Country Living Versus City Living Essay Example for Free

Country Living Versus City Living Essay Since every person is unique they tend to live in different places depending on their taste. Some people prefer to live in big cities while some prefer countries. The bustling city is alive. The stimulation of crowds and traffic generate energy that challenges the human spirit. Perhaps that is why the city dweller reflects the image of an angry, stressed and unfriendly person. Even in Mongolia city dwellers are more stressed than country dwellers. People say life in the country is healthier Life in the city is challenging. Shopping is convenient everywhere you go you will easily find big and convenient stores. The presence of public transportation reduces the demand for private transportation which is the source of traffic gem. But there are a lot of facilities where you can spend you free time; cinemas, drama theatres, ski resorts etc. We have to remember that city life costs high and gives you much stress. Worst of all, the most expensive component of life in the city is the toll it takes on your body through stress. Also in big cities the air is not healthy. Smokes that go from massive number of cars and factors threaten our health. Another disadvantage of city is crime. Many people become the victims of crime and again they get stressed. Peaceful is the most succinct description of the country. The night is quiet the air is fresh, no bustle and hustle†¦ No heavy traffic, no sirens, no rush of the madding crowd. Life is simple and calming. Food is organic. In Mongolian country everyone knows each other and is very friendly. The country offers advantages of being unstressed. You don’t have to scared of robbers and pickpockets. You can just feel the fresh air and walk slowly. People who live in the city and country share many common lifestyle fundamentals such as jobs, commuting, and safety. You don’t need much money while you are in the country. But there are some disadvantages of living in the country. There are not many shopping centers, if you are a shopaholic you will be upset in the country. Also there are not many big facilities. Urban areas respond to emergency situations more efficiently. If to choose from these 2 life styles I would choose city living because I was born in the city and grew up here. Hustle and bustle seem close to me. Big  cities have a larger tax base which allocates more resources to public safety and health agencies such as police, firefighters, and ambulances. There are big department stores where you can buy everything you want. Although some people in cities are stressed and unfriendly city is a succinct place to have fun.

Life And Work Of Barbara Baer Capitman History Essay

Life And Work Of Barbara Baer Capitman History Essay Barbara Baer Capitman, whose vision and persistence helped to turn a rundown area of Miami Beach into a vibrant Art Deco historic district, died of congestive heart failure on Thursday at Mount Sinai Medical Center in Miami Beach. She was 69 years old and suffered from diabetes and heart tremors. Ms. Capitman, who had lived in Miami since 1973, applied her talents to arouse renewed interest in 1920s and 1930s buildings throughout the country. Radio City Music Hall and the Chrysler Building are among the best examples of Art Deco. My whole life had been Art Deco, she once said. I was born at the beginning of the period and grew up during the height of it. Its a thing of fate. Headed a Preservation League In 1976 she helped to found the Miami Design Preservation League, which in 1979 won Federal historic designation for the South Beach district of Miami Beach. Her outspoken, unorthodox manner later led to her ouster from the group. She would push and agitate and cause trouble until people wouldnt speak to her, said Michael Kinerk, chairman of the Art Deco Weekend festival. She was interested in results, not social sensitivities. The South Beach district is now on the National Register of Historic Places, the only 20th-century district on the register. That status brought Federal tax relief to what had been a depressed area. It is now enjoying an economic and cultural rebirth. Chapters in Other Towns Mrs. Capitman, president of the Art Deco Society of America, helped found chapters of the society in several cities, including New York, Washington, Chicago, San Francisco and Los Angeles. She was the author of Deco Delights (1989; E. P. Dutton). She was born in Chicago and attended New York University. She later wrote advertising copy and was a reporter for The Atlantic City Daily World, which has ceased publication. Her husband, William Capitman, died in 1975. He was a market researcher and economist and in later years a teacher at Florida International University. Mrs. Capitman leaves two sons, Andrew W., who lives in London, and John A., who lives in Cambridge, Mass., and four grandchildren. Barbara Baer Capitman, the intrepid little old lady credited with saving Miami Beachs colorful Art Deco district made famous on the hit television series Miami Vice, has died in the city she sought to preserve. She was 69. Mrs. Capitman, who suffered from diabetes and heart problems, died Thursday at Mt. Sinai Medical Center in Miami Beach, according to hospital spokesman Arthur Ehrlich. She was president of the Art Deco Society of America and had organized chapters in cities around the country, including Los Angeles, to preserve the decorative arts style of architecture popular between the two world wars. Although somewhat more whimsical in Miami, the style is exemplified by the Chrysler Building and Radio City Music Hall in New York City and the old Pan Pacific Auditorium and the Times building in Los Angeles. At the time of her death, Mrs. Capitman was putting together the first World Congress on Art Deco and working on a book, Art Deco U.S.A. Last year she published a book about Miami Beachs 1930s hotels and other Art Deco buildings called Deco Delights. Mrs. Capitman became a preservationist in 1975 as a means of making new friends after the death of her husband, William, at 53. She attributed her quavery voice, which her detractors frequently mimicked, to the shock of his death. Within four years, despite opposition by the Miami Beach city manager and Chamber of Commerce, Mrs. Capitman and her Design Preservation League won listing of the mile-square district on the National Register of Historic Places, providing federal tax incentives for restoration. The area is the only district with 20th-Century architecture in the register. It was a tremendous achievement by one personone little old lady, said her son Andrew. Barbara Capitman deserves her reputation as the indomitable champion of the Art Deco treasures of Miami Beach, said billionaire investor Robert Bass, chairman of the National Trust for Historic Preservation. The districts 800 or so buildings, designed in the 30s to look like ocean liners or rocket ships or even bonbons to take vacationing Americans minds off