may be classified as Hydrophilic and Hydrophobic. Hydrophobic substances can also be termed as Lipophilic. A hydrophilic substance will easily dissolve in an aqueous solvent and a hydrophobic (Lipophilic) substance will easily dissolve in non aqueous (Organic) solvent. If a substance is in contact with both the Hydrophilic and Hydrophobic Solvents, the substance will get distributed in both the solvents and the proportion of distribution will be according to the nature of the substance with respect to its Hydrophilic or hydrophobic nature and this property is termed as the Partition coefficient. Partition coefficient finds application in Pharmaceutical industry, agrochemical Industry, Pollution studies and for designing of Chemical Process by Chemical Engineers. Drugs are meant to be ingressed into human body. The partition coefficient finds use in drug design, as it is a measure of the hydrophobicity of the drug concerned. If the partition coefficient is high, it denotes high hydrophobicity ( high lipophilicity) and such a drug will easily enter the lipid regions of the organs and stay for longer time and hence may prove toxic. On the other hand a low Partition coefficient denotes a hydrophilic nature and hence the drug will stay longer in the aqueous regions blood stream and will not readily ingress into the tissues. So the absorption, excretion and penetration of the drugs into the body organs are related to the Log P value of a drug. An intermediate Partition coefficient is preferred while designing the drugs by the Pharmacologists. Earll. Mark enumerates the optimum Partition Coefficient, as Log P, for different types of drug applications. Optimum CNS penetration around Log P = 2 +/- 0.7 (Hansch) Optimum Oral absorption around Log P = 1.8 Optimum Intestinal absorption Log P =1.35 Optimum Colonic absorption Log P = 1.32 Optimum Sub lingual absorption Log P = 5.5 Optimum Percutaneous Log P = 2.6 ( low mw) The drug has to be designed accordingly for each of the application. The Formulation and dosing forms, as given by Earll. Mark: Low Log P (below 0) Injectable Medium (0-3) Oral High (3-4) Transdermal Very High (4-7) Toxic build up in fatty tissues The drug has to go into human body through different routes, say, mouth, skin, Blood etc all having different pH. So the drug has to be designed taking into consideration of the effect of pH. Mark Earll gives the pH of the various parts of the body: Stomach 2, Kidneys 4.2 (variable), Small Intestine: Fed 5.0 Fasted 6.8, Duodenal Mucus 5.5, Plasma 7.4. According to Chemie.DE information service GMBH, The Hydrophobic drugs are preferentially distributed to hydrophobic compartments such as lipid bilayers of cells while hydrophilic drugs preferentially are found in hydrophilic compartments such as blood serum. The Partition coefficient of the drug determines the Absorption. Distribution, Metabolism and excretion of the drugs. When a drug is admitted orally, it passes through the alimentary canal and has to be absorbed through the lipid layers of the epithelial membrane of the small intestine. So the drug should be sufficiently Lipophilic as to pass through the lipid layers. At the same time it should not be too lipophilic, otherwise, it will stay permanently in the epithelial calls and will not enter the blood stream for transport to the required location. Similarly the drug has to be metabolized and excreted after its function is over. This also depends on the Hydrophobicity. Similarly the other forms of drug administration are also need to be studied in this aspect. So control of the Hydrophobicity (lipophilicity) while developing the drug is important. Here is the use of Partition coefficient measurement, which is a measure of the hydrophobicity. Partition coefficients find use in designing pesticides. One has to design the insecticide in such a way it has got a very high partition coefficient , i.e. , having high hydrophobicity, rather high lipophilic tendency, so that the insecticide easily penetrates into the organisms and stay permanently causing high toxicity, thus proving its efficacy in killing the pests. But, the adverse consequence is, the pollution aspect, vide Chemie.DE information service GMBH. In partition studies, Octanol/ water system is normally used. Earll. Mark states, à ¢Ã¢â€š ¬Ã…“Octanol was chosen as a simple model of a phospholipid membrane; however it has shown serious shortcomings in predicting Blood-brain barrier or skin penetrationà ¢Ã¢â€š ¬Ã‚ . Berthold says, à ¢Ã¢â€š ¬Ã…“The most needed liquid- liquid partition coefficient is the octanol-water partition coefficient. Ko/w is accepted as a good reference parameter for solute hydrophobicity. Indeed, Ko/w can be rapidly estimated using capillary electrophoresis with a micellar or micro emulsion solution and/or RPLCà ¢Ã¢â€š ¬Ã‚  Leahy, Taylor and Wait of ICI have proposed, in addition to octanol, chloroform, cyclohexane and propylene glycol dipelargonate (PGDP) for modeling biological membranes, notes Earll. Mark. For determining the Partition Coefficient, there are many other Instrumental methods, like, HPLC. Paper Chromatography, Thin layer chromatography and Electrophoresis. Berthod. A and Carda-Broch. S. enumerates the various analytical Techniques. They are: Shake-flask method, HPLC method, Micro emulsion electro kinetic capillary electrophoresis, Counter-current chromatography (CCC), Co current CCC, Micellar electro kinetic capillary chromatography (MEKC), Micro emulsion electro kinetic capillary chromatography (MEEKC) References Alexeyev, V. (1969). Quantitative Analysis. Moscow: Mir Publishers. Berthod.A, Carda-Broch.S (2004) Determination of liquid-liquid partition coefficients by separation methods. Journal of Chromatography A, 1037 3-14 Chemie.DE information service. GMBH. Encyclopedia of Chemistry, Partition coefficient, Retrieved January 28, 2010, from http://www.chemie.de/lexikon/e/Partition_coefficient Earll, Mark. A guide to Log P and pKa measurements and their use. Retrieved January 28, 2010, from www.raell.demon.co.uk/chem/logp/logppka.htm Harris, Daniel C. Quantitative Chemical Analysis. Google Books. Lyalikov, Y. (1968). Physicochemical Analysis. Moscow: Mir Publishers.

