Marketing plan Assignment Example | Topics and Well Written Essays - 1750 words

Marketing plan - Assignment Example Personal contact with the client should be coupled with the use of the ever growing and beneficial social media platforms (Benett, 2009). Moreover, the business will incorporate client promotion as a key component of its marketing channels and tactics. The span and salon sector has experienced exponential growth over the last couple of years. The services are sought after majorly for relaxation. Most of the users of the services choose the salon or spa to visit on the basis of the range of services that are offered and the proximity to their places of work and residential homes (McDonald & Keegan, 2002). The quality of the service and the prices also influence consumer decision. A lot of service providers operating in Houston have targeted the high end market. These are individuals in stable employment and are on a stable income. Most of them charge an average of $ 250 for their services. From the price analysis, it is clear that a lot of people are locked out from this vital amenity. The need for affordable quality services in a convenient location is quite evident in the Houston market, based on the available data and it is such vital market needs that Divine Divas Salon seeks to satisfy. Divine Divas Salon targets people from all social classes living in Houston. The reason why the enterprise has decided to target the entire market is to avoid locking out those who had been previously denied access to the services due to the exorbitant charges. This market is made up of several groups that have different needs and characteristics. The first group consists of customers recovering from injuries. These clients need massage therapies and in most cases the charges are paid by the insurer (McDonald, 2011). The second group consists of clients who are out to pamper themselves. Majority of the members of the second cluster are

Informative Speech Essay Example for Free

Informative Speech Essay Attention Getter: Mothers day is coming up, and there is a few options for you to use as gifts. 1. You can spend fifty dollar on flowers just to watch them die in a week. 2. You can buy her chocolates even though most of us are constantly trying to cut back. 4. You can do nothing and look like a jerk. 5. Or can simply spend a dollar at a thrift store, and create a desk ornament using only an old book. Topic Sentence: Recently I’ve made a few of these and have gotten a really great response from family and friends. I suppose I’d call it book-origami, but I’m not sure if there’s a proper title for this sort of thing. My purpose tonight is to teach you how to make one of these. Credibility / goodwill: After I made my first book, I got several compliments on it. Afterward, I came to the conclusion it might make a great mantelpiece, or even a desk ornament. Itsinthestars.com/us shows a survey taken in 2012 that states â€Å"The average person ends up purchasing 16 gifts or more a year.† Gift buying can add up quickly so I have found that it is nice to have a backup plan in case you’re broke at the time. Surely some of us in this very room have come to this dilemma so I am hoping to provide an idea for such an occasion. Thesis: Tonight I will teach you how to make one of these decorations by first teaching you what type of books are best to use, secondly I will tell you how to prepare the process of getting started, and lastly I will be teaching you a few of the folding techniques. Body: (Chronological = steps in a process) I. The First step in making one of these book decorations is to find the right kind of book to work with A. Through trial and error, I have found that it is best to use a hardcover book. 1. The way I have been making these has been without the use of any glues or starches, and the hardcover frame seems to help the book hold its shape naturally. B. When choosing your book you will also need to consider the number of pages that it has. 2. This was actually my first book, and it has about two hundred fifty pages in it. My second book actually has over 550 pages in it. The choice you make depends on your taste, but personally I think the thicker book has a much fuller and professional look. C. You should also consider the size of the cover of your book. 1. I believe that a someone smaller book makes for the best decoration because it doesn’t take up much room. Transition: Now that you have chosen a book to work with, you are ready to divide your book in sections. A. In my first book I didn’t take a whole lot of time, and just approximately divided the book into 3 sections. 1. You might not be able to tell at first glance but one side actually has around 15 pages more using the first folding style. B. If you want to go for a truly symmetrical look, I would suggest counting out each page individually. It will take more time this way, but you will probably be happier with the end result. 