Comparing the Innocent Criminal in Black Boy, Uncle Toms Children, Nat

The Innocent Criminal in Black Boy, Uncle Tom's Children, Native Son, and The Outsider   â It is likely a minor mishap that I never slaughtered, Richard Wright remarked casually in a meeting with Robert Moss (596).â After perusing a few of Wright's works, one can without much of a stretch comprehend what Wright implies by this statement.â In his books Black Boy, Uncle Tom's Children, Native Son, and The Outsider, Wright proposes that white society has changed individuals of color into criminals.â The wellspring of this case originates from Wright's own encounters as a Negro in the Deep South.â Whether pushed to wrongdoing from need or for individual satisfaction and self-acknowledgment, the heroes of Wright's works are blameless hoodlums; they realize that a definitive wrongdoing for which they are being rebuffed is the wrongdoing of being black.â Circumstances made by a bigot social request place the characters in unfortunate places that pressure them into wretched exercises.   â â â â â â In his personal novel, Black Boy, Wright underpins this hypothesis utilizing himself as an example.â In the custom of the slave collection of memoirs, Black Boy gives subtleties of Wright's life from youth to his appearance in Chicago.â As Joyce Ann Joyce says, Black Boy:   â â ...is a practical and idyllic record of the craving Wright suffered as a kid, hisâ â â â closeness to his mom, the impact of his mom's sickness, his issues with his dad, his dad's abandonment, the brutality he encountered from his mom's family members, his adoration for words and books, his revelation of bigotry and his creating racial cognizance, his battle against his mom's and grandma's religion, his sparse instruction, ... what's more, the advancement of his independence... ...chard Wright.â New York: Harcourt, 1969.â Rpt. in  â â â â â â â â â â Richard Wright's Native Son: Modern Critical Interpretations.â New York: Chelsea House, 1988. Greenery, Robert F.â Confined Misery.â Saturday Review.â Jan. 21, 1978, 45-7.â Rpt. in Contemporary Literary Criticism. Vol. 14.â Detroit: Gale, 1980. Skerrett, Joseph T., Jr.â Making Bigger: Wright and the Making of Native Son. in Richard Wright's  â â â â â â â â â â Native Son:â Modern Critical Interpretations.â New York: Chelsea House, 1988. Wright, Richard.â Black Boy.â New York: Harper, 1944. _____.â How Bigger Was Born.â Saturday Review.â June 1, 1940, n.pag.â Rpt. in Native Son.â New  â â â â â â â â â â York: Harper, 1940. _____.â Native Son.â New York: Harper, 1940. _____.â The Outsider.â New York: Harper, 1953. _____.â Uncle Tom's Children.â New York: Harper, 1936.

Body Image and Identity Essay Example | Topics and Well Written Essays - 750 words

Self-perception and Identity - Essay Example This makes quality relational correspondence unsound and therefore thwarts the general improvement of the character. Another significant issue that factors in great relational correspondence is mindfulness, which is, the way well the individual knows their own self. The explanation that she makes about herself, If just I weren't so fat, I could discover garments to fit me like ordinary individuals do, shows how she sees herself as unusual. Her encounters as an overweight youngster and the messages that she has gotten from the general public have influenced her demeanor and have made her a timid individual further preventing her from building great relational abilities. Reece appears to likewise have a concealed dread of confronting and communicating her sentiments, this dread makes her to close out her companions during the 'fat days' the point at which she is endeavoring to achieve her apparent perfect looks. Rather than making discussion she says Disregard me and leaves the table abandoning her companions. This keeps her from tolerating proficient counsel or even consolation and solace from her companions. So as to improve her relational correspondence, Reece should concentrate on her self-idea. By building up a positive self idea her correspondence will likewise improve. As indicated by William Schutz, correspondence satisfies the three fundamental needs of consideration, control and fondness. By monitoring her needs, Reece can open up to her companions as opposed to closing them out and in this way open a channel of correspondence, which can prompt better mindfulness and right her slanted self-perception. This will likewise deal with the shrouded issue of confronting her sentiments and her dread of articulation. Reece sends negative messages to herself every step of the way which further reinforces her unfortunate self-idea. At the point when she glances in the mirror, her brain tosses a message at her colloquialism you are fat, fat, fat. These messages contain thoughts regarding her apparent ugliness and a segregating society. These messages are presumably the reverberation of her past encounters and musings that were given to her through media and persuasive individuals throughout her life. Reece can put forth a cognizant attempt to send positive pictures to herself. This activity will help the unlearning of thoughts she has just woven into her character and make it simpler to change her self-perception and personality, and along these lines improve her correspondence. So as to do this she ought to likewise intentionally segregate misshaped criticism that the other individual sends during discussions. By doing so Reece can forestall further harm to her self-perception. This implies she oug ht to know about the reactions from individuals and have the option to figure out which ones will impact her and which ones she ought to disregard while attempting to comprehend in what direction she has invigorated that sort of reaction. Both verbal and non verbal correspondence assumes a job by they way others react to us. It is imperative to think about stance, signals and outward appearances while assessing reactions. Successful answer for relational correspondence includes two people. There are two significant worries in relational correspondence, mindfulness, which we previously talked about, and information on the other individual we are speaking with. When there is a higher level of vulnerability about the reactions not out of the ordinary from the other individual the correspondence isn't open and there is next to no self exposure. This leads the individual to turn into

LSCs QA with Dean Kelley of Pixars Coco

LSC’s QA with Dean Kelley of Pixar’s Coco A couple of Fridays ago I had the opportunity to sit in on an LSC preview of the upcoming Pixar film Coco, hosted by storyboard artist Dean Kelley. Though I am not allowed to share details about the film itself (no spoilers), I have (c o m p l e t e l y p a i n l e s s l y :’-)) transcribed a bit of his guest lecture and the QA that followed. Enjoy! I’m the lead story artist for Coco. I’m from Chelmsford, so I grew up in Boston. It’s great to come back to Boston, especially a smart place like MIT where I feel really smart. So I’m going to show you guys some unreleased material and kind of go into a little bit behind the scenes of how we kind of attack these stories at Pixar. Some background on me: I joined Pixar in 2009. Like I said I’m from Chelmsford; I went to Rhode Island School of Design. I majored in Illustration and I knew I wanted to work at Disney, but I didn’t how to get there or anyone in LA or if it was something I really wanted to move to get to. I mean I loved Disney but not enough to be like “okay I’m going to move to LA and make this big jump.” So I kind of did this baby step, dip-your-toes-in-the-pool move to Minneapolis halfway across the country with my wife (girlfriend at the time) who was from there. I knew her family and I knew there was a small commercial animation studio that was there. So I’m like “that’s a nice thing and I could ease into it and know people there and not feel like I’m completely alone.” At that studio I learned a lot about animation, but it did teach me what I didn’t like to do with animation. It was a real fast turnaround but I got to paint, I got to do a little