Cleo 5 to 7 as a New Wave Film Essay -- Movie Film Essays

Cleo 5 to 7 as a New Wave Film Agnes Varda is not only one of the few female directors of new wave cinema; she is also credited as having helped create the genre. Her short film La Point–Courte is considered by some as the first new wave film. Her first full length movie, Cleo 5 to 7 falls within this genre as well. It is the story of a young woman dying of cancer and how she sees the world in the context of time. We follow the singer Cleo as she changes into the woman Flora and as she does so she begins to look at time in a different manner. It is the way time is represented through the camera shots which really make this film part of its new wave genre. The movie begins with a five minute prologue that occurs during the credits in which we receive all the important aspects of the following 90 minute film. We see a fortune teller, or rather a shot of her hands while she turns over the tarot cards that are Cleo’s fortune. This scene uses a multitude of hand shots, contrasting the old woman’s and the young woman’s hands. During the scene there is a jump cut between from the old...

Literary Analysis of Dr. Seuss Essay -- Dr. Seuss Books Literature chi

Literary Analysis of Dr. Seuss Theodor Seuss Geisel, better known as Dr. Seuss, is perhaps one of the most beloved children’s authors of the twentieth century. Although he is most famous as an author of children’s books, Geisel was also a political cartoonist, advertisement designer, and film director (Kaplan). He used the power of imagination to produce unforgettable children’s books and helped solve the problem of illiteracy among America’s children. By using his experiences in life as a foundation for most of his books, Theodor Geisel created a unique writing style that incorporated various elements and techniques, enabling his books to appeal to people of all ages.   Ã‚  Ã‚  Ã‚  Ã‚  The animated life of Theodor Geisel is evident in his literary masterpieces. He was born on March 2, 1904 in Springfield, Massachusetts to Theodor and Henrietta Geisel (Ford 14). Geisel grew up speaking German and English, and his fascination with quirky words began at an early age due to his family. For example, his sister, Margaretha, called herself Marnie Ding Ding Guy, and his first creation was the Wynnmph with ears three yards long (Kaplan). During his childhood, Geisel read widely and often - developing his voracious reading habit at an early age. By the time he was six years old, Ted was already reading Charles Dickens and Robert Louis Stevenson (Kaplan). However, college education never interested him. Labeled â€Å"Least Likely To Succeed† by his fellow classmates at Dartmouth University, Theodor often got in trouble for partying and was forced to resign from the school humor magazine. This gave birth to numerous pseudonyms of Geisel, such as L. B urbank, Thomas Mott Osbourne, Ted Seuss, Seuss, Dr. Seuss, and Theo LeSieg (Hurst). In his adult life, Theodor created various political cartoons for Judge, a humor magazine, and PM, a noted political magazine. The illustrations in these early cartoons foreshadow the quirky illustrations found in his children’s books (Kaplan). Geisel turned to writing children’s books when creating numerous ads for the popular insecticide, Flit, left him with little to do during the winter months (Hurst). By 1990, Dr. Seuss had written over forty books, two of which were Caldecott Honor books, and won two Academy Awards for his documentaries (Krull 39). Unfortunately, battling glaucoma and cataracts became too much for Theodor; he died on September... ...hors who got away with moralizing. The quirky illustrations and creative wordplay enable his readers to enjoy his books, while at the same time recognize morals (Hurst). Because of his innovative approach to writing books for children, Dr. Seuss has influenced American society immensely. The Oobleck he created in Bartholomew and Oobleck became the green, slimy gunk now seen on popular television networks, such as Nickelodeon (Ford 66). Furthermore, his publishing company, Beginner Books, produced a new series of children’s books called the Berenstein Bears, enabling children to enjoy more reading (Kaplan).   Ã‚  Ã‚  Ã‚  Ã‚  Dr. Seuss revolutionized children’s literature and instilled in children the desire to read. According to literary critic Clifton Fadiman, â€Å"Theodor Geisel Seuss provided ingenious and uniquely witty solutions to the standing problem of illiteracy among children (qtd. in Kaplan).† Due to various influential figures and profound experiences during his lifetime, as well as expert use of creative literary techniques, Theodor Seuss Geisel’s children’s books continue to compel readers of all ages – allowing them to escape into different worlds filled with nonsense.   Ã‚  Ã‚  Ã‚  Ã‚  