1. After you have decided how much you want in each section, I would recommend marking each sections beginning and end with a bookmark. Transition : Now that you have sectioned off your book, you’re ready to start folding. (please excuse my lack of technical terms, but this is really just something I’ve been experimenting with and was not actually taught anything about origami. A. I like to start off each book with several simple corner folds. 1. After each page, you should alternate between folding the top corner down, and folding the bottom corner down. 2. The reason I start the book this way because it is a really easy technique, and it also seems to help the book expand quite a bit. B. Another fold I use quite a bit I would call an airplane fold. I call it this because it is how I remember starting off paper airplanes, again this isn’t a technical lesson. 1. This technique is done simple by folding the top and bottom edges into the middle of the page. 2. I tend to use this technique for the middle section because again, it is very easy to do, and it helps the book to stand up. C. What I have used for the outer-middle section here is actually just a variation of the airplane fold. 1. After folding both edges in, you then take the middle point of the page and fold it to either the upper or lower portion, again alternating with each following page t o get this accordion look. Conclusion: Thesis: Tonight I have taught you how to make one of these decorations by first teaching you what type of books are best to use, secondly telling you how to prepare the process of getting started, and lastly I taught you a few of the folding techniques. Closure: Now you’re ready to make one of these for yourself. I’ve only been doing this for a few months, and I have found that most of the fun comes from trying new techniques. I’ve only shared with you a couple of the techniques that I’ve used. I would highly encourage you to try some of your own ideas, get creative . You could try ripping or cutting the edges of certain pages to give them a rough look, or you could add paperclips to portions of the book to give it a specific hold. Maya Angelou once said in the book Conversations with Maya Angelou printed in 1989 â€Å"You cant use up creativity. The more you use, the more you have† I’ve always agreed with that. I have found this to be a fun, creative and cheap idea for a gift. Mothers day is Sunday the 12th of May this year, so you should get started.

Impact of the Discovery of Homo Floresiensis

Impact of the Discovery of Homo Floresiensis The discovery of Homo Floresiensis has profound implications for what it means to be human; it raises questions about the uniqueness of human lineage which is the foundation of our society and our religions. The three great problems for nineteenth century ethnology and prehistory were identified by Latham in Man and his Migrations (1851) as: the unity or non-unity of the human species; its antiquity; and its geographical origin. This shortlist has formed the basis for research into human origins ever since. The ambiguity surrounding each question has been reduced to every generation’s satisfaction, then thrown open again as changes in opinion about the world and its people have led to revisions. This cyclical process has provided the spur to fieldwork and the development of new techniques of classification, analysis and dating. Latham was writing at an interesting time in scientific progress of thought, eight years before the Origin of Species was published. This was the foundation text for the biogeography of Darwin and Wallace which accounted for the distribution of life on the plant. The importance of these studies was their contribution to the scientific investigation of variation via the principle of natural selection. Individuals were the units under selection with the evolutionary results measured by their differential reproductive contribution to the next generation. The notion of a cradle for mankind, a discrete geographical centre for human origins, is an ancient idea. The Garden of Eden is the best known example. Adam and Eve might be replaced, as they were in the last century, but the idea of an ancestral homeland continued. The study of human origins now starts from a very different set of assumptions than it did when Latham penned his three questions. It is also extremely well-informed about process and patterns in the data compared to 150 years ago. The celebration of progress has fallen from the agenda. Living peoples are no longer regarded as living representatives of a past which the Western world once possessed.   