The Significance Of Claude Shannon - 963 Words

During the 20th century the study of electronic technology was at an all-time high and significant to the development of the world. Society was just beginning to understand how vital computing technology was and how much of an influence it could have on the lives of humanity. Efficiently transmitting information electronically in a quantitative form became vital and there are few who contributed more than Claude Shannon in the development in this technology. However, to be able to understand the significance of Claude Shannon’s contributions to society we first have to look into his life. Claude Shannon was fascinated with technology mainly because he was inspired by Thomas Edison. When he was a young boy he built devices such as remote control boats and telegraph systems (Gallager). He graduated from the University of Michigan with two bachelor degrees in mathematics and electrical engineering later attending graduate school at MIT (Gallager). This is where he worked on an ea rly analog computer and wrote his master’s thesis, which later influenced his award winning paper, â€Å"A Symbolic Analysis of Relay and Switching Circuits† (Gallager). This contribution led him to join Bell Labs that worked on fire control systems and cryptography during World War II for the National Defense Organization. He devoted the rest of his life to researching communication and information theory and because of his efforts he was named the father of information technology by his peers. Shannon’sShow MoreRelated Cognitive Psychology Essay1753 Words   |  8 Pagesof theoretical and empirical research in the field (Frensch, 2001). This analogy related the mind to a computer with sequences of computational processes. A Mathematical Theory of Communication was an influential paper written by Claude Shannon (published in 1948) which first presented the idea that to be communicated; information had to travel via signals through a sequence of stages and transformations. Such theories gave a substantially more complicated view of human Read MoreModels of Communication7544 Words   |  31 Pagesapproach here. E.  Ã‚  Ã‚   Early Linear Models 1.  Ã‚  Ã‚  Ã‚   The Shannon-Weaver Mathematical Model, 1949 a.  Ã‚  Ã‚  Ã‚  Ã‚   Background i.  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Claude Shannon, an engineer for the Bell Telephone Company, designed the most influential of all early communication models. His goal was to formulate a theory to guide the efforts of engineers in finding the most efficient way of transmitting electrical signals from one location to another (Shannon and Weaver, 1949). Later Shannon introduced a mechanism in the receiver which correctedRead MoreEfffects of Cell Phone Text Language4142 Words   |  17 Pagesthe researchers will conduct the study in this place because they will be able to seek the help and guidance from the professors and instructors of the College of Arts and Sciences who will provide them relevant information vital to the study. Significance of the Study The result of the study is expected to be beneficial and will be of great help to the following: The Administration. The result of this study may be used as a tool in helping the institution attain their goal in fostering the cultureRead More Humanity versus Virtual Reality Essay4430 Words   |  18 PagesHumanity versus Virtual Reality . . . Aiding this process was a definition of information, formalized by Claude Shannon and Norbert Wiener, that conceptualized information as an entity distinct from the substrates carrying it. From this formulation, it was a small step to think of information as a kind of bodiless fluid that could flow between different substrates without loss of meaning or form. Writing nearly four decades after Turing, Hans Moravec proposed that human identity is essentiallyRead MoreFree Essays6657 Words   |  27 Pagesprogrammability.[16] A succession of steadily more powerful and flexible  computing  devices were constructed in the 1930s and 1940s, gradually adding the key features that are seen in modern computers. The use of digital electronics (largely invented by  Claude Shannon  in 1937) and more flexible programmability were vitally important steps, but defining one point along this road as the first digital electronic computer is difficult.   Notable achievements are as under:- ââ€" ª Konrad Zuses  electromechanical  ZRead MoreComputers7651 Words   |  31 Pagesprogrammability.[27] A succession of steadily more powerful and flexible  computing  devices were constructed in the 1930s and 1940s, gradually adding the key features that are seen in modern computers. The use of digital electronics (largely invented by  Claude Shannon  in 1937) and more flexible programmability were vitally important steps, but defining one point along this road as the first digital electronic computer is difficult.Shannon 1940  Notable achievements include: * Konrad Zuse s  electromechanical  Z

Mcgurk Effect Essay - 1289 Words