the Depression, are the focus of Miami Beachs annual Art Deco Weekend festival, which draws about 400,000 people. In Saving South Beach, historic preservation clashes with development as each side vies for control of South Beach. A spectrum of characters are present, from Barbara Baer Capitman, the ailing middle-aged widow who became an evangelist for the Miami Beach Art Deco district, to Abe Resnick, the millionaire Holocaust survivor determined to stop her. From pioneers to volunteers, from Jewish retirees to Cuban exiles, from residents and business owners to developers and city leaders, each adds another piece to the puzzle, another view of the intense conflict that ensued. Although a number of the areas iconic buildings were demolished, the Miami Design Preservation League succeeded in entering almost half of the neighborhood into the National Register of Historic Places, kicking off a revitalization effort that spread throughout South Beach. Preservationist M. Barron Stofik lived in Miami during this turmoil-ridden period and, through hundreds of interviews and extensive investigation, weaves together dramatic themes of civic heroism, preservation, and cultural change in the passionate human story behind the pastelfacades and neon lights. Barbara Capitman is our 2010 Woman In History Honoree She was born in Chicago and attended New York University.   In her early years she was a reporter for The Atlantic City Daily World and was an advertising copywriter.   When she moved to Miami in 1973, she used her literary skills to help stimulate interest in 1920à ¢Ã¢â€š ¬Ã‚ ²s and 1930à ¢Ã¢â€š ¬Ã‚ ²s Art Deco buildings throughout the country. Much of South Beachs buildings were neglected and abandoned at the time, but Barbara Capitman was a visionary thinker and was greatly inspired by finding the worlds largest concentration of Art Deco architecture. In 1976 she helped found Miami Design Preservation League (MDPL) and led a highly criticized fight to save Miami Beachs Art Deco architectural buildings.   Miami Design Preservation League finally won its landmark battle on May 14, 1979, and the Art Deco District was added to the National Register of Historic Places.   It was the first time a 20th century district was recognized as Historic by the U.S. government. This act brought federal tax relief to the depressed area, and South Beach began to show signs of economic and cultural growth.   One by one, the abandoned buildings were restored into vibrantly colored Art Deco works of art which almost immediately became backdrops for International fashion catalogues, films and television shows; and suddenly models, celebrities, and photographers began to flock to the new pastel playground. Art Deco is the heart and soul of South Beach, and Miami Design Preservation League carries forth its spirit, says Miami Beach Mayor Matti Herrera Bower. Our communitys success story is a tribute to MDPLs championing our historic district. Preserving the communitys architecture, character and integrity led the way to the  economic and cultural revival we all benefit from today. The League was the worlds first Art Deco Society and Capitmans efforts led to the formation of Art Deco preservation groups throughout the United States, Europe, Latin America, Australia and New Zealand. Barbara also hosted a radio show and authored the books Art Deco Trademarks, Rediscovering Art Deco U.S.A. and   Deco Delights Preserving Miami Beach Architecture. Barabara Capitman died twenty years ago in March 1990 but her indelible mark on South Beach history will never be forgotten.   WE are proud to name Barbara Baer Capitman our 2010 Womens History Honoree and have asked early preservationist to come and share a few memories about her and the preservation of the Art Deco District. Perhaps the next time you walk down Ocean Drive you will think of Barbara.   WE invite you to visit the new Miami Design Preservation Leagues ART DECO WELCOME CENTER located on Ocean Drive at the corner of Barbara Capitman Way (10th St) and we hope it inspires you to join in the Preservation Movement that continues in South Beach and surrounding communities.   Click the link below if you would like to make a $50 Donation to MDPL help preserve the memory of the woman who led the fight to preserve our community.   Your donation will include a 1 Year Membership to MDPL and a contribution to The Barbara Capitman archives. August 1976 The Miami Design Preservation League (MDPL) was formed through the efforts of Barbara Baer Capitman and her son John Capitman. The initial impetus was to find a project to honor the United States bicentennial; the Capitmans worked with designers Leonard Horowitz and Lillian Barber to identify a concentration of 1930s buildings in South Miami Beach that the group felt could be a historic district of 20th century architecture. December 1976 MDPL held its first large-scale public meeting, dubbed the Design Forum. May 6, 1977 MDPL was incorporated by the State of Florida. Officers were: Barbara Baer Captiman, President; David Gell, Secretary; Jerry Peters, Treasurer; and Howard M. Neu, Vice President. September 1977 Art Deco Number of Night and Day magazine highlights the goals and accomplishments of MDPL. October 13-19, 1978 Art Deco Week organized by MDPL. The festival was held at and around the Cardozo Hotel on Ocean Drive. Barbara Capitman created the event as a showcase for the Art Deco section of Miami Beach hoping to attract both locals and tourists to the area which was comprised of an elderly population living on fixed income, many living at the poverty level. December 12, 1978 By-laws of MDPL were amended and submitted to State of Florida. Barbara Baer Capitman, David J. Gell and Carl Weinhardt, Jr. were authorized to execute the Articles as subscribers and Andres Fabergas and Michael Kinerk, president and secretary, respectively, were authorized to execute the declaration. Chairperson, Barbara Baer Capitman; President, Andres Fabregas; Vice President, Leonard Horowitz; Secretary, Michael D. Kinerk; Treasurer, Jose Madrazo; Board members besides officers: Jerald Goodman, Claire Major, Joy Moos, Karolyn Robinson, Sol Schreiber, Landon Thorne III, Carl J Weinhardt, Jr., Mitchell Wolfson, Jr. May 14, 1979 The Miami Beach Architectural Historic District (popularly known as the Art Deco District and Old Miami Beach) was listed on the National Register of Historic Places. It was the nations first 20th century Historic District. July 1979 Portfolio of the Art Deco Historic District was published by MDPL with funding from the National Endowment for the Arts (NEA.) Barbara Capitman, editor; Diane Camber, Assistant Editor; Bill Bucolo, Managing Editor; photographic essay by David Kaminsky; articles by Carl J. Weinhardt, Jr., Karalyn Robinson, Barbara Capitman and Andrew Capitman. September 1979 The Art Deco District: Time Present Time Past, a magazine with articles on various aspects of Art Deco, was published by MDPL. March, 1980 Andy Warhol, world-famous