But for all these apparently fundamental changes the questions on the agenda remain the same. Why should the study of human evolution be restricted, because of the search for cradles, to some continents. What it means to be human The fascination with humanity’s African origins, singular or otherwise, remains unabated. Great strides in understanding the development of modern human beings are currently being taken at the very southern tip of Africa. While much of the press attention over the past few decades has been on the scholarly debate on whether humans evolved once in Africa, universally known as the Out of Africa theory, or several times all over the world, the multiregional hypothesis, a quiet revolution has occurred centred on what it means to be human (Stringer and Gamble, 1993). Within twentieth century archaeology and palaeontology, probably since the discovery of the Lascaux Caves in France, archaeologists have continually believed that, while anatomically modern Homo sapiens evolved somewhere between 100,000-150,000 years ago, humans didnt actually develop modern behaviours and thought processes until around 50,000-40,000 years ago (Wood, 1992). This event, known in some scientific circles as the creative explosion, was announced by what researchers saw as an abrupt blossoming of symbolic thought; the ability to identify and create representations of entities. Thus, according to the creative explosion theory, H. sapiens displayed a recognisable intelligence equivalent to other hominids of the time, identifiable by the cave artwork at Lascaux. Further evidence of the initiation of modern human behaviour is alleged to include fishing, the manufacture of bone tools, and the use of decoration. Following the initial interest in Africa during the early decades of the twentieth century, the majority of archaeological research moved to Europe. The overwhelming concentration on the visible prehistory of Europe, including both cave and portative artwork, resulted in a deficit of research into human origins in Africa. The research of the past forty years has indeed been remarkable in yielding up a great many fossil and cultural remains from a broad range of African environments. After a period of relative neglect, however, increasing attention was being given to the biological and behavioural changes that led to the evolution of H. sapiens, the last major even in human evolution.   The triumph of archaeological research into the earliest prehistory of Africa was trumpeted by the archaeologist Desmond Clark in the Huxley Memorial Lecture of 1974. Titles â€Å"Africa in prehistory: peripheral or paramount?† it pointed to the overwhelming evidence from Africa for the origi n of hominids, which overthrew the previous view â€Å"that the history of Europe is emphatically the prehistory of humanity.† (Clark,1975). Eventually, evidence of an earlier flourishing of the creative mind began to appear, south of the Zambezi River, and dated to the Mesolithic, the earliest date approximating 70,000 years ago. Similar artefact assemblages known as Howiesons Poort and Still Bay had been found at sites such as the Klasies River Caves, Boomplaas, and Die Kelders Cave I in South Africa (Grine et al., 2000). These sites included sophisticated bone tools, backed blades, a careful selection of raw material for stone tools and the use of a punch technique; however, most of these were controversial in one respect or another, until the discovery of Blombos Cave. Research into the Blombos Cave assemblages have been undertaken since 1991, and artefacts identified have include sophisticated bone and stone tools, fish bones, and an abundance of used ochre (Leakey and Lewin, 1993). Ochre has no known economic function, and it is virtually universally accepted as a source of colour for ceremonial, decorative purposes. The Blombos Cave layers containing used ochre are dated 70,000 to 80,000 years BP, and, in 2004, a cluster of deliberately perforated and red-stained shell beads dating to the Mesolithic was found (Aiello and Dean, 1990). Without any obvious practical purpose these artefacts are currently interpreted as personal ornaments or jewellery, possibly belonging to the occupants of Blombos. The most persuasive interpretation of these finds, and numerous others throughout Africa, within the parameters imposed by previous and current discoveries and research, is that the growth of the human symbolic thought was a slow process that continued t hroughout the Mesolithic in Africa. Symbolism, and its deliberate representation, is a phenomenon previously unidentifiable in any extant species other than H. sapiens, despite the genetic and predominantly behavioural similarity between humans and other primates, and can therefore be interpreted as a distinctly human trait (Spencer, 1876-96). Symbolism, in all its forms, however has not always been strictly the prerogative of H. sapiens.   Many investigators of Neanderthal culture believe that H. neanderthalensis was the earliest species of hominid to ritually bury their dead, and important evidence to support this statement originates from Shanidar Cave, located in the Zagros Mountains of northern Iraq (Solecki, 1971). Between 1951 and 1960, excavations in and around the mouth of the cave were undertaken, allowing the recovery of a range of Mousterian tools, and the analysis of eight burials, relating to the remains of seven adults and one child. While four of these individuals appear to have been killed by rockfalls, four others may have been deliberately buried (Gargett, 1989). Soil samples taken around one particular burial, known as Shanidar IV, revealed the presence of pollen grains and small amounts of vegetable matter. While there was very little pollen in most of the soil samples taken around the skeleton, two samples from the burial itself contained a large number of pollen grains representing a total of 28 plant species (Leakey