The human’s five senses, is thought to collaborate independently, however it can be argued that senses unite to allow the mind to a better understand of the world. For example, auditory information is the major source of information for speech perception. According to Lucas Murrins Marques, Olivia Morgan Lapenta, Lotfi B. Merabet, Nadia Bolognini and Paulo Sà ©rgio Boggio (2014), what people see can shape what they hear, this visual-auditory crosstalk is known as the McGurk Effect. The McGurk effect is a powerful multisensory illusion, as the FMRI provides proof of brain regions being activated by McGurk Effect. Because of this effect, researchers have centralized their focus on transcranial magnetic stimulation (TMS) and transcranial direct†¦show more content†¦For the cathodal tDCS, two cathodal electrodes were also positioned above the T3 and T4, both electrodes were placed on right deltoid muscle and lastly, the Sham tDCS, electrodes were placed in the anodal tDC S. Pressured was enforced on the scalp at the 20 minutes before the experiment. The tDCS were delivered by two battery stimulators, using two pair of saline-soaked electrodes. Two electrodes were placed on the scalp over the temporal lobe for the STS area, and the other two were placed over the deltoid muscle. Participants were seated at 60 cm in front of the monitor and auditory stimuli were presented at the intensity of 40 dB. The test consisted of a sequence of three video trials that focused on eye fixation point and the screen containing two options of syllables. The task alone consisted of 56 trials (3 syllabus per trial), half of the trials were congruent and the other half incongruent. The congruent trials consisted of each syllable reproduced three times correctly matching a visual video. For the incongruent trials, each syllable was presented three times with a non-corresponding audio. After the congruent and incongruent stimuli was presented, participants were asked to ve rbally report (to minimize participants move their eyes away from screen) which syllable was perceived. The stimuli were accessible through an eye tracking system monitor and analyzed with the Clear View Software. Results An One-Way ANOVA test was conducted to seeShow MoreRelatedThe Holocaust And The Eugenics Movement2285 Words   |  10 Pageseighteen hundreds. As American Society developed, the Eugenics movement sustained racism. The Eugenics movement developed from the new idea of social Darwinism. One of the first to explore social Darwinism was Compte de Gobineau. Gobineau s book Essay on the Inequality of the Human Races was about how Europeans were intellectually superior to nonwhites. He split up the human races into four different races, and decided that the Arian Race was the best. The Eugenics movement was a sterilizationRead MoreStephen P. Robbins Timothy A. Judge (2011) Organizational Behaviour 15th Edition New Jersey: Prentice Hall393164 Words   |  1573 PagesglOBalization! Images of Diversity from Around the Globe 54 Point/Counterpoint Men Have More Mathematical Ability Than Women 61 Questions for Review 62 Experiential Exercise Feeling Excluded 62 Ethical Dilemma Board Quotas 62 Case Incident 1 The Flynn Effect 63 Case Incident 2 Increasing Age Diversity in the Workplace 64 3 Attitudes and Job Satisfaction 69 Attitudes 70 What Are the Main Components of Attitudes? 70 †¢ Does Behavior Always Follow from Attitudes? 71 †¢ What Are the Major Job Attitudes

Mon Amour Free Essays

Caught in the persistence of unpleasant memories, love and death intertwined with the vestiges of war, the city Hiroshima transforms from a site of horrendous tragedy to a symbol of the blossoming of love despite the iniquities of trauma brought by the war. In Hiroshima, Mon Amour, a French actress developed an intense affair with a Japanese architect. Her lover seems to have to be someone unexpectedly her type, for she fell previously for a German soldier during the World War II in Nevers, France. We will write a custom essay sample on Mon Amour or any similar topic only for you Order Now The actress was going to Hiroshima to play a part in a film â€Å"about peace†.   Her intention of going there was to erase her tragic memories of the war, only to find out that her memories magnified by the greater collective memory of atomic destruction. The film Hiroshima, Mon Amour does not place a fixed point where emotion, morality and ethics meet, it lets the viewer decide for themselves on how they interpret how the scenes and the place unites to weave the sublimity of their love story: The magnificent Emmanuelle Riva is less the â€Å"star† of the film than its primary â€Å"soloist,† to extend the musical metaphor––in comparison, Eiji Okada’s architect-lover is more of a first violin type. There is a dominant motif, which is the sense of being overpowered, ravished, taken––a French woman who wants to be overpowered by her Japanese lover (â€Å"Take me. Deform me, make me ugly†), an Asian man who is consumed by his Western lover’s beauty and unknowability, a fictional peace rally overwhelmed by its real-life antecedent, everyday reality drowned out by a flood of memories, a city devastated by nuclear force (Jones, 1959). Although classified as an art film that developed in the French New Wave movement in the early 1960s, the movie seems to transform into somewhat a docu-drama that serves to remind the viewers about the extent of damage of the atomic bomb dropped in Hiroshima. In the opening of the film alone, the movie bursts with symbolic close-ups of entwined human limbs covered in ash, summoning to memory the greatness of the catastrophe that cost millions of human