bit of design work, I got to animate, I got to work on the computers. This was back in like ’99. Eventually I was there for like a year and all my buddies that were in LA were like “you just gotta come on out, all the studios are in LA, so just come out, I don’t know what you’re doing here, you want to work at Disney, you’re not going to do it in Minneapolis.” So I finally moved out to LA. I started working at The Simpsons, and I was there for about three years. I was doing character layout which is basically taking storyboards and then blowing them up and then putting the characters on model and then the backgrounds on model, and then that gets shipped to Korea. It was fun because I loved the show, but it was not at all creatively engaging for me. So I’m like “ah, man I don’t know what to do.” Then two of my buddies from RISD created Avatar: the Last Airbender. [gasps from the nerds that have gathered for this talk] I don’t know if you guys know that show. [the gasps are replaced by laughs] You guys do? Is that yes? [resounding YES from the crowd] Okay. So t hey asked me “do you want to come and work on the show” and I was like “ah, man.” I would be leaving The Simpsons which is such a big deal because The Simpsons is primetime animation. Avatar was just like this startup show; I had no idea what it was going to be. So I went over there to do character layout and then they got rid of character layout because all the stuff that we were sending to Koreaâ€"the same way we did for The Simpsons, but it’s a little more forgiving on a show like The Simpsonsâ€"but the cinematic kind of anime approach they wanted on Avatar, we weren’t cutting it here in the States. We were doing a lot of like Danny Phantom kind of flash graphic stuff, western-style animation. Except for, well there are going to be times during this talk were it seems like I’m kind of “go me”, but out of all the stuff they sent to Korea, the Korean directors were like “we have to discontinue this because we’re spending too much money on all these layouts, except for this one guyâ€"who’s this one guy” and I’m like “oh, man.” They kind of singled me out at the studio and I’m like “oh that’s great,” and then they said “well we’re going to get rid of that, do you want to take the storyboard cuts?” And I w as like “sure” because I wanted to stay on the show, but I had no idea what storyboarding was. I learned classical drawing, painting, portraiture, and landscape design at RISD, but there was no commercial animation program at RISD. That was like my second school working with Bryan [Konietzko] and Mike [Dante DiMartino] and the other artists on Avatar where I learned how to storyboard, how to use the skills that I learned, and just made sense of drawing a lot and understanding film. I was able to apply that directly into what I did on Avatar and then I rode that to the end for about three years and then I became a director on Penguins of Madagascar, the TV show, with Nickelodeon. So I was working on that, and then right around that time I submitted my portfolio to Pixarâ€"just when I still had that Disney dream, but you know I shifted to Pixar because they were kind of the better studio and you want to work for the best and work with the best. So right when I became a director do wn at Nickelodeon, I got a phone call: “hey we want to fly you out to Pixar.” So I fly up. The interview went well, but I’m still working at Nickelodeon and I had just gotten that director gig. So I was still making those decisions that maybe you might come across in life, like for me moving from studio to studio, moving from different parts of the country, to follow what you want to do. That brought me to Pixar, and I’ve been there since 2009. I worked on Monsters University which was my first film, and then I started on Coco and that’s what I’m here to talk to you guys a little about. So I’m going to give you some background on the film and how we researched it. From a visual perspective, there’s a richness of beauty to Día de los Muertos that evokes intrigue and emotion, but even more powerful than the images is the spirit of the celebration. The more our team researched this holiday and how it’s celebrated, the more it affected us in a deep emotional way. So some of you guys might already know that the holiday Día de Muertos or Día de los Muertos is also called the Day of the Dead. It’s a Mexican celebration that takes place over two days at the beginning of November. People honor their departed family and friends by building ofrendas or altars where they display photos of their loved ones and leave out food and offerings that their loved ones en joyed. It’s become a tradition of connection, remembrance, and family, and those were kind of the early ideas of what sparked Coco. It was an idea that the director came up with about seven years ago now. It was set in Mexico on the Day of the Dead, but in order for us to figure out and flesh out the story at Pixar or with any film, research is huge. So we take trips. When I worked on MU, I actually came here. I thought I was going to go somewhere else, but they were like “no, you’re going back to your hometown.” We visited Harvard and MIT and it was cool. Nothing against the school, but I wanted to go somewhere like… I guess it’s better than Toy Story 3. They visited a dump. But like the folks on Nemo got to go to the Great Barrier Reef. So it depends on what the film is, really. I was lucky enough to get to go down to a village outside of Oaxaca, maybe forty-five minutes out, very rural. There wasn’t any electricity. They would make these ceramic pots and sculptures, and that’s what they sold to make a living. They let us come in and see how they lived, how they ate, and what we understood was how much their family was such a huge part of everything they did. They also wore such colorful clothes. It was so exciting for us, and over the last several years we were fortunate enough to go down there a few more times to see firsthand how the holiday was celebrated all over the country. As a result, these trips have influenced every part of Coco’s production, from the story, from the lighting, from characters, to the music. Everything we did was trying to make sure that we were being very respectful of the culture and the traditions that we were then trying to put back into the film, because we were so inspired by it, and we thought we could really create a unique story so we put it together. It’s something that we’re really excited about. After working on a film that focuses so much on family and music, how have your conceptions of your families changed? That’s a good question. We’re in the story room talking, even though not all of us are from Mexico, we all come from different backgrounds, different families. I’m one of four boys. My folks are still married. They’re still living in the house I grew up in. And family was such a huge part of supporting my journey like getting to Pixar. It’s like when I call my mom, we cry a little bit more, and sometimes we talk about stuff. As a parent now, I have four kids, and I feel like the appreciation of being a parent has changed from like my appreciation of my folks. But I think it’s just made it brighter. And the music and seeing the musical consultants has definitely opened my eyes. I think of parts of Mexico where the music evolved from. I think, as an artist, I can find that passion, and still wanting to learn for me as a filmmaker and storyteller, and still have family that supports me. I feel like it’s very resonant when I watch, like there are a lot of parallels. You went from a more traditional western animation background to Avatar: The Last Airbender, and now with 3D movies. Especially now that we don’t see very many 2D animated movies anymore, was it difficult to switch between these different art styles? No, I think storyboarding on a film that’s CG has more limitations for what you can do with the sets and the camera moves. Once the characters and the sets get built, it’s a virtual space where the layout artists can come in from our boards and move the camera. But with 2D, whatever you put