and Lewin, 1993). This evidence was used to support the hypothesis that more than 50,000 years ago the body was deliberately and ritualistically buried on a bed of woody branches and flowers sometime during the months of May through July, during the blooming season for the plant species. Excavations of the cave over the next decade yielded cultural data as well as skeletal remains of Middle Palaeolithic Neanderthals and Proto-Neolithic modern humans, representing two periods renowned for the scarcity of such material (Solecki, 1975). According to subsequent research, the Neanderthal and Proto-Neolithic people of Shanidar Cave potentially followed culturally-defined methods for burying their dead in a base camp, possibly increasing the groups ties to a traditional home site. They practiced both primary burial (interment of a mostly intact body shortly after death) and secondary burial (final interment of disarrayed or isolated bones or of a body that had undergone some other burial process as a first stage) (Aiello and Dean, 1990). Offerings placed in the grave included bead ornaments and assumed favoured personal objects, but no obvious symbols of rank. The variety of materials included reveals an extensive long-distance exchange trade, and the mortuary practices are comparable to those of other contemporary Near Eastern cultures (Leakey and Lewin, 1993; Solecki et al., 2004). The material culture of the cave and the surrounding Zagros area is characterized by chipped stone industry and such innovations as a variety of ground stone tools, worked bone tools and abundant personal ornaments. These suggest growing cultural richness and elaboration, a semi-sedentary lifestyle and a mixed subsistence strategy based both on wild species of plants and animals and early domesticates (Gargett, 1989). Though the interpretation of deliberate and ritualistic H. neanderthalensis burials remains contentious, with opponents suggesting the presence of flower pollen within the grave is a result not of deliberate adornment of the corpse but of the accidental deposition of flower and plant matter from burrowing rodents, until the theory of ritualistic burial is conclusively disproved it remains a highly persuasive hypothesis for cross-species traits of ‘humanity’. Although much has been made of the Neanderthals burial of their dead, their burials were less elaborate than those of anatomically modern humans. The interpretation of the Shanidar IV burials as including flowers, and therefore being a form of ritual burial, potentially evidence for the acknowledgement of a theoretical afterlife, has been questioned (Sommer, 1999). In some cases Neanderthal burials include grave goods such as bison and aurochs bones, tools, and the pigment ochre. Neanderthals performed a sophisticat ed set of tasks normally associated with humans alone. For example, they constructed complex shelters, controlled fire, and skinned animals. Particularly intriguing is a hollowed-out bear femur with four holes in the diatonic scale deliberately bored into it. Estimated to date at approximately 43,ooo up to 82,ooo years old, this ‘flute’ was found in western Slovenia in 1995 near a Mousterian Era hearth used by Neanderthals. Its significance is still a matter of dispute, however, its perfect fit to bother modern and antique diatonic scales implies the deliberate manufacturing of a musical note making device (Aiello and Dean, 1990). Music beyond the percussive, in addition to ritual and symbolism, is another previously assumed trait of H. sapiens alone, and the Slovenian flute suggests a rethink of what it means to be human may be required. Similarly, the concept of prolonged care of community individuals is a trait usually attributed to the H. sapiens species. While other species present evidence of a rudimentary form of care, the deliberate attention paid to the prolonging of life of an individual with no primitive value to a community, such as providing nutrition to an elderly community member for an extended period of time, is peculiarity associated primarily with H. sapiens. It has been previously believed that this trait, in addition to being singular to the human race, can be interpreted as a definition of what it means to be human. However, similar to the evidence presented above, there has been strongly influential evidence of ‘care in the community’ from Neanderthal societies. Following a 6 year excavation season beginning in 1899, the site of the Krapina caves, Republic of Croatia, yielded a number of osteological Neanderthal specimens. Radiographs undertaken in 1997 indicated a number of surpris ing conclusions. While the overall picture of Neanderthal health, based on the radiographs, was impressive, not all the specimens showed perfect health. Archaeologists were able to document one of the earliest benign bone tumours ever discovered and identified, and one individual may have had a surgical amputation of his hand (Leakey and Lewin, 1993). In addition, several individuals had examples of osteoarthritis ranging in severity, and it is suggested that the extended survival of these individuals following surgery or the onset of debilitating