artist and one of the pioneering Art Deco collectors, called the MDPL office in March 1980 and asked if someone would show him the Art Deco buildings in Miami Beach. An appointment was made, Warhol arrived from New York and he was given a top to bottom tour led by MDPL founder, Barbara Baer Capitman and Diana Camber the Executive Director of MDPL, now Director of the Bass Museum of Art. This event was widely covered by the news media and gave our new historic district a stamp of approval from an art-world celebrity. April 1980 The Boulevard Hotel, at 775 Dade Boulevard, was demolished. January 1981 The Anderson-Notter-Finegold plan for the Miami Beach Architectural Historic District was completed (the plan was never adopted). January 7, 1981 The New Yorker Hotel (Henry Hohauser, 1939), at 1611 Collins Avenue, was demolished. Despite sustained protests from preservationists, the hotel was destroyed by owners Abe Resnik, Dov Dunaesvsky, and Isaac Fryd. The hotel, which many consider to be Hohausers most successful design, awakened the community to the need to enact local legislation to protect properties listed on the National Register. The hotels faà §ade was later used in the new logo of the Miami Design Preservation League; the New Yorkers lot stood vacant for many years and is now occupied by the northern-most portion of the Loews convention center hotel. February 1981 Adoption of the first Dade County Historic Preservation Ordinance, which required municipalities to adopt Historic Preservation Ordinances by July 1982. February 4, 1981 City Commission adopted Resolution No. 81-16551 requesting exemption from County Historic Preservation ordinances. 1981 MDPL founders Barbara Baer Capitman and Leonard Horowitz took a cross-country trip to discover Art Deco architecture in major U.S. cities. The trip spurred the development of Art Deco societies in many of the cities, and Capitman began to be referred to as the Johnny Appleseed of Art Deco. 1981-1982 MDPL worked to protect historic buildings by encouraging local historic designation on the National Register District. April 2, 1982 First meeting of Mayors Ad Hoc Committee to draft and review a Historic Preservation Ordinance for Miami Beach. June, 1982 Miami Beach Art Deco District: Time Future was published by Community Action and Research under the auspices of MDPL. The booklet, edited by Paul A. Rothman and Barbara Capitman with graphic design by Woody Vondracek, summarized the Anderson Notter Finegold plan for the Art Deco Historic District and lobbied for its adoption by the City of Miami Beach. June 16, 1982 The first Miami Beach Historic Preservation Ordinance, No. 82-2318, was adopted; it contained 100 percent owner consent provision. September 23, 1982 The Dade County Historic Preservation Board found the Miami Beach Ordinance not in compliance with county requirements. October 20, 1982 The City Commission appointed the first Historic Preservation Board. January 31, 1983 The U.S. Department of the Interior found the Miami Beach Ordinance to be in compliance with National Register standards for local governments. April 20, 1983 Ordinance No. 83-2367 amended Historic Preservation Ordinance No. 82-2318, changing owner consent from 100 percent to 51 percent required for designation. May 4-7, 1983 The Art Deco District came to the attention of the art world as a result of Surrounded Islands, an installation by artists Christo and Jeanne-Claude in which a series of 11 islands in Biscayne Bay were wrapped in pink fabric. During the installation, the artists established their headquarters in the Art Deco District. August 15, 1983 Dade County and others filed a lawsuit to invalidate the Miami Beach Historic Preservation Ordinance. October 5, 1983 The City Commission adopted Ordinance No. 83-2388 designating the Old City Hall building as the citys first Historic Preservation Site. February 1, 1984 The City Commission adopted Ordinance No. 84-2402 designating the 21st Street Community Center a Historic Preservation Site. April 4, 1984 The City Commission adopted Ordinance No. 84-2405 creating a Design Review Board. 1984-1989 The Art Deco District achieved worldwide recognition as a result of the hit television show Miami Vice, starring Don Johnson and Philip Michael Thomas. The show used the Art Deco District as a backdrop in many of the episodes. February 6, 1985 The City Commission adopted the Ocean Drive plan containing recommendations for local Historic District designation. March 20, 1985 The City Commission adopted Ordinance No. 85-2470 eliminating the owner consent provision from Historic Preservation ordinances. October 16, 1985 The City Commission adopted the Espanola Way plan containing a recommendation for local Historic District designation. 1985 Renowned fashion photographer Bruce Weber chose Miami Beachs Breakwater Hotel for a photo shoot for an ad for Calvin Kleins Obsession, spurring an onslaught of fashion photography shoots in the Art Deco District. July 23, 1986 The City Commission adopted Ordinance No. 86-2511 designating the Espanola Way District and the Ocean Drive/Collins Avenue District as Miami Beachs first Historic Preservation districts. These ordinances were adopted after significant grassroots efforts by MDPL. 1986 Our Driveà ¢Ã¢â€š ¬Ã‚ ¦Ocean Drive was a joint campaign by MDPL and its sister organization, the Miami Beach Development Corporation (MBDC), now renamed the Miami Beach Community Development Corporation (MBCDC). As a result, a $3 million bond package was approved to fund the widening of the sidewalk on the west side of Ocean Drive, allowing hotels to establish sidewalk cafes. On the east side of the street, a wide promenade was created along the wall separating Lummus Park from the beach. 1986-1988 MDPL campaigned for local designation of the entire National Register District and revisions to the zoning codes to make them more compatible with historic preservation. MDPL started the SOS (Save Our Senator) campaign to prevent demolition of the Senator Hotel. Although the hotel was demolished (see May 3, 1988), MDPLs efforts delayed demolition for more than a year. The public outcry that MDPL created resulted in the City Commission passing a strengthened local preservation ordinance that could prevent demolition. 