in the boards has to be translated. Like someone has to lay that out by hand. There’s not a lot of camera operating. I feel like, you know, I’m working on The Incredibles 2 now, and a lot of the stuff that I had fun doing on Avatar (I did some of that stuff for Korra too), there’s a lot of that fun, frenetic, action filmmaking that I think lends itself into something like The Incredibles. But I feel like my approach doesn’t change. I still try to help tell the story in the best way and use any sort of visual clues and filmmaking techniques to be able to support that. Yeah I wish it was moreâ€"I think maybe Studio Ghibli, Miyazaki, is probably one of the last few filmmakers that are sti ll doing stuff by hand. I think he approaches it the same way with looking at and studying film. What would you want an audience to take away after watching Coco? Cry with your parents a little bit more, appreciate your parents. I love when I call my mom or dad. I mean I don’t get to see them that often. I got to see them last night. They came and saw a couple talks I gave last night. I think just realizing that you’re one of many people that came before you. Life is so short, and I look back and I was able to have great relationships with my grandparents, but I miss them terribly now. I kind of wish I was able to have more conversations with them as I got older. So that sliver of time that you have with people, if anything. If you come out of this film, other than going “yeah we love the film, we want to watch it again,” I think that connection to family, maybe, calling your family and reconnecting or maybe connecting more or making those conversations happen more frequently. Appreciate the people that came before you and all their hard work. What’s it like working at Pixar, especially the technological aspects? It’s great. In my role now as a story lead, I’m able to go into other meetings with the very smart people that come in and write the code that kind of looks like the Matrix when I look at the screen and I just see numbers. I know how to draw and move the story along as a filmmaker but when I see that, there’s such a great blend. That influences what we can do and then they get influenced by what we do creatively, and I feel like there’s a lot of stuff that they want the challenge of wanting to do, more stuff. The tendency has been, as Pixar has gotten bigger, there’s been sometimes where we’ve done the safe thing with certain moments, within films, not films as a whole. And I feel like a lot of technical folks were like “no, we want that challenge, we want the hard stuff, give us the hard stuff, how do we figure out simulation” and I feel like with this film, like the marigold petals, all the simulation with that, and just the rigging of a lot of these characters, the y found ways that they were really excited about, you know, because we could just come up with anything in story like “hey can we do this?” I feel like Pixar is just a really great place to embrace both; there’s a good blend of the left-brain, right-brain that comes together to create something that, hopefully, when you watch, you’re not going “how did they do that?” Well, maybe on second or third viewing. What do you love the most about being a storyboard artist? I think how long it takes and having a lot of patience. It’s kind of a disposable art. We’ll put stuff up and then we realize, we’re just trying to service the whole; sometimes we put so much into the work that if a scene does get cut you’re like “oh god that was a month of my life and it’ll never see the light of day.” Like once it gets into production, that’s when the big bucks come out, and it’s very rare that they cut scenes that are animated. So early on in the pre-production part of the story, we keep putting stuff up and then we’ll tear it down and poke holes in it to make the story as good as it can possibly be. I think a lot of it is just going “don’t look back, always move forward” and having that endurance and thick skin to go “oh well I’m servicing the whole.” And purely execution-wise it is the more films that I’ve studiedâ€"and there’s hundreds of films that I’ve never seen that we have at our disposal to watch, like live-action fil msâ€"and seeing how people saw things creatively, how they composed scenes, I feel like I’m always learning that part of it, and I can just always watch films. There’s just not enough time in the day to watch every film ever made, and there are great young filmmakers that are coming out, movies from all over the world that we get to watch, documentaries, and just seeing how people approach just shooting characters and people moving and the humanity of that. So I feel like that part I’m always learning, but the biggest thing is helping the director find their vision. If I was the director this is how I would want the scene to look, and you try to find that middle ground. I’m curious about the workflow of this sort of project because it seems like you could storyboard for years. Is that on a set timeline or what? Every three months, we put up our screening, and it’s the state of the story at that point so it’ll all be in storyboard form at that point. And we’ll watch it in the screening room and we’ll go back for a few hours with the braintrust and we’ll have lunch and kind of pick it apart, but within those three month check-ins we are looking at ways to go “is there a scene that looks like we could kind of polish it a bit more?” With this film in particular, we knew where we wanted to start and we knew what our ending was, which is kind of rare. It’s usually kind of built back, and this was good because we knew the ending so we could kind of reverse engineer that. So once we had the ending, we knew that was the scene, that we could go into the pipeline of building sets for that scene, but there is a quick turnaround and it’s gotten faster it seems. The more that we put it up, the more certain scenes start to stand out more as “let’s lock those.” So in terms of the ov erall life cycle of a film, it’s probably eight screenings and then we do an audience preview, but at that point it’s kind of the film. So it’ll be a hybrid of story, animation, plot layout, but hopefully at that point a lot of the film is animated because a lot of audiences don’t really understand or aren’t really familiar with looking at storyboards. So it’s like every three months. It’s long but I say it’s like a marathon or a race. At times it feels like you’re sprinting a marathon. Just keep moving forward, and know that you’ve got a bunch of people there just to support you to make the film. You’re not doing it alone. Is there a scene from a Pixar film that you might not have worked on that really stands out to you? That’s a great question. Yeah, I feel like that scene at the end of Incredibles before they fight where you’ve got Bob to kind of tell Helen after they got off the island to stay there and she’s like “no, we’re going in” and she’s like “what is this to you?” and then like Bob finally breaks down and says “I can’t lose you again.” That’s pretty powerful. I feel like to have a movie go into a third act and have those characters so realized in terms of the emotion, and now after being a father I don’t think I could watch the end of Nemo where he says “I love you dad” after he says “I hate you” in the beginning. And Ratatouille is one of my favorite films. I never got to work on that, and again it’s Brad Bird and he has such a different approach and it’s great to get to work with him now on Incredibles. It comes out next year, so it’s on like an accelerated schedule. But I would say scenes where you can get a lot of emotion from animated characte rs, like Walt Disney set up back in the thirties, to get invested in animated characters that aren’t real, they’re just drawings but they seem real. That’s kind of hard to do, but when it does land, it’s pretty powerful. What changes when you’re working on a sequel from with an original concept? How you adapt the assets from, for example, The Incredibles which was made in the 2000s to current technology? Yeah, sometimes we have to go in and