arthropathies indicates a sophisticated level of care from the healthy population. Humans are a striking anomaly in the natural world. While we are similar to other mammals in many ways, our behaviour sets us apart. Our unparalleled ability to adapt has allowed us to occupy virtually every habitat on earth using an incredible variety of tools and subsistence techniques. Our societies are larger, more complex, and more cooperative than any other mammals. Evolutionists, and scientists from other fields of study, argue that only a Darwinian theory of cultural evolution can explain these unique characteristics. The twentieth century is offering a radical interpretation of human evolution, arguing that Homo sapiens ecological dominance and singular social systems stem from a psychology uniquely adapted to create complex culture. Richerson and Boyd (2004) illustrate that culture is neither superorganic nor the handmaiden of the genes. Rather, it is essential to human adaptation, as much a part of human biology as bipedal locomotion. Drawing on work in the fields of anthropology, political science, sociology, and economics, Richerson and Boyd (2004) convincingly attest that culture and biology are inextricably linked, and their interaction yields a richer understanding of human nature. Discovery of Homo floresiensis Currently, it is widely accepted that only one hominid genus, Homo, was present in Pleistocene Asia, represented by two species, Homo erectus and Homo sapiens. Both species are characterized by greater brain size, increased body height and smaller teeth relative to the Pliocene Australopithecus genus present in Africa (Brown et al., 2004). But it was the most spectacular fossil find of a generation that has marked twentieth century studies into human evolution. The discovery that a mysterious and apparently ingenious human species may have shared the planet with our own less than 15,000 years ago captured the imagination of palaeontologists and public alike. Excavations at Liang Bua, a large limestone cave on the island of Flores in eastern Indonesia, have yielded evidence for a population of tiny hominids, sufficiently distinct anatomically to be assigned to a new species, Homo floresiensis (Morwood et al., 2004). An excavation team under the leadership of Australian and Indonesian scientists have unearthed the remains of eight human beings of relatively restricted stature and reduced brain volume, comparative to previously understood parameters for anatomically modern humans. In recognition of the combination of primitive and derived features, and their subsequently assumed status as a species distinct from Homo sapiens, the fossils were ascribed the name Homo floresiensis (Flores Man) after the island on which they were discovered. One skeleton, estimated to be that of a woman in her 30s and calculated to be approximately 18,000 years old, was only 1 metre tall, and the endocranial volume of the skeleton in question was a mere 380 cc, significant as it may be regarded as small even for a chimpanzee (Beals et al., 1984) and equal to the smallest-known australopithecines (Brown, et al., 2004). Investigations into the specimens, estimated to belong to at least eight individuals, show that H. floresiensis inhabited the cave at Liang Bua for an extended period of time ranging between 95,000 and 12,000 years ago. The common opinion of the archaeologists responsible for examining the tools and animal bones unearthed in the cave is that H. floresiensis individuals exhibited complex behaviour requiring the capacity for speech, and can therefore be regarded as social and intelligent human beings with creative ability. Stones carved and sharpened for particular purposes, and animal bones discovered in the cave, indicate t hat these people were successful hunters, capable of catching animals larger than themselves, and associated deposits contain stone artefacts and animal remains, including Komodo dragon and an endemic, dwarfed species of Stegodon. There has been some speculation that the stone tools found with it were actually made by Homo sapiens, mainly because it is hard to believe a creature with such a small brain could make such sophisticated stone tools. There is no other evidence in support of this, however, and if it were not for the small brain size, there would be no hesitation about assuming floresiensis made the tools because of the close association between the tools and the fossils. The same tools are found through the entire deposit (from 90,000 to 13,000 years ago) and, interestingly, they are not like any stone tools made by Homo erectus (Kaifu et al., 2005). The finds comprise the cranial and some post-cranial remains of one individual, as well as a premolar from another individual in older deposits. Dating by radiocarbon (C14), luminescence, uranium-series and electron spin resonance (ESR) methods indicates that H. floresiensis existed from before 38,000 years ago (kyr) until at least 18  kyr (reference). It is alleged, with much research still yet to be undertaken, that H. floresiensis originated from an early dispersal of Homo erectus, including specimens referred to as Homo