lives. Using a series of dissolves, the viewers are introduced to the sweaty limbs of the film’s lovers, as they are making love. A viewer may conceive the shots differently as they are led to think if it is really sweat, or mutations that resulted from the atomic bomb blasting that occurred. These shots convey in seconds the weird tension between the personal and the global at the film’s core. They’re also an indication of the visual density of Resnais’ work: nothing on screen is throw-away. Those opening shots are followed by a 10-minute tour de force segment in which the director, Alan Resnais, seamlessly combines newly shot footage of the macabre artifacts (hair, teeth, pieces of human flesh in plastic display cases) at Hiroshima’s museum remembering the nuclear attack, footage from Children of Hiroshima (Gembaku no ko), Japanese director Kaneto Shindà ´Ã¢â‚¬â„¢s 1952 feature about the attack and its effects on the city’s population, and gruesome newsreel footage of the injured and dying shot days after the bomb was dropped (Mancini, 2003). Scripted by the novelist Marguerite Duras, both protagonists are indeed ‘possessed’ by memories of the traumatic events they have respectively endured, and it is only thanks to a passionate love affair that their captivation by images from the past is converted into speech. It is as if their eroticized body triggers the release of traumatic memories and the experiencing for the first time of how war affected them, although no words were verbally expressed. This opening montage is accompanied by the lyrical voice-over of the lovers, the French woman’s insistence she’s seen Hiroshima and the effects of the bomb, the Japanese man’s denial she ever could. The elliptical, artificial, and literary nature of the voice-over, its load of subtext could summon a certain sadness they both are hiding as a result of their traumas. Transmogrifying the social atmosphere at a certain point of history and the universal quality of love regardless of the national origin, the relationship establishes this by uniting traumatic memories and eroticized bodies routed through another level of signification, which has proved to be the film’s most ambiguous dimension. For most spectators, it is the film’s recourse to analogy that generates the greatest unease. It is not simply that the film properly arranges memories in a series of historical events that movie attempts to destabilize the enlightening narratives of the end of the Second World War, but the excesses associated with France’s Liberation on the one hand, and the atomic annihilation of Hiroshima and Nagasaki on the other, gathers the over all feel of what the movie is all about. The discomfort that the film is still capable of provoking arises from the kinds of analogy it constructs between the personal memories and the collective commemoration of an atomic bomb that nearly annihilated the place – the milieu where the characters are trapped. Is Hiroshima Mon Amour the story of a woman? Or is it the story of a place where a tragedy has occurred? Or of two places, housing two separate tragedies, one massive and the other private? In a sense, these questions belong to the film itself. The fact that Hiroshima continues to resist a comforting sense of definition almost fifty years after its release may help to account for Resnais’ nervousness when he set off for the shoot in Japan. He was convinced that his film was going to fall apart, but the irony is that he and Duras had never meant for it to come together in the first place. What they created, with the greatest delicacy and emotional and physical precision, was an anxious aesthetic object, as unsettled over its own identity and sense of direction as the world was unsettled over how to go about its business after the cataclysmic horror of World War II (Jones, 1959). As Damian Cannon (1997) expounded, Hiroshima is the very place where the conservation of the event in memory and its refutation in forgetting become simultaneously possible. Elle chooses to tell her story because she is in a place where things can be remembered, and then, ultimately, forgotten. It is important to note that the dropping of the bomb on Hiroshima signaled the end of the war in Europe. Elle arrives in Paris (a new place) that very day, consecrating by her displacement her forgetting of Nevers.   The writer Duras explains in her synopsis that because of the very place it evolves from, and in order for Hiroshima to maintain its ties to history, the love story has to precede and subsume the story of Hiroshima. On the other hand, the function of the Nevers story serves to introduce the nitty-gritty understanding of the character of the female lead, Elle. Ropars Wuilleumier (1992) shared that the ‘unrepresentability’ of Hiroshima’s catastrophe is transferred onto the ‘narratability’ of Elle’s story of a doomed love affair in Nevers. As Ropars-Wuilleumier points out, Lui, the Japanese lover, assumes exactly the position of the analyst in relation to Elle’s narration of her Nevers past at the moment when he accepts being addressed as her dead German lover, when he demands of Elle: â€Å"When you are in the cellar, am I dead?