re-rig those characters because you look at it and it looks like plastic now. What we’re able to do now, like with mouth shapes and what the animators can do is so sophisticated, especially with the hair and everything. The challenge of working on a sequel like MU, you’re kind of locked in, like you know the characters, so you don’t have to reacquaint the audience with them, like with Toy Story or Cars or The Incredibles you know who the characters are, but it’s that much harder to then go “well, what are you going to have the characters go through now, what story are you going to tell, what are they going to learn, what epiphany are they going to come onto in the third act?” I think that’s where it gets really hard. You’re in a kind of narrow playing field. I think it’s kind of more fun to work on originals because you have more leeway with this. You’re like “I don’t think Bob would do that” or “Mike and Sully wouldn†™t talk like that” “why not?” “oh the first film” “oh okay.” There’s a trailer for the first film where he says something like “oh you’ve been jealous of my looks since the third grade!” and we did the sequel, or well, the prequel, and we were like “oh my god” because they were supposed to meet in college. And we were like “let’s just forget it” and took creative license, but like we tried many versions of it to have where they met in grade school, and it was just not working, it wouldn’t work. We were handcuffed by one line from a trailer, and they were like “oh you got to be kidding me” and then we were just like “oh let’s just go I don’t think the audience would catch on.” [the nerds laugh, and someone asks “So canonically they did meet in college?”] Yes. [laughing continues] But I would say working on originals is really fun, but you’ve really got to lock into who your main character is. There are different challenges, but I fe el like you’re not as creatively handcuffed working on an original as you are in a sequel. In 3D animation, there seems to be this big difference between the tech team and the story team or like the artist team. My impression is that the artists create the stories and then people like us from MIT, engineers at Pixar, we do the simulation and the rendering. Is there a career path in Pixar or in any of the 3D animation companies you know where people bring their technologies but then also have a say in how the story goes or are also on the creative team? How does that play out? As an insider in Pixar, do you know of any examples of this or does this ever happen? I mean there’s definitely a career path dealing with that pipeline, and the brains behind the art, the people that write the code, and then the technical folk. You know Pixar creates its own software, so it’s all in-house, but by the time they get on to it the story’s kind of already moving, so when we start and I come onto the film, it’s just the director and like a handful of storyboard artists and the writer, so technical is not even involved yet. And then they come in and they do have a say on if this is feasible’ like can we actually do this. It’s not like a budgetary thing, but they can open up some avenues for our characters to be rigged a certain way that we didn’t think that we could do. But I think Disney and Pixar are the only two CG studios that have everything in-house. Like Dreamworks is farming their stuff out. I don’t really know their pipeline, but like everyone wants to work cheaper, but at Pixar there definitely is a path there. There are technical leads that come in and advise the director on certain decisions, but I honestly don’t know if people have made that jump going from technical and then going into story. I mean there are technical supervisors that are there that will help the director, like with the marigold bridge I showed, we didn’t know how we could even do this. We had like once-a-month meetings with the technical team that explained that we could do this and worked with us, but we were the ones in story that kind of came up with it based on our research trips. But I know no one ever goes from story to technical. [laughs from assembly of techies] It’ll never go that way. That just won’t happen. I’m assuming you knew of some of the directors before you started working at Pixar. How is it now working with all these people you knew about before that you see in the credits of big movies? I didn’t know any of them before I came up and I started working, and you get to know them right away. In story, you’re in those long story meetings and in those braintrusts, you get to see it’s pretty candid. The braintrust is all the directors at the studio and the creative leadership. So John Lasseter, Ed Catmull, Jim Morris, they’re all in the room with us and we all kind of just poke holes at the film. And you start to see the personalities of certain directors, some people are a little more “find the heart” and some people like Andrew Stanton, Brad Bird, these guys are like hardcore structural guys that really understand story, and they kind of check you right away. These guys are well-versed, well-read, very smart, but yeah, working with them creatively, personality comes out a lot. Like once you’re in the story room working, you’re in there for a long time, you kind of just joke around. I have a really good rapport with Brad Bird now. I’ve been working with him the last ten months, so that’s kind of fun to be like “I saw you in all those magazines and DVDs” and now after I pitch him a sequence he gets all excited and starts punching my arm like “this is great” and I’m like “thanks Brad” and that’s always great. So it is weird to go “oh my goodness you’re Brad Bird,” especially Brad, who went into live action and you know worked with George Clooney, worked with Tom Cruise, and it’s weird for him to be back just because he loves animation so much. And he loves this world of The Incredibles, so like just working with him with that live action experience was just amazing. What was your favorite scene from Avatar? Of all the scenes or the ones I did? Just in general? My favorite scene, I guess a scene that I did, I did a lot of action stuff, so I would say the Azula-Katara fight. [gasps from the crowd] I boarded that. I love the scene that Bryan Konietzko boarded, the scene where Aang fights Lord Ozai at the end. But that was pretty awesome because, like I said, that was where I learned how to storyboard and I got thrown into the fire because they knew that I could handle complex scenes, and it was always action scenes, and it was always really fun to do, and that last one was pretty fun to do because the scale of the effects were great. It’s kind of cool because Brad Bird’s kids loved the show, so he said that, and I’m like “oh that’s good, I love your work too Brad!” I know that sounds like me giving myself a big pat on my own back but I would say those big moments that I don’t think you see in western television. Like I showed my kids. You know there’s great stuff on TV but that show and how it connected with the audience, yeah it was pretty powerful. Was there a reason why you decided to have Miguel’s family be shoemakers in Coco? We wanted something that just seemed so boring for a kid to do. Like families that actually had a family business that we thought that someone could keep going from generation. We went down and we met this shoemaker down there. We went to his shop and there was this one kid that was just painting things of leather and it kind of smelled and he had headphones on. Like “is it okay if we take pictures?” He was like “yeah sure.” But he just looked like he was just doing it for the work, and we’re like “imagine if Miguel was doing that instead of playing music.” But that would be the one thing that his family loves making. You’ll see in the film just the way we made the shoe shop within the house, within the compound, they all kind of have their own station and they all kind of work together like a family unit. Miguel’s kind of out of place, and I think that was why we landed on that. It seems kind of random. I’m so used to it now, but like yeah, shoes? Weird. When you look at the