1987 The Biscaya Hotel (1925), at 650 West Avenue, was demolished. MDPL mounted an unsuccessful campaign to save the hotel, originally the Floridian Hotel and the last remaining example of the grand bayside hotels. May 6, 1987 The City Commission adopted Ordinance No. 87-2665 designating Altos del Mar a Historic Preservation District. January 1988 The Poinciana Hotel (Albert Anis, 1939), at 1555 Collins Avenue, was demolished. February 3, 1988 The City Commission adopted Ordinance No. 88-2598, strengthening the demolition section of the Historic Preservation Ordinance. May 1988 Miami Beach Art Deco Guide was published by MDPL. The guidebook, written by Keith Root with editorial assistance by Dr. Ernest Martin and Michael Kinerk, contained six self-guided walking tours of the Art Deco District. May 3, 1988 The Senator Hotel (L. Murray Dixon, 1939), at 1201 Collins Avenue, was demolished. June 1988 Deco Delights: Preserving the Beauty and Joy of Miami Beach Architecture, written by MDPL founder Barbara Baer Capitman, was published by E.P. Dutton. June 1, 1988 The City Commission adopted Ordinance No. 88-2616 placing the Architectural District under Design Review jurisdiction. April 5, 1989 The City Commission adopted Ordinance No. 89-2637 designating the Venetian Causeway (1926) a Historic Preservation Site. September 7 21, 1989 The City Commission nominated the Flamingo and Museum neighborhoods for Historic Preservation Districts designation. The Museum area was nominated as a local historic district or collection of historic sites depending on the findings of the Historic Preservation Board. March 30, 1990 Barbara Baer Captiman dies of congestive heart failure. An advocacy program attempts to influence public policy and public actions in a direction consistent with a groups mission. MDPLs advocacy program is guided by its advocates aim to act consistently with MDPLs mission statement: Miami Design Preservation League (MDPL) is a non-profit organization devoted to preserving, protecting, and promoting the cultural, social, economic, environmental and architectural integrity of the Miami Beach Architectural Historic District and all other areas of the City of Miami Beach where historic preservation is a concern. The MDPL Advocacy Committee suggests these priorities for MDPL advocacy activities: Preserve and protect the historical and architectural integrity of the Miami Beach Architectural District, both of its individual buildings and of the district as a whole; Support the historic preservation process put in place by the City of Miami Beach and the Citys enforcement of the outcomes of that process in any area where historic preservation is a concern. Propose and support changes in the Citys historic preservation process and land use policies when necessary to carry out and fulfill the mission statement; Propose and support changes in Florida and national policy when necessary to carry out and fulfill the mission statement; Preserve and protect historical, architectural, and environmental resources in other areas of Miami Beach, especially when designated as local historic districts by the City of Miami Beach, but including any area where historic preservation is a concern. Act to support residents and property owners, in current and potential historic districts, when citizens act to preserve, protect and promote the historic, architectural, cultural, social, economic, and environmental integrity of any area where historic preservation is a concern. Miami Beachs building boom came during the second phase of Art Deco known as Streamline Moderne, which began with the stock market crash and ended in most cases with the outbreak of World War II. It was less decorative-a more sober reflection of the Great Depression. It relied more on machine-inspired forms, and American ideas in industrial design. It was buttressed by the belief that times would get better and was infused with the optimistic futurism extolled at Americas Worlds Fairs of the 1930s. Stripped Classic or Depression Moderne was a sub-style often used for governmental buildings, the U.S. Post Office being the best example in Miami Beach. Miami Beach architects used local imagery to create what we now call Tropical Deco. These buildings feature relief ornamentation featuring whimsical flora, fauna and ocean-liner motifs to reinforce the image of Miami Beach as a seaside resort. Art Deco What to look for Over-all symmetry, ziggurat (stepped) rooflines, glass block, decorative sculptural panels, eyebrows, round porthole windows, terrazzo floors, curved edges and corners, elements in groups of three, neon lighting (used in both exteriors as well as interior spaces). However, there really are three predominate architectural styles found in the Art Deco District: When our tour guide revealed yesterday that the person most responsible for saving Miami Beach Art Deco buildings from the wrecking ball of capitalist progress was a Communist Jew from New York, my first reaction was surprise and delight. But after a moment it sunk in that this was just what I might have suspected. When it comes to looking after the long-term interests of society, whether it is cultural heritage or climate change, you have to rise above the profit motive and who better to assume this role than the Red. In 1948 the 28 year old Barbara Capitman met her future husband Will at a May Day party sponsored by the Young Communist League in N.Y. She was the only child of a sweater-importing father and a mother who was a sculptor and painter. When Will graduated from NYU law school in 1951, he was blocked from passing the bar because of his YCL past. So instead he made a living teaching business and marketing at Harvard and Yale. In 1973 he got a tenure track position at the Florida International University business school and the two moved to Coconut Grove, Miamis version of Greenwich Village. Two years later he died from pancreatic cancer and Barbara was on her own. After moving to Miami Beach, Barbara ran into Leonard Horowitz, a doorman at a luxury condo who was gay and an aspiring artist/designer. They became close friends after meeting and soon discovered a shared commitment to the preservation of Art Deco buildings. The two formed a committee to save the old buildings now falling into disrepair that relied heavily on donations from gay people and senior citizens. Within 3 years, they managed to have over half of South Beachs Art Deco hotels covered by landmark preservation laws. Leonard Horowitz died of AIDS in 1988. The hotel we are staying at is between 10th and 11th streets on Ocean Drive and 11th street has been renamed Leonard Horowitz Drive. Barbara Capitman died two years later. The NY Times obit noted: In 1976 she helped to found the Miami Design Preservation League, which in 1979 won Federal historic designation for the South Beach district of Miami Beach. Her outspoken, unorthodox manner later led to her ouster from the group. She would push and agitate and cause trouble until people wouldnt speak to her, said Michael Kinerk, chairman of the Art Deco Weekend festival. She was interested in results, not social sensitivities. I would say that no social change takes place without people who are outspoken and unorthodox. The fact that she was interested in results rather than social sensitivities should not be lost on those leftists who are reluctant to take on the status quo. In the April 27 1982 Village Voice, Alexander Cockburn hailed Capitman as a true heroine. He quoted her on the Art Deco district: At night when the full moon is overhead, the residential streets of the Art Deco district take on that stagey, solemn simplicity of another era. Moonlight and neon articulate the stripes and circles of