Philosophy Plan Essay

Observing teachers is a great way to see the day to day operations of what goes into the setting of the class. Within the first few months of school, by then the students should have a good understanding of the expectations of the class. It is important to realize that the teacher trains the students what the rules and expectations are from day one in their classroom. These rules and expectations come from their classroom management plan. There are many reasons a child may misbehave. It could be special needs, lack of attention, or even circumstances at home. The fact of the matter is that they are allowed to. Sometimes it seems that as adults we tend to allow student to do as they want with the hope of the situation be handled by someone else. How a child behaves actually goes back on the parents and the raising of the child. Culture and family dynamics could also play a role as well. I know that some people may say that they do not want to become their own parents, but they have. Some raise their children to respect the rules and consequences of their actions, while others raise their children with no rules and consequences at all. â€Å"The methods and strategies an educator uses to maintain a classroom environment to be conducive to learning and success† is defined as classroom management. (Jones, 2000). In my personal beliefs I think that a plan needs to be consisted of rules and procedures, as well as expectations for the students when entering the classroom. In the event of visitors in the classroom these rules and expectations should be followed also. In the classroom management plan there needs to be consequences that ate clear, understood, and enforced effectively. To me teachers should spend more time spending on teaching the students rather than mismanaging them, so that they can effectively learn. It takes time to teacher students the information that they need to know for the school year and prior to the next year. Teachers only have 180 days to teach the required information to the students with the assurance that the get it. A classroom management plan affects everyone. It can change the way students walk into the classroom, how a teacher does their job and how visitors act when they come to visit. I have seen this happen in an Elementary school, I have observed it. One class was quietly walking down the hallway and another class was using outside, loud voices. It was interesting the reaction some students had to the differences within the two classes. My philosophy on classroom management came from my schooling and personal observations. I do not have a physical classroom yet, but have seen many different styles each teacher uses when in the classroom. The theoretical perspective that best describes my personal philosophy is the personal needs theory. Stanley Coopersmith discussed â€Å"that individuals need to experience a sense of significance, competence, and power† (Jones & Jones, 2010, p. 33). I believe that it is important that a student trust and builds a positive rapport or relationship with you. I believe that students, who trust and believe in their teacher, with this the student, may tend to work harder and it gives the student the belief that they can accomplish any task. When a level of trust and relationship is developed, it gives the students ownership or pride in their classroom. Any teacher has personal theories and needs in their class, it is important to build that trust or a classroom management plan could fall apart in no time at all. I believe that my personal philosophy will play a role in my actual plan, but I also need to realize that I may have to adjust it as I begin to teach. The adjustment may have to happen as I get a new set of students each year or even once I get certain students who may need me to adjust my plan. My philosophy is just a foundation to my ultimate plan for success with my students. Adjustments are a daily part of all teachers, even the best ones, as they go forward. All these adjustments are in the best interest on the students. My personal philosophy, I believe is an important one. I believe that students need to realize that everything is not always fair in life. I believe that students need to understand that actions in life also have rewards and consequences. I also believe that it is also important to teach students that everyone has the same opportunities and only we, as individually, can make the most of ourselves.

Advantages and Disadvatages of Modern Technology

Today’s society is heavily influenced and affected by technology. My paper will explain and highlight many advantages and disadvantages of technology on society. It will discuss some ways it can hinder reputations and how private matters can become public property because of technology. My paper will also reveal how technology can bring people closer together, although many people may beg to differ. Today’s society is driven and greatly influenced by technology. This can be a beneficial fact, and it can also be detrimental and yield major problems. Whether one is using a digital camera in order to snap a photo of a precious moment, or whether one is sneaking and videotaping an embarrassing video that will last forever, these are components of technology that effect society because it effects people. It is in the eye of the beholder of whether technology has more or less advantages than disadvantages on society. My paper will discuss some advantages and disadvantages of technology on society. There are many advantages of technology. Technology allows people to email, text, talk on the telephone, mow the lawn, vacuum carpets, blend food, straighten hair, add numbers, and the beneficial list goes on. Without technology, people would not be able to keep in touch with loved ones as easily; they would have to physically walk and talk face-to-face because cars would not even exist to deliver letters. We wouldn’t be able to cook many of the foods that we enjoy and that are nutritional. Mothers-to-be wouldn’t be able to see digital images of her baby nor hear its little heart beat without the power of technology. Many jobs, such as graphic†¦