opening clip and Miguel’s like “shoes? why shoes?” That’s a good question, you know. I don’t know. As a musician, I just love the music, which is huge in this. Do you guys collaborate with musicians when putting together the story? Yeah, we usually work with Michael Giacchino. He’s the composer. But then with this, this is the first time that we actually had never worked with Giacchino and we wanted to, but Giacchino wanted to make sure that they referred down to Mexico with all Mexican musicians using traditional Mexican instruments. So that was a big part we had cultural representatives and consultants that we brought in from outside that lived in Mexico just in general for the film. And then Mexican-Americans that lived in LA were brought up. And we had a lot of those folks from over Latin music, too, so we would screen them a lot of the stuff that we were doing, even just kind of road-testing stuff to see like “are we doing this right? is this authentic? is this respectful? are we doing what we should be doing?” We actually had the family members talk to one another and we were able to bake that into the script more. But for music, it was such a big part, what mariachi music is and then what tradition al kind of indigenous parts of Mexico where music comes from, so it was finding that blend. At first it was starting to go kind of Frozen-y, and we didn’t want that. And the consultants were like “don’t go there” and we were pushing back in story. I think that’s the comfortability of working in these movies for a long time. You pull from the same banks sometimes, and it’s just convenient. It kind of saves time because you’re familiar with it, but with this we wanted to make sure that we did it right and brought in the right people to shape us and keep us on the right track like tour guides. Mexican culture is pretty understanding towards death; there’s a very clear relationship, or at least better than we have here. I think that comes across in the preview we saw where someone just died and it got played off as kind of funny. So how do you handle themes of death and still make it marketable to all audiences? We always wanted to make sure that we were sensitive to it. The way I always looked at it was that this is a movie about Miguel learning about death, so he already knew obviously what death was, we all know that’s what’s going to happen to all of us and we understand. The bigger thing was more that Miguel didn’t understand how he related to his family, like “how can I relate to the people I’m related to?” that was what we were going back to. So the Land of the Dead just allowed us to have fun with the history of and the verticality of the world and layer it with the rich Mexican traditions but not really lean too hard on the death thing. It’s still there and it’s still a part of life, and we wanted it to be a part of this film. When we went down and we were in the cemeteries, we would see, at night, everything’s lit by candle and you would hear everybody playing music like guitars and trumpets. It’s all kind of a celebratory feel, and there’s food trucks, and ki ds are running around with sparklers, and it feels kind of fun. They’re celebrating the people and their lives, but then there’s people down there that have rosary beads and it’s really reverent and it’s powerful. And you see how people respond when they go and pay respects in the cemetery kind of like we do here in the States. But we try not to go too far in with that. It was more “keep it light-hearted” and “make sure the designs of the skeletons aren’t Tim Burton-y.” That was some of the stuff that was coming back from the Twittersphere that Lee [Unkrich, director of Coco] would kind of bring up in story-telling like “oh, a land of dead skeletons? it’s going to look like Tim Burton?” No… Knowing that we navigated those themes, it was more about Miguel understanding what his family tree was, and we always loved the idea of this holiday about families coming together. It would be great if you could meet your great-great-grandfather. What would you say? Is there something you’d want to ask him? So those are the things we tried to focus more on and not the sadness and permanence of death. It was more Miguel just understanding who he is and how he fits in the family. Across the board for these types of movies, where do the ideas start? The director will usually get like three ideas and work closely with an artist or a production designer to come up with a couple of paintings or just exploratory stuff and pitch that to John Lasseter, Jim Morris, and Ed Catmull. Then there’s three ideas, and they see a variety, it’s not everything on one, and then we obviously want to tell stories that we haven’t told before or give cultures or people that we’ve never dealt with a voice. We have a few films in development right now that have different ethnicities and genders that are kind of having different voices that I think Pixar hasn’t had in a while. Like it’s always easy to deal with cars or toys because there’s no ethnicityâ€"it’s a thing. But I feel like with this it all comes from the director. It’s a director-driven studio, and we want to make sure that three years in, if we’re poking holes on this one, we can always point back to “this is why I believe in this” and not “wouldn’t it be fun if it was like in outer space?” Like you really want to come from something different like Pete Docter with Inside Out. It was about his daughter and his connection growing apart from her as she got older and that was the core of the film. I don’t know what she’s thinking about, what’s going on in her head and that’s kind of where it came from. That would be like the pitch, and then they’d say “okay now make the film.” Post Tagged #LSC

Long Term Financing Structure Free Essay Example, 2500 words

The motive of doing business by taking all the pains is to earn a return. The financial goals of the companies vary upon two broad headings i. e. corporate wealth maximization and the shareholder wealth maximizations. Traditionally, the sole objective of doing business was to earn a return for the owners. The shareholders of a company are the original owners. Therefore, shareholder s wealth maximization has been an important financial goal of the companies. Shareholder s wealth of the company can be measured by measures like EVA (Economic Value Added). But in recent times, apart from wealth maximization of the shareholders, another model which talks about the financial goal of the companies is that of Corporate Wealth Maximisation. The Corporate Wealth Maximisation is a broadhead which includes other parties related with the company apart from the shareholders like that of suppliers of materials, customers of end products, human capital (employees or the workforce), external parties like government and the bankers. There is no such method to measure the corporate wealth of the company (Watkins, n.d. ). In case of Sony Corporation, it is found that the company has definitely cared for share holder s wealth maximization as the diluted dividend declared had been doubled in 2008 compared to the previous fiscal year of 2007, from 120.29 (in 2007) it went up to 351.1 (in 2008). We will write a custom essay sample on Long Term Financing Structure or any topic specifically for you Only $17.96 $11.86/pageorder now Also, it had declared cash dividends for three consecutive years. Sony Corporation, a global brand in its own right, has also taken the number of measures to benefit its stakeholders. Corporate social responsibilities initiated by Sony include environmental initiatives like reducing the emission of greenhouse gas and reducing power consumption. To fight the threat of global warming Sony has initiated global seminars. Along with IBM, Sony has formed EICC (Electronic Industry Citizenship Coalition) to implement shared efficiencies and code of conducts among the suppliers. To promote young talents, Sony had initiated the Sony Student Project Abroad (China). Also, it had denoted digital cameras to UNICEF under Eye See Project. Sony is also partner to the soccer federation of the world, FIFA!