the small apartments on Euclid or Jefferson and the swaying palms cast shadows on the curving walls. This is the night world that Thomas Wolfe wrote of in the 1930s-the decade of our districts revival-nights filled with the far-hooting of trains, the nearer sounding of great vessels moving into port, the mysterious rustling of treesà ¢Ã¢â€š ¬Ã‚ ¦ Cockburn noted that Capitman was not able to defend all of Miami Beach from the assault of real estate developers. The South Beach area remains unsullied but the middle and northern parts of the island have succumbed to the forces Cockburn describes as follows: The forces of darkness gathered their nerve, and finally, in 1981 tore off their whiskers and pounced. Anyone who wants to see what might happen to the Deco Square Mile need only glance north of 23rd Street, where architectural barbarism is on the rampage and the condomaniac, behemothic tide marches down via the Fountainbleau and other signposts of Babylon. Cockburn concludes his article by saying that if the real estate developers had their way, the northern sector of South Beach would succumb and the result would be equivalent to the permanent submersion of substantial portions of Venice. Ironically, Art Deco was an attempt to apply the aesthetic of Russian Constructivism and Italian Futurism to architecture. These art movements were in themselves attempts to approximate the forms of machinery to fine art in the spirit of a modernization stripped of nostalgia for the past. The products of that age now are threatened by the relentless march of capitalist modernization which will result in the leveling of all that is beautiful and its replacement by shopping malls and Walmarts. It is to the credit of people like Barbara Capitman, someone who presumably would have read the Communist Manifesto at some point in her life and who would have absorbed Marxs breathless evocation of the bourgeoisies most revolutionary role, to draw a line in the sand and tell this bourgeoisie to get fucked. Anyone who knew the late Barbara Capitman was bowled over by her undying devotion to Art Deco Miami Beach. A founder of the Miami Design Preservation League, Capitman led the battle to have a large swatch of the Beach listed as an historic district in the National Register of Historic Places the first such district made up of 20th-century buildings. This book is her memorial. Tropical Deco: the Architecture and Design of Old Miami Beach, by Laura Cerwinske, David Kaminsky (Photographer). (Rizzoli, 1982.) Barbara Baer Capitman, born in 1920, founded the Miami Design Preservation League (MDPL) which started the Miami Beach Art Deco preservation movement. She led in the formation of the Miami Beach Architectural Historic District, the nations only Art Deco district to be listed in the National Register of Historic Places. Her efforts to protect Art Deco architecture led to the founding of Art Deco societies in San Francisco, Chicago, Washington, D.C., Boston and New York. Capitman was also the founder of the World Congress on Art Deco. She was the author of three books: American Trademarks, Deco Delights and Rediscovering Art Deco U.S.A. In 1993 The Miami Herald named her one of the 100 most important people in the history of South Florida. Barbara Baer Capitman died in 1990. Her Great Floridian plaque is located at the Cardozo Hotel, 1300 Ocean Drive, Miami Beach. http://www.flheritage.com/services/sites/floridians/?section=m

Study And Overview Of The Scientific Calculator Computer Science Essay

Study And Overview Of The Scientific Calculator Computer Science Essay The first scientific calculator that included all of the basic features above was the programmable Hewlett-Packed HP-9100A released in 1968, though the Wang LOCI-2 and the Mechatronics Mathatron had some features later identified with scientific calculator designs. The HP-9100 series was built entirely from discrete transistor logic with no integrated circuits, and was one of the first uses of the CORDIC algorithm for trigonometric computation in a personal computing device, as well as the first calculator based on reverse Polish notation entry. HP became closely identified with RPN calculators from then on, and even today some of their high-end calculators (particularly the long-lived HP-12C financial calculator and the HP-48 series of graphing calculators) still offer RPN as their default input mode due to having garnered a very large following. The HP-35 introduced on February 1, 1972, was Hewlett-Packards first pocket calculator and the worlds first handheld scientific calculator. Like some of HPs desktop calculators it used reverse Polish notation Introduced at US$395, the HP-35 was available from 1972 to 1975. HP continues to develop and market high-end scientific calculators, like the HP-35s and HP-49 series, which have been favored by scientists and engineers, in labs, offices, as well as in the field. INTRODUCTION The calculator was written by Rolf Hawarth in early 1996. A scientific calculator is a type of electronic calculator, usually but not always handheld, designed to calculate problems in science (especially physics), engineering, and mathematics. They have almost completely replaced slide rules in almost all traditional applications, and are widely used in both education and professional settings. A fully featured scientific calculator with proper operator precedence is implemented, including trig functions and logarithms, factorials, 12 levels of parentheses, logs to base 2 (a handy function for information entropists!), bitwise logical operator, hex, octal, binary and ASCII display. The calculator is written in Java Script and you are welcome to view the JavaScript source (visible within the HTML page) for personal educational purposes as long as you recognize that it is copyrighted and not in the public domain. This calculator is now available as part of Humming birds Enterprise Information Portal. All enquiries regarding licensing the calculator should be directed to Hummingbird Ltd. Basic Functions Modern scientific calculators generally have many more features than a standard four or five-function calculator, and the feature set differs between manufacturers and models; however, the defining features of a scientific calculator include: Scientific notation Floating point arithmetic logarithmic functions, using both base 10 and base e trigonometric functions (some including hyperbolic trigonometry exponential functions and roots beyond the square root quick access to constants such as pi and e In addition, high-end scientific calculators will include: hexadecimal ,binary, and octal calculations, including basic Boolean math complex numbers fractions statistics and probability calculations equation solving calculus conversion of units physical constants While most scientific models have traditionally used a single-line display similar to traditional pocket calculators, many of them have at the very least many digits (10 to 12), sometimes with extra digits