ergaster and Homo georgicus, that reached Flores, and then survived on this island refuge until relatively recently. The most likely explanation for its existence on Flores is long-term isolation, with subsequent endemic dwarfing. H. floresiensis overlapped significantly in time with Homo sapiens in the region, however, interactions between the two species currently remain unknown. Importantly, H. floresiensis shows that the genus Homo is morphologically more va ried and flexible in its adaptive responses than previously thought (reference). The finds further demonstrate that H. floresiensis was not simply an aberrant or pathological individual, thereby interpretable as anomalous and inconsequential within the field of human evolution, but is representative of a long-term population that was present on the island for approximately 80,000 years. According to the dwarfism scenario, it is assumed that the H. floresiensis line descended from Homo erectus. The justification for that belief, however, is currently experiencing much debate within the archaeological academic arena, and relies on the comparison between tool assemblages uncovered from the Liang Bua cave, and thus associated with H. floresiensis, and a series of assemblages reported by Morwood in 1998, and dating to approximately 800,000 BP (Morwood et al., 1998). The similarities between these assemblages resulted in the assumption that H. floresiensis was a descendent of the manufacturer of the older collection of tools, H. erectus. H. floresiensis facial anatomy also generally resembles that of H. erectus, and, in addition, the East Asia region in which the island lies is one of the regions where H. erectus was extant for a long period. One article published in Science journal in 1996 listed evidence that H. erectus had survived on Java, an Indonesian island like Fl ores, until as recently as 27,000 years ago. (Swisher et al., 1996) Implications: Society, religion and politics Despite an academic and generic fascination with the process of human evolution, the creationist arguments in disagreement with evolutionary research remain influential. According to many creationist proponents, the reason why scientists have elected to give the fossils in question the name H. floresiensis is that researchers, who have accepted the idea that humans initially developed through evolution, cannot afford to imply a hypothesis that does not accord with the evolutionary ‘myth’ they have presented. Evolutionists are accused of naming ‘old human races’ by a methodology that relies on exaggerated interpretation of the variations presented between hominids, and in comparison with anatomically modern man, and thus results the declaration of the fossils as a new species. According to current creationist advocates, the H. floresiensis fossils are also a product of this methodology, and their description as a new species rests solely on evolutionist †˜preconceptions’. Predominant creationists have gone further to attest that the description of H. floresiensis as a new human species provides no support at all for the theory of evolution, but, on the contrary, reveals how forced the claims regarding it actually are (reference). The concept of the biological species is used in the present day for organisms included in the same category that are able to mate and successfully produce healthy offspring. This definition is based on mutual reproducibility as setting out the boundary criterion between species. According to creationist proponents, however, there is no means of knowing, simply by analysing and categorising the fossilised bones of organisms that lived in the past, which were able to reproduce with which. Classification based on degrees of similarities between bones, and the variations exhibited among these, may not reveal scientifically definite conclusions as some species, such as the dog, exhibit wide variation, others, such as the cheetah, are known to exhibit only narrow variation. Accordingly, when fossils belonging to extinct species are discovered, creationists attest, the variation observed may stem from one of two reasons. This variation either belongs to a species exhibiting wide variation or to a few separate species exhibiting narrow variation, yet there is no way of knowing which of the two actually applies. Indeed, Alan Walker, palaeoanthropologist and evolutionist, admits this fact by claiming that one cannot know whether or not a fossil is representative of the community to which it belongs. He further states that one cannot know whether it comes from one of the ends of the species range, or from somewhere in the middle (Locke, 1999). Evolutionists define the H. floresiensis fossils as a separate species, and regard its small endocranial volume and short skeleton as characteristics of that species. However, creationists contest this by asserting that individuals may not carry all the features in the population gene pool, and, therefore, the features exhibited by individuals may not be those generally exhibited in a given population. Therefore, the smaller the quantity of fossils analysed the greater the risk of error in assuming that their features