Student Information System - 6572 Words

CHAPTER I RESEARCH PROBLEM AND ITS BACKGROUND INTRODUCTION Notably, student information system or SIS incurs such application software designed for educational establishments to manage student data. Student information systems provide capabilities for entering student test and other assessment scores, building student schedules, tracking student attendance as well as managing many other student-related data needs within the institution university. Thus, many of these systems applied in the Philippines can be scaled to different levels of activity and can be configured by their home institutions to meet local needs. Moreover, before universities have created their own bespoke student record systems, but with growing complexity†¦show more content†¦It will be easier for them to access and store the information of the students through the system and have own privacy and security to there information. It is also possible to the school to attract students because it has well-organized system. To the school. The system will be very useful to the school it can save more time in store and prepare information in the system also less effort. To the future researchers. Those who take on a similar research, this study will persuade them to maintain and go on with more analysis on the same study. DEFINITION OF TERMS The following provides a definition of important terminologies for more clarity in the understanding of the study. Program - It is collections of instructions in manipulating data. Security - Refers to techniques for ensuring that data stored in a computer cannot be changed or compromised. System - Set of detailed methods, procedures, and routines established or formulated to carry out the specific activity, perform a duty, or solve a problem. Student Information Systems (SIS) manage student records and information Database- a collection of information that is organized so that it can easily be accessed manage and updated. Local host-(meaning â€Å"this computer†) is the standard host name given to the address of the loop back network interface. System- is a group of interacting, for an interrelated or interdependent elements complex whole. System Analysis Design- is the study of set ofShow MoreRelatedStudent Information System Is A Application For Educational Establishments1501 Words   |  7 PagesStudent information system is a software application for educational establishments that help manage student data. Colleges and universities all strive to make sure that their students will gain experience and knowledge and have the skills that will enable them to fulfill their professional aspirations. The organization that I have selected is the institute that I work for, Central Texas College. Central Texas College is just one of the many institutions all around the globe that have partnered withRead MoreInformation Systems For International Students2786 Words   |  12 PagesSince all of us in our group are international students and a few of us are in our first semester at Swinburne, it was almost impossible for us to find an Information Systems Manager and would like to thank Jason for leading us to Mr. Mim Saznus. W e understand that we are required to draw a direct correlation between what we’ve learnt in lectures and textbooks and see if we could relate it to challenges that Information Systems Managers face in the real world or see how much of a gap we have betweenRead MoreComputerised Management Information System in Students Result and Transcript Computation1428 Words   |  6 PagesCOMPUTERISED MANAGEMENT INFORMATION SYSTEM IN STUDENTS RESULT AND TRANSCRIPT COMPUTATION 1James Agajo 2Ogedengbe Emmanuel 3Bagudu Igbekele Federal Polytechnic Auchi, Edo State, Nigeria ABSTRACT: This work proffers solution to the problem associated with the old conventional way of manual generation and issuance of transcript, Automated transcript system addresses the problem of excessive paper work, delay in transcript issuanceRead MoreThe Impact of Educational Management Information System to Student of Computer Science in Nigeria Higher Institution of Learning4518 Words   |  19 PagesInformation systems From Wikipedia, the free encyclopedia Jump to: navigation, search Not to be confused with Informing science. Information systems (IS) is the study of complementary networks of hardware and software (see information technology) that people and organizations use to collect, filter, process, create, and distribute data.[1][2][3][4][5] The study bridges business and computer science using the theoretical foundations of information and computation to study various business modelsRead MoreSrs for Student Information System2346 Words   |  10 PagesCollege of Computer Science Engineering Department of Computer Science Orientation Students Information System . . . . . . . . . . OSIS Software Requirements Specifications Semester 011 Prepared by Majed Al-Sehli, 972049 Mohammad Al-Harbi, 972031 Prepared for Dr. Abdullah Al-Sukairi Saturday, October 20, 2001 CONTENTS CONTENTS......................................................................................................................... 1 1. INTRODUCTION .............Read MoreSms Based Information Student Information System3380 Words   |  14 PagesTeaching Information Systems Development with SMS Chris Wallace Information Systems School Faculty of Computing, Engineering and Mathematical Sciences University of the West of England Frenchay, Bristol BS16 1QY chris.wallace@uwe.ac.uk Abstract ‘Texting’ or SMS mobile phone messaging is rapidly increasing in business and community use. This paper discusses the inclusion of SMS technology in the teaching of Information Systems Development. It is argued that SMS has advantages in terms ofRead MoreComputerized Profiling System4130 Words   |  17 Pagesrecent years, the increased flexibility and user-friendliness of computer databases make these systems a crucial business component. In fact, some universities are now using Computer Database Management System for a faster and safer manifestation of data. However, the Office of the Student Services of Southern Leyte State University-Tomas Oppus encounters a problem of maintaining and recovering student profiles using the manual data processing. Manual processing is known for its accurate resultsRead MoreIntroduction for Research Example3481 Words   |  14 Pagesenrolled students from 1st year to 4th year, since their records are stored in the file cabinet, it is hard for them to search or to fund the students’ records. It is time consuming because they have to look for a certain record among the others files in the storage. In updating the records of the students, they need to check the existing records. The developed system Student Information System for Quezon-Roxas High School will be a great help for the academe to easily manage faculty and students recordRead MoreCashiering System3317 Words   |  14 PagesCSLRM COMPUTERIZED CASHIERING SYSTEM A Thesis Proposal Presented to the Faculty of the College of Computer Studies Colegio De San Lorenzo Ruiz De Manila, Inc. In Partial Fulfillment Of the Requirement for the Degree Bachelor of Science in Computer Science Proponents Berame, Joseca Leslie, Salindayao Siervo, Sheryll Cardenas, Ma. Cristina Dr. Rolando Lansigan Adviser CHAPTER I INTRODUCTION Colegio de San Lorenzo Ruiz de Manila is currently using a manual way of recording, computing and storingRead MoreSample Documentation for Student Information System933 Words   |  4 Pages1.0 Introduction Interest in information system has increased during the recent years not only in education but also in all areas where resources are managed. Student information system has always been a difficult task, but it is more so today than ever before, where administrators uses the traditional way of filing records on a cabinet. As the population of the students goes up, it is becoming more complex. Data should be stored in safer places, and can be retrieved easily and fast when someone