for the floating point exponent. A few have multi-line displays, with some recent models from Hewlett-Packed, Texas Instruments, Casio, Sharp, and Canon using dot matrix displays similar to those found on graphical calculators. Addition The addition (sum function) is used by clicking on the + button or using the keyboard. The function results in a+b. Subtraction The subtraction (minus function) is used by clicking on the - button or using the keyboard. The function results in a-b. Multiplication The multiplication (times function) is used by clicking on the x button or using the keyboard * key. The function results in a*b. Division The division (divide function) is used by clicking on the / button or using the keyboard / key. The function results in a/b. Sign The sign key (negative key) is used by clicking on the (-) button. The function results in -1*x. Square The square function is used by clicking on the x^2 button or type ^2. The function results in x*x. Square Root The square root function is used by clicking on the x button or type sqrt(). This function represents x^.5 where the result squared is equal to x. Raise to the Power The raise to the power (y raised to the x function) is used by clicking on the y^x button or type ^. Natural Exponential The natural exponential (e raised to the x) is used by clicking on the e^x button or type exp(). The result is e (2.71828) raised to x. Logarithm The logarithm (LOG) is used by clicking on the LOG button or type LOG(). Natural Logarithm The Natural logarithm (LN) is used by clicking on the LN button or type LN(). Inverse Multiplicative inverse (reciprocal function) is used by pressing the 1/x button or typing inv(). This function is the same as x^-1 or dividing 1 by the number. Exponent Numbers with exponents of 10 are displayed with an e, for example 4.5e+100 or 4.5e-100. This function represents 10^x. Numbers are automatically displayed in the format when the number is too large or too small for the display. To enter a number in this format use the exponent key EEX. To do this enter the mantissa (the non exponent part) then press EEX or type e and then enter the exponent. Factorial The Factorial function is used by clicking the ! button or type !. PI PI is a mathematical constant of the ratio of a circles circumference to its diameter. Permutation The permutation function is used by clicking the nPr button. Combination The combination function is used by clicking the nCr button. Cube The cube function is used by clicking the x3 .The function results in x*x*x. Cube root The cube root function is used by clicking 3|x . Trig function Various trig functions are involved as:- Sine, cosine, tangent etc. Inverse trig functions Various inverse trig functions are also involved as:- sin`x,cos`x,tan`x etc. PROPOSED SYSTEM The following documentation is a project the Name of the term paper allotted. It is a detailed summary of all the drawbacks of the old system and how the new proposed system overcomes these shortcomings. The new system takes into account the various factors while designing a new system. It keeps into the account the Economical bandwidth available for the new system. The foremost thing that is taken care of is the Need and Requirements of the User. DESCRIPTION Before developing software we keep following things in mind that we can develop powerful and quality software PROBLEM STATEMENT Problem statement was to design a module: Which is user friendly Which will restrict the user from accessing other users data? Which will help user in viewing his data and privileges? Which will help the administrator to handle all the changes? FUNCTIONS TO BE PROVIDED: The system will be user friendly and completely menu driven so that the users shall have no problem in using all options. The system will be efficient and fast in response. The system will be customized according to needs. View Add Delete Modify SYSTEM REQUIRMENTS Operating system: MS Windows XP or Windows Vista Language: C Language Processor: Pentium IV Processor RAM: 512 MB Hard disk: 5 GB Flowchart Welcome to main menu of Scientific Calculator Enter Your Choice? On calculator Do your any task Do you want to continue? START Trignometery(sin,cos) Inverse (1/x) STOP Switch off calculator Yes No Uses Scientific calculators are used widely in any situation where quick access to certain mathematical functions is needed, especially those such as trigonometric functions that were once traditionally looked up in tables; they are also used in situations requiring back-of-the-envelope calculations of very large numbers, as in some aspects of astronomy, physics, and chemistry. They are very often required for math classes from the junior high school level through college, and are generally either permitted or required on many standardized tests covering math and science subjects; as a result, many are sold into educational markets to cover this demand, and some high-end models include features making it easier to translate the problem on a textbook page into calculator input, from allowing explicit operator precedence using parentheses to providing a method for the user to enter an entire problem in as it is written on the page using simple formatting tools. APPLICATIONS In most countries, students use calculators for schoolwork. There was some initial resistance to the idea out of fear that basic arithmetic skills would suffer. There remains disagreement about the importance of the ability to perform calculations in the head, with some curricula restricting calculator use until a certain level of proficiency has been obtained, while others concentrate more on teaching estimation techniques and problem-solving. Research suggests that inadequate guidance in the use of calculating tools can restrict the kind of mathematical thinking that students engage in. Others have argued that calculator use can even cause core mathematical skills to atrophy, or that such use can prevent understanding of advanced algebraic concepts. There are other concerns for example, that a people could use the calculator in the wrong fashion but believe the answer because that was the result given. Teachers try to combat this by encouraging the student to make an estimate of the result manually and ensuring it roughly agrees with the calculated result. Also, it is possible for a child to type in à ¢Ã‹â€ Ã¢â‚¬â„¢1  ÃƒÆ'-  Ãƒ ¢Ã‹â€ Ã¢â‚¬â„¢1 and obtains the correct answer 1 without realizing the principle involved. In this sense, the calculator becomes a crutch rather than a learning tool, and it can slow down students in exam conditions as they check even the most trivial result on a calculator. FUTURE SCOPE OF THE PROJECT Our project will be able to implement in future after making some changes and modifications as we make our project at a very low level. So the modifications that can be done in our project are: To make it screen touch so no need to touch key buttons and one more change which can we made is to add snaps of the person who use it.

DBQ 1820s 1830s Essay -- essays research papers

For quite some time Americans have been led to believe that during the 1820s and 30s, Jacksonian Democrats were the guardians of the people, and worked to improve the nation for the people. The truth remains, however, that during this period, President Jackson vetoed a bill to recharter the Bank of the United States of America, infringed on the rights of Native Americans, used â€Å"brute† force to bring Southerners under submission during the Tariff of 1832. He enacted the Spoils System which did not guarantee the best leadership, and was morally corrupt. Although the nation’s economy and political democracy flourished during the reign of President Jackson, constitutional rights, equal opportunity and individual liberties were discouraged. In her 1834 visit to America, british author Harriet Martineau wrote of the nation’s economy being strong and properous. The absence of poverty and ignorance and independence of every man are some of the observations she recorded (D). The national economy did in fact boom during the 1820s and early 30s. With Samuel Slater’s introduction of the â€Å"Factory System† to America, and Eli Whitney’s Cotton Gin, the United States’ speed in manufacturing textiles increased rapidly. In 1837, however, America experienced a tremendous financial depression. Bad land speculation, and the fall of the Federal Bank (due to Jackson’s failure to recharter the Bank in 1832) were the two main factors that caused the financial crisis. ...

Leibnizs Distinction Between Natural and Artificial Machines :: Philosophy Philosophical Essays

Leibniz's Distinction Between Natural and Artificial Machines ABSTRACT: I maintain that Leibniz's distinction between 'organic machines of nature' and the artificial machine that we produce cannot be adequately understood simply in terms of differing orders of structural complexity. It is not simply that natural machines, having been made by God, are infinitely more complex than the products of our own artifice. Instead, Leibniz's distinction is a thoroughly metaphysical one, having its root in his belief that every natural machine is a corporeal substance, the unity and identity conditions of which derive ultimately from its substantial form. Natural machines are thus true unities, while artificial machines are mere aggregates of substances and are therefore only accidental unities. I briefly explore this connection between Leibniz's distinction between natural and artificial machines and his views about individuality. I conclude on a polemical note, in which it is suggested that these results undermine the currently popular view that Leibniz renounced corporeal substances toward the end of his life. Introduction Leibniz often distinguishes between organic machines of nature and the machines that we construct. This distinction might not seem to have been an original contribution on his part. Similar distinctions were drawn by many early modern philosophers, particularly Cartesians, who contrasted our machines with the much more complex (yet mechanical) products of the divine artifice. Leibniz's distinction was not this simple. For him, the difference between our machines and organic machines of nature was not simply a difference in degree: it was not simply a matter of God's machines being more structurally complex than the mechanisms that we produce. More generally, Leibniz's distinction between organic (i.e., natural) and human-made (i.e., artificial) machines cannot be understood as long as we confine our gaze to the realm of mechanical phenomena that are described by physics, for it is a deeper metaphysical distinction rooted in his views about substances. Leibniz does occasionally draw the distinction in terms of structural complexity, claiming that natural machines, since they were built by God, are infinitely more complex than the machines that we make. This might appear to undermine my claim that Leibniz's distinction cannot (unlike similar distinctions drawn by his contemporaries) be understood simply in terms of varying degrees of structural complexity. However, I shall contend that his formulation of the distinction in terms of structural complexity presupposes a more basic difference between natural and artificial machines, a difference that can only be adequately characterized within his metaphysics.

Grease v. The Breakfast Club: Finding Yourself Essay

The films â€Å"Grease† and â€Å"The Breakfast Club† feature the same strong theme: finding your identity. This theme is universal through many books, movies and even real life. The fact that these two films were filmed so far apart, â€Å"Grease† being filmed in 1959 and directed by Randal Kleiser and â€Å"The Breakfast Club† in 1985 directed by John Hughes, shows that this is a strong theme that sticks throughout the industry. These films have many characters that can be compared to one another. The main characters are Claire Standish (played by Molly Ringwald) and Sandy Olsson (played by Olivia Newton-John) and John Bender (played by Judd Nelson) and Danny Zuko (played by John Travolta). The girls are your typical high school â€Å"girlie-girls† and the guys are your typical high school â€Å"macho men†. There is also a couple of less important characters in the films that can be compared such as Andy Clark (played by Emilio Estevez) and Kenickie (played by Jeff Conaway). They’re the kids who think they’re the big man on campus and better than everyone else. The first obvious comparison is the leading ladies of the film. Sandy Olsson was a sweet, quiet girl when she first arrived at Ridell High. She felt pretty sure of herself entering the school, but when she joined a new group of friends and realized Danny Zuko’s real personality, she realized that she was not really the type of person that she wanted to be. With the help of her new friends, Sandy changed herself completely. On this path of discovery she was totally transformed in her looks and personality. She went from shy and unnoticed to sexy and confident. After the transformation, there was an occurrence that made her realize that she was just fine the way she was and didn’t need to change for anyone. In that time, she lost her true self trying to be something she wasn’t and then discovered at the end that she was always who she really wanted to be and no one could change her. Clair was a stuck up, pretty, popular girl at her school. No one took her seriously. Stereotypical â€Å"pretty† girls are usually ditzy. That is just what people assumed of Claire. After she got stuck in detention with an unusual group of kids, kids she would normally have never interacted with, she slowly began to come out of her shell. Being in that new group of people was a way for her to let her true self out without worrying about people judging her. As the group of detention goers got closer and got to know each other better, it became apparent that Claire was not just a stupid, mean, pretty girl with lots of money. She was nice and smart. Her day in detention brought out her true identity, and let her along with everyone else discover who she really was. The next comparison is between Danny and John. Danny Zuko was the leader of the T-Birds, the schools big gang of popular guys. He was the heartthrob of the school and his name was coming out of people’s mouths left and right. The word around the street was that Danny Zuko was a tough, badass guy and he didn’t care about anything besides himself, his T-Birds, and looking cool. It was a little hard to disprove this though because that is exactly how Danny acted in front of everyone. He was the epitome of a macho man. The only time that he was his true self was during a summer before school when he fell in love with Sandy. He let his soft side show with her, but as soon as school started again, he was back to his old ways. This caused him to lose Sandy, and this in turn cause his realization that he was his true self with her and he wanted to be that again to make her happy. By the end of the movie, Danny has transformed himself into the nice sweet jock that he thought Sandy would love, only to realize that Sandy had transformed herself for him also, and they both discovered that they liked themselves and each other just the way they were. A similar character to Danny would be John Bender. He was his school’s typical macho man who wouldn’t take anything from anyone or let anyone tell him what to do or how to behave. That is how he landed in detention. At the beginning of the film, he kept up greatly with his badass rep. But throughout the film, the kids in detention became closer and they all got to know one another. The true side of John Bender that came out was that his life at home was pretty tough and that caused him to have a rough exterior. The kids in detention as well as the audience saw past that though as the film progressed. The was a part of the film where all the kids were about to get caught leaving detention and John sacrificed his own self to save the rest from getting in trouble again. This showed that he was compassionate and not so self-centered afterall. After breaking down his rough outer shell, the kids in detention saw who John Bender really was, and why he acted the way he did. Som e of that was understandable and they all became friends. John let his true identity shine to everyone. As far as theme goes, the theme of both â€Å"Grease† and â€Å"The Breakfast Club† were pretty generic. The way they were showed though made them more interesting than other films. Showing the journey of discovering your identity through multiple characters gives the film viewers more to relate to and helps people to enjoy the movie more. Whether you’re the badass, the jock, the popular girl, the geek, the psycho, or the shy girl, you can relate to one of these films. Finding your identity is something that every person has to go through in their lives. That makes the theme universal. These two films correlate well with each other to show that you will always find yourself, it may be harder or easier for different people, but in the end you will be able to find your true identity and be happy with the person you are, and be accepted by others.

Animals Are Better in Zoos

Imagine a powerful tiger drooling through the savanna lands trying to sneak up and attack it’s unsuspecting pray. Tigers are known to be ruthless kings of the wild, but have you ever asked yourself if tigers are better off in captivity or if they are better off in the wild? In other words keeping tigers in zoos is a form of animal cruelty. Animal cruelty can be defined as physical abuse, mental abuse and the quality or condition of being cruel. Over the years many controversial issues have emerged, â€Å"In the wild, tigers live for approximately 14 to 18 years, while in captivity they can live over 19 years†(Satchell).Yes it might be true but tigers in zoos are affected by extreme boredom, lack of appropriate exercise and poor quality of food. In zoos, not only are tigers fed processes meat, â€Å"often still frozen† that is loaded with many preservatives. This is done according to zoos, because its both easy to store and easy to feed. This procedure not only do es it hurt the tigers digestive system but also lacks nutrition and its effectiveness. In zoos tigers are treated like prisoners locked up in cages that only measure in square feet.For example, tigers in the wild typically spend ten hours of the day hunting and â€Å"†¦ monitoring their territory†(San Diego Zoo). However they are unable to perform these activities in zoos and are forced to replace there typical physical activity by pacing through their cages in order to release their energy. As Mckenna from BBC news would say, â€Å"Zoos send the message that it’s acceptable to maintain wild animals in captivity, and this contributes to animal cruelty at roadside zoos and circuses†¦Ã¢â‚¬ (Satchell)Those who support animal rights believe and understand that the harm caused by zoos outweighs the benefits that the facilities may provide. For example, tigers in zoos are anesthetized annually, their teeth are checked, blood is drawn from them and x-rays are take n. â€Å"This procedure may sound like a good practice†¦Ã¢â‚¬ (PETA), but anesthesia is really bad on â€Å"exotic cats†. In zoos â€Å" the big attraction is baby tigers so tigers are bred to death†¦Ã¢â‚¬ (PETA) but if the tiger is not allowed to breed then they put them on birth controls that cause cancer over the years.According to PETA zoo babies are great but what happens when babies grow up? According to PETA, zoos often sell or put tigers to sleep who no longer attract visitors, and those who are sold become laboratories for experiments. Ultimately animals and visitors are the ones who pay the price when we have zoos. One perfect example, is Tatiana the Siberian tiger who escaped her substandard enclosure at the San Francisco Zoo in 2007 and was shot to death after she killed one person and injured two others.A PETA investigation of numerous zoos across the country also revealed that tigers in zoos â€Å"Spend much of their time pacing walking in tight c ircle swaying or rolling their heads and showing other sighs of psychological distress†(PETA) Yes tigers and animals suffer more than neglect and stress in zoos. Yes protecting species from extinction sounds good but zoos officials usually favor exotic or popular animals like tigers and lions who draw more crowds and neglect less popular species.In other word zoos claim to educate people and preserve species but they frequently falls short. In reality there is no evidence that zoos are the most effective place for animals such as tiger to be in and yes all zoos can be compared to all. So next time you see a tiger locked up in a zoo think of animal cruelty because you would not like to be locked up in a prison. In other words zoos teach people that it is acceptable to keep animals in captivity, bored, cramped, lonely and far from their natural homes.