are those of the general population. Locke (1999) has elucidated this with a simple analogy: if a palaeoanthropologist of the future discovers bones belonging to a professional basketball player, then twenty-first century man may well seem to have been a giant species. He further stated that if the skeleton belongs to a jockey, on the other hand, then humans will seem to have been short and lightweight bipeds (Locke, 1999). According to creationists, therefore, the defi nition of H. floresiensis as a separate species based on its small brain volume and short skeleton, and the assumption that all individuals possessed those same features, is a mistake, and that these fossils may well be regarded as variations seen in old human races living at that time. In relative support for the creationist viewpoint, the real surprise for evolutionists came from learning that a hominid with such a small brain volume lived not millions of years ago but only 18,000 years BP. Chris Stringer, from Londons Natural History Museum, admits this surprise to the archaeological community; that the very existence of a creature with a brain the size of a chimpanzees, but apparently a tool-maker and hunter, and perhaps descended from the worlds first mariners, illustrates how little is currently known about human evolution (Wood, 1992). Peter Brown, one of the leaders of the research team at Liang Bua, describes the bewilderment within academic circles as a result of the cranial measurements, and admits that H. floresiensis is totally incompatible with evolutionary accounts; that small stature is easy to accommodate within the evolutionary theories, but small brain size is a bigger problem to account for. According to the creationist theory advocates, the evol utionists own statements reflect the ‘heavy blow’ the fossil in question has dealt to the ‘illusory’ scenario of human evolution (Wood, 1992). The confusion with regards to the interpretations of H. floresiensis is not restricted to the disparities in hypotheses between evolutionists and creationists. Scientists have been unravelling the mysteries of when early hominids first left Africa, where they went, how many hominid species there were, and how they relate to modern humans, for more than a century. The H. erectus skull recently found in Indonesia adds a valuable piece to the fossil record, but scientists differ about where it fits in the human family tree. One particular specimen of cranium, known as Sambungmacan 4 (Sm 4), was found in the Sambungmacan district of central Java, Indonesia. It is that of a middle-aged or slightly younger male Homo erectus who had probably suffered and recovered from head wounds. Two partial skulls and the fragment of a tibia had previously been discovered in the area. It is assumed that H. erectus, and perhaps other early hominid species, began leaving Africa approximately 2 million year s ago, and fossil remains have been found in Asia, the Middle East, and Europe, indicating a widespread global distribution of individuals and communities. In addition to the media-friendly discovery of H. floresiensis, given the moniker of â€Å"The Hobbit† by the press, Indonesia, an island nation in southeast Asia, is the site of some of the earliest Homo erectus remains yet found. The relatively abundant fossil material provides scientists with an opportunity to study the evolution of the species and how it relates to modern humans. Anthropologists from the National Science Museum in Tokyo, analyzed the Sm 4 skull using digital visualization techniques, and compared it with other skulls found in Java. It is argued that morphological characteristics of early H. erectus in Java, represented by fossil finds from Trinil/Sangiran, more closely resemble those of modern humans (Baba et al., 2003). Fossil material from Ngandong, which has been dated to anywhere between 25,000 to 50,000 years old, suggests that Java H. erectus had gone off on an evolutionary tangent of its own, developing distinct features that are not shared by modern humans. It is concluded by this research that Javanese populations became progressively more isolated from other Asian H. erectus populations, and made minimal contributions to the ancestry of modern humans (Kaifu et al., 2005). At one time scientists considered it possible that modern humans were the direct descendants of Asian Homo erectus. That idea has been discarded by many scientists who now think that while African H. erectus may be ancestral to H. sapiens, Asian H. erectus was an evolutionary dead end, similar to earlier theories regarding H. neanderthalensis, rather than the immediate precursor to modern humans (Kaifu et al., 2005). However, debate continues and other specialists believe that the African version of H. erectus is dissimilar enough to belong in a separate species category called Homo ergaster. The geological complexity of the Indonesian islands makes precise dating of the fossil material difficult and controversial. Fossils found at Trinil and Sangiran range in age from approximately 1.8 million years old to maybe as young as 780,000 years old (Swisher et al., 1996). Comparatively, fossils found at Ngandong have been dated at approximately 50,000 years old. The Sm 4 specimen is believ ed to fit somewhere between these two groups in age, and therefore may be contemporary with H. sapiens.   The uncertainty of Sm 4s age lies in part with current disagreement as to whether or not all fossils from Sambungmacan represent a single fauna or are composites being derived from various age strata. Whether there is enough difference between the early fossils and the later fossils that they should be considered two separate species or a sub-species is also controversial. Based on variations in skull shape, and a lack of diversity among Javanese populations living 25,000 to 50,000 years ago, it has been concluded that Sm 4 is a transitional form, an evolutionary step taking the later Javanese populations farther away from classical Homo erectus remains found at Trinil and Sangiran (Baba et al., 2003). However, this conclusions is debated on the basis that the larger brain sizes of later materials, fossils dated at 25,000 to 50,000 years ago, are different enough that they sho uld be considered a different species or at least sub-species. Sm 4 phenotypically appears to be a lot of the other material found in Indonesia. The material is morphologically very consistent, and shows continuity within Indonesian Homo erectus. There are some features, particularly around the jaw joint that may be unique to the Ngandong fossils, however it is not clear whether the features are taxonomically significant or useful as species indicators (Baba et al., 2003).The disparities in the skulls seen in Indonesia may be a function of normal variability in any species, illustrated particularly well when considering the variations in height between ‘normal’ humans and those suffering from achondroplasia; both remain within the species of H. sapiens, however difference in stature can be remarkable. The claim by Desmond Morris, that the existence of â€Å"The Hobbit†, or H. floresiensis should destroy religion (Tattersall, 1986), is one which has been made before. Indeed, Richard Dawkins, an evolutionary biologist, still cannot understand why religion survived Darwin (Tattersall, 1986). Yet as science progresses, despite the decline of allegiance to traditional Christian churches in Western Europe, religion continues to grow world-wide in many different forms. Contemporary science, far from solving every question, often highlights the big questions which are central to human existence. This is the case with the discovery of LB1, the 18,000-year-old specimen of the new species Homo floresiensis. The find of this so-called Hobbit on Flores Island excites many academics within many fields, not least archaeology and theology, as it poses the unresolved question of what it means to be human. LB1 becomes part of this contemporary question alongside developments in science, su

ACL Injury :: Sports Medicine

Sports Medicine ACL Injury The Anterior Cruciate Ligament is one of two central ligaments that support the knee. ACL injuries occur most frequently in planting and cutting sports such as soccer and basketball. ACL injuries are thought to occur more often in women then in men due to the anatomical differences between them. The Anterior Cruciate Ligament also know as the ACL is located behind the patella (kneecap). It connects the femur and tibia. The ACL acts as a seat belt in the knee, it keeps the tibia from slipping as a result of jerky movements. Since women’s hips are wider it may put extra pressure on the ACL, making it more vulnerable to injury. High estrogen levels at mid-cycle may also make the ACL more likely to tear from to much movement. Women tear their ACL’s at a rate of two to eight times that of men. The ACL is listed as the most commonly injured ligament in the knee. Most often when ACL injuries occur the knee may feel as if it is coming apart or giving way, and a commonly described â€Å"pop† may be heard at the time of the injury. most athletes are unable to continue participating in their activity, but some are able to stand and walk. Swelling usually begins in the first few hours after injury. Pain progressively worsens and muscle spasms may occur, A complete exam at the time of the injury is ideal. Anterior Cruciate Ligament reconstruction’s are performed using arthroscopic surgery. The surgery is performed by removing the damaged section of the ACL and replacing it with a graft from the patella tendon, hamstring tendon, or a cadaver graft. To connect the graft back into the knee two tunnels are drilled one into the tibia and one into the femur. Then two small pieces of bone are placed in the tunnels and then the graft is attached to the bones. Traditional rehabilitation after surgery involves a period of rest then the gradual introduction of exercises to improve range of motion, strength, and functional ability.

Judgment of Paris Essay

Two actors from Paris, Robichon and Quinquart, fall in love with a woman, their co-star on stage. The trouble is, the lady loves both the men! Finally she devised a plan – she would marry the one whom the Parisians awarded the best actor title. How will they judge the two actors? Bit/Bits