My Secret Pacific Rose Free Essays

When I think about art I see Picasso. I see faces, colors, things that should never be together are now one, a happy one: collages, statues, weird figures everywhere. Art is an adventure through expression, style, and creativity. We will write a custom essay sample on My Secret: Pacific Rose or any similar topic only for you Order Now When I say adventure I’m speaking of a safari mixed with a survival of the fittest, spitting out only greatness and uniqueness. In Charlotte, North Carolina’s Mint Museum there were many that attempted this adventure but one in particular who made it through was Jon Kuhn; his adventure was backed up by a breathtaking piece called Pacific Rose. Jon Kuhn’s background makes him seem as if he is a world renowned artist. Yet he is a very underrated artist with an array of accomplishments. Kuhn’s specialty is glass work but unlike other artists who use molten and blown glass, Kuhn uses cold glass that is cut, polished, and fused into many shapes from the outside in (Kuhn). This unique style of work has lead Kuhn to be featured in over 40 international museums, and a few public and private residences. One of his greatest accomplishments is having a few of his pieces claimed by the White House’s permanent collection. With such a broad resume Jon Kuhn should be a household name, yet Kuhn enjoys and would rather play the background underrated artist who â€Å"brings light and joy to those who experience them† (Kuhn). When you see Jon Kuhn’s work you are sure to know it’s his. Kuhn likes to take a shape and make it where it absorbs light while reflecting a diamond like appearance (Kuhn). This is what captured my attention when it came to his amazing piece Pacific Rose. This piece was no bigger than roughly four feet and yet had such a loud, strong, engaging voice. When I first saw it I was amazed at how bright and colorful it was but the more I looked at it I saw something more, something deeper. Pacific Rose is four foot upside down, elongated, clear pyramid with two pyramids and a cube hanging freely within it. When one first looks at the shapes it looks like a bunch of small brick red, gray, black, and turquoise blocks put together to make the shapes. But the deeper you look into the figure you see that each small square has hundreds of layers. Also within the layers are scribbles and writing that take the piece to another level. I then walk around the piece to get a better view and I feel as if I’ve been tricked. The solid shapes that I saw on one side are no longer solid. This is where the bright lights shining on the figure plays a huge role. In actuality the shapes look as if they have been annihilated, like an atomic bomb was dropped and the shapes are exploding. But the unique thing about these exploding figures is that all the while that they are exploding they somehow manage to keep their shape. This figure makes me want to get inside of the clear upside down pyramid and take a walk through the little figures within. This figure showed the exact path and journey Jon Kuhn took on his adventure through expression, style, and creativity. It not only showed this but also explained as to why he is featured in so many great places. His work is so amazing and extravagant that a part of me is happy that he is so underrated, for I would love to keep his beauties a secret and all to myself. But I know this is impossible for his work speaks so loud and with strength so strong that you must listen. It is only time before Jon Kuhn is being used as a household name. Jon Kuhn is now my new definition of art. Works Cited Page Kuhn, Jon. â€Å"Artist Jon Kuhn.† Kuhn Studio. N.p., 2002-2011. Web. 21 Dec 2011. http://www.kuhnstudio.com/ How to cite My Secret: Pacific Rose, Papers

Linux Mint 18 Uses and Working-Case Study

Question: Discuss and Describe the uses and working of Linux Mint 18. Answer: 1. This is the article review about Linux Mint 18. In this article the new features of Linux Mint 18 are explored in very effective manner. The operating system was launched in the June end of 2016 with the in-house built Cinnamon desktop and GNOME 2 fork MATE desktop options. Two other versions will also launched named Xfce and KDE. This operating system is based on Ubuntu 16.04 and number of new significant features introduced. Earlier the Linux Mint 17 series was also launched in 2014 and it has proved itself as an alternative to Canonicals Ubuntu. ("Operating Systems", 2016) It has a very impressive look and feel with a huge collection of background images. The new introduced features of Linux Mint 18 are: It runs Linux kernel 4.4, Cinnamon 3.0 and MATE 1.14 It supports exFAT file system and by default is the Btrfs file system. It has an enhanced update manager that provides support for the installation of different versions of Linux kernel. Whatever the changes will be done in the update manager will be received successfully by the user. It provides easier configuration to manage safety, security and stability for system updates. It supports a new syntax of Debian apt with some enhancements and changes. We can use a terminal command to clean up the junk repository. Whenever the terminal commands apt install, apt remove or sudo apt autoremove run it displays a progress bar. Reviews about Linux Mint 18 In Linux Mint 18 there are windows management improvements available on tilling, mapping and unmapping windows. ("An Everyday Linux User Review Of Linux Mint 18 - Back To Its Very Best Everyday Linux User", 2016) Window can be easily snapped by dragging it into position In Linux Mint 18, there is option available for disabling the favorites and system options related with menu applet. Animation effects can also be seen on menus and dialogs. It has enhanced touchpad support. More options are available for choosing default applications for different file types. It has improved support for Spotify 0.27, Viber and GTK 3.20 Linux Mint 18 has a stylish dark background theme with some enhanced options related with documentation, apps, drivers, forums, chat room etc. While comparing Linux Mint 18 from the hardware point of view, we saw that USB devices such as mobile phones, MP3 audio and sony Walkman are preinstalled on Linux Mint 18. Setting up a network printer is also a very simple process in this version of Linux. One more very advance feature of Linux Mint 18 is network storage capability with even the device those were failed in other operating systems. Issues in Linux Mint 18 Some of the issues in Linux Mint 18 operating system are such as wireless issues that were the same in earlier versions of Linux. Summary Linux Mint 18 is very nice and fresh operating system with very impressive themes and pretty much improved processing of kernel. It is very easy to use and install. So I recommend this for all Linux users. 2. Job List Job Number Memory Requested Job A 57 K Job B 920 K Job C 50 K Job D 701 K Memory Block List Memory Block Memory Block size Block 1 900 K Block 2 910 K Block 3 200 K Block 4 300 K Memory allocation as per best-fit algorithm Best-fit algorithm is used to make the best use of memory space. This algorithm is slower as compare to other algorithms. ("Best-Fit Allocation Algorithm", 2016) Job Memory Block Internal Fragmentation A (57 k) 200 K 200-57=143 B (920 k) Not allocated C (50 k) 200 k 143-50=83 D (701 k) 900 k 900-701=199 As per First fit algorithm the jobs will be allocated memory in which the first hole is enough large to accommodate the process. The advantage of this process is that it is fast and the disadvantage is that it leads lots of memory space. ("Operating System Scheduling algorithms", 2016) Job Memory Block Internal Fragmentation A (57 k) 900 K 900-57=843 B (920 k) Not allocated C (50 k) 910 k 910-50=860 D (701 k) Not allocated 3. The difference between internal and external fragmentation can be explained in following points: At the time of memory allocation to a process, if the allocated space is larger than the required memory, the unused space at the end of partition is called internal fragmentation. Whereas if the enough memory is allocated to a process but it may exist in fragmented manner it will create small unused space in between these fragments and is called external fragmentation. Internal fragmentation exists in fixed sized blocks of physical memory. External fragmentation can be found in variable sized partitions as per the amount needed by process. ("Differences between Internal and External fragmentation", 2016) In case of internal fragmentation the operating system must maintain a partition table along with the starting address of each process and the number of partitions. In external fragmentation more information is needed such as starting and ending address and the data for which the memory locations are free. Internal fragmentation can be minimized by using external fragmentation, whereas external fragmentation can be minimized by using compaction method or by providing logical address space to the processes. When the wasted memory created in internal fragmentation can be reused in form of new blocks, in this situation the internal fragmentation is preferred. 4. Given: Program size= 471 bytes, Page frame size= 100 bytes, instruction to be accessed is at= 132 byte Number of pages required to store the entire job= 471/100 +1 = 5 pages Page Number accessed to read instruction at byte 132= page 2 5. In case of FIFO page removal algorithm the page fault will be count, if the page is not available in the memory and hit will be count if it available in memory. Here we are indicating page fault as (*) and hit as (h) ("4.4.4. Page Replacement Algoritms Operating Systems Study Guide", 2016) pages a c a b a d a c b d e f a a a a a d d d b b b f c c c c c a a a d d d b b b b c c c e e failure/hit * * h * h * * * * * * * Failure Ratio=10/12 Hit Ratio=2/12 (2) pages a c a b a d a c b d e f a a a a a a a a a a e e c c c c c c c c c c f b b b b b b b b b d d d d d d d failure/hit * * h * h * h h h h * * Failure Ratio=6/12 Hit Ratio=6/12 (3) In the page replacement algorithm, the number of page frames are equal to the size of physical memory divided by the page size. If the page size will be increased it will reduce the number of frames. In first case there are only three frames, and it will tend to increase the number of page faults because the less number of pages are possible in memory. In FIFO page replacement algorithm whenever a page is to be brought in memory and it is not present in any frame it will be considered as Page fault and if the page is available in memory it will be considered as hit. When the page size is increased, the number of page faults will decrease. The operating system will use the prefetching mechanism to reduce the number of page faults. 6. Job CPU Cycle A 12 B 2 C 15 D 7 E 3 (1) Using FCFS: In FCFS scheduling algorithm, the processes will served in the sequence of arrival, so the sequence of processing jobs will be A-B-C-D-E Total time required to process all the jobs will be = (0+12+14+29+32) = 87 ms Average turnaround time = (0+12+14+29+32)/5 = 17.4 ms (2) USING SJN It is also known as shortest job first algorithm. In this algorithm CPU will process the job having shortest burst time first. It can be of two types: Non preemptive and Preemptive. In non-preemptive scheduling process the process will continue until the end of its burst time. In preemptive as the new process will arrive it will be compared in the basis of burst timing with other processes and the process having smallest burst time will be chosen for the process. It is also known as shortest remaining time first algorithm. ("Scheduling Algorithms", 2016) B E D A C 0 2 5 12 24 39 Total time required to process all the jobs will be= (0+2+5+12+24+39) = 82 ms Average turnaround time= 82/5= 16.4 ms 7 (1) FCFS Job Arrival time CPU cycle(execute time) Service time A 0 15 0 B 2 2 15 C 3 14 17 D 6 10 31 E 9 1 42 A B C D E 0 15 17 31 41 42 (2) SJN Job Arrival time CPU cycle(execute time) Service time A 0 15 27 B 2 2 1 C 3 14 13 D 6 10 3 E 9 1 0 E B D C A 0 1 3 13 27 42 SRT (Shortest remaining time) ("Shortest Job First (SJF), Shortest Remaining Time Next (SRTN) scheduling algorithm - More Process", 2013) Job Arrival time CPU cycle(execute time) Service time A 0 15 28 B 2 2 4 C 3 14 42 D 6 10 17 E 9 1 10 A B A D E D A C 0 2 4 6 9 10 17 28 42 RR (Round Robin algorithm) ("Round robin scheduling algorithm with Example | Java Hungry", 2016) Job Arrival time CPU cycle(execute time) Service time A 0 15 38 B 2 2 7 C 3 14 42 D 6 10 33 E 9 1 42 Job Arrival time CPU Cycle FCFS SJN SRT RR A 0 15 Start time: 0 End time: 15 Start time: 27 End time: 42 Start time: 0 End time: 28 Start time: 0 End time: 38 B 2 2 Start time: 15 End time: 17 Start time: 1 End time: 3 Start time: 2 End time: 4 Start time: 5 End time: 7 C 3 14 Start time: 17 End time: 31 Start time: 13 End time: 14 Start time: 28 End time: 42 Start time: 7 End time: 42 D 6 10 Start time: 31 End time: 41 Start time: 3 End time: 13 Start time: 6 End time: 17 Start time: 12 End time: 33 E 9 1 Start time: 41 End time: 42 Start time: 0 End time: 1 Start time: 9 End time: 10 Start time: 17 End time: 18 References An Everyday Linux User Review Of Linux Mint 18 - Back To Its Very Best Everyday Linux User. (2016). Everydaylinuxuser.com. Retrieved 22 August 2016, from https://www.everydaylinuxuser.com/2016/07/an-everyday-linux-user-review-of-linux.html Operating Systems. (2016). Technewsworld.com. Retrieved 22 August 2016, from https://www.technewsworld.com/perl/section/operating-systems/ Operating System Scheduling algorithms. (2016). www.tutorialspoint.com. Retrieved 22 August 2016, from https://www.tutorialspoint.com/operating_system/os_process_scheduling_algorithms.htm Best-Fit Allocation Algorithm. (2016). Cs.rit.edu. Retrieved 22 August 2016, from https://www.cs.rit.edu/~ark/lectures/gc/03_03_03.html Differences between Internal and External fragmentation. (2016). Enggpedia.com. Retrieved 22 August 2016, from https://www.enggpedia.com/computer-engineering-encyclopedia/dictionary/operating-systems/1902-internal-external-fragmentation-differences 4.4.4. Page Replacement Algoritms Operating Systems Study Guide. (2016). Faculty.salina.k-state.edu. Retrieved 22 August 2016, from https://faculty.salina.k-state.edu/tim/ossg/Memory/virt_mem/page_replace.html Round robin scheduling algorithm with Example | Java Hungry. (2016). Javahungry.blogspot.com. Retrieved 22 August 2016, from https://javahungry.blogspot.com/2013/09/round-robin-scheduling-algorithm-with-example-java-program-code.html Shortest Job First (SJF), Shortest Remaining Time Next (SRTN) scheduling algorithm - More Process. (2013). More Process. Retrieved 22 August 2016, from https://www.moreprocess.com/process-2/shortest-job-first-sjf-shortest-remaining-time-next-srtn-scheduling-algorithm