† But, consistently with Ropars-Wuilleumier reading of Hiroshima, Mon Amour’s analogical strategy, she insists that we should not see this ‘psychoanalytic simulacrum’ as operating primarily on behalf of the ‘working-through’ of the traumatic memory of Elle. Rather, the elaboration of the Nevers story in this symbolism implicitly poses the question of what it means to meander through the legacy of the atomic catastrophe (p. 179-180). In early sequences, when Elle relates the evidence of destruction she has seen on her visits to hospitals and museums, Lui tells her: â€Å"You saw nothing in Hiroshima. You know nothing†. Elle in turn insists that she has seen ‘everything’, knows ‘everything’ and has thus become convinced that she will never forget Hiroshima. But it is only after the transmission of her story of Nevers in three flashback sequences that the film’s viewers will realize that Elle has been seeking to inscribe in her memory images of Hiroshima’s destruction and its aftermath in order to do battle with the forces of forgetting that overwhelm even the strongest compulsion to remember. Early in the film, Elle tells Lui that they both share the desire to resist to forget the memories that bind them to their respective traumatic pasts: â€Å"Like you, I know what it is to forget†¦ like you, I’m over-endowed with memory†¦ like you, I too have tried with all my might not to forget. Like you, I forgot. Like you, I wanted to have an inconsolable memory, a memory of shadows and stones†. The first intrusion of another memory that also once seemed unforgettable, a flashing image of the hand of her dead German soldier, makes her realize that her conviction that she will preserve an unforgettable memory of what she has seen in Hiroshima, must also be an illusion (Turim, 1989). Through telling to Lui the story of Nevers, of her previous love affair love with a German soldier, his assassination by the Resistance and her punishment as a femme tondue, a woman whose head was shaven for (literally) ‘sleeping with the enemy’. With this, Elle undertakes her long-belated labor of mourning. Only as her narration nears completion does this traumatic memory of her German lover lying dead on the Quai de la Loire, which has made Elle captive to her past, achieve full representation (Ropars-Wuilleumier 1992, p. 182). It is only when it achieves representation does the memory in turn risk being subjected to the forces of forgetting. As the film suggests, this is the ambiguous fate awaiting memories of what has unfolded and about unfold in Hiroshima. Clearly, the passage in the final scene, when Elle cries out in anguish: â€Å"Til forget you! I’m forgetting you already!†, we are bound to vicariously feel that she is not only experiencing the pain of progressively forgetting the death of her ‘first love’, but that she suffers by anticipation the pain of forgetting Lui and Hiroshima. As the significance of this passage implies, the memory that possessed her is shown to be somewhat also her tool for her own â€Å"healing process† of forgetting, wherein forgetting is not simply the consequence of repression or social neglect, but something that cleanses you of your past pains and the realization of the necessity of ‘letting go’ of the traumatic memory itself. Thus, through the film’s guides us to the process of an individual’s compulsion to remember and need to forget. As Ropars-Wuilleumier (1992) explained, â€Å"the horror of Hiroshima is not eclipsed, but it becomes the object of a secret reflection upon the terms of both enunciation and expulsion of the historical event† (p. 291). . In this process, writer Duras sacrifices her agency within the narrative, giving the narration over to setting and story. This is mirrored at the end of Hiroshima, Mon Amour where the final lines of dialogue identify the two characters of the film with the cities they are from, Hiroshima, Japan, and Nevers, France (Sample, 2004). The overall tone of Hiroshima Mon Amour substantiates the thought that these painful memories at hand could whip us terribly with unrelenting repercussions in the future. Eventually, making all of us realize that these shared moments will somehow be forgotten. As a particularly depressing thought, there are at least a few moments of illumination in the darkness of what had caused us pain. To wit, Sample (2004) averred that the two protagonists’ love, free from spousal recrimination, is fulfilling and unweighed by ulterior motives proposes a viable meeting of souls that could help process and heal the pains of their past experiences. Works Cited Cannon, Damian. Hiroshima, Mon Amour: A Review. Movie Reviews UK, 1997. Jones, Kent. Life Indefinite. Criterion Collection Website.   Acquired online last December 10, 2005 at http://www.criterionco.com/asp/release.asp?id=196;eid=317;section=essay Mancini, Dan. Hiroshima, Mon Amour. DVD Verdict Review Website. Acquired online last December 10, 2005 at http://www.dvdverdict.com/reviews/hiroshimamonamour.php Ropars-Wuilleumier, Marie Claire. How History Begets Meaning. In Saul Friedlander (ed.), Probing the Limits of Representation: Nazism and the â€Å"Final Solution†Ã¢â‚¬â„¢ (London: Harvard University Press, 1992). Sample, C.K. Life and Text as Spectacle: Sacrificial Repetitions in Duras’s The North China Lover, Literature/Film Quarterly. Salisbury: 2004, (32)4: 279-288. Turim, Maureen. Flashbacks in Fiction and Film: Memory and History. New York: Routledge, 1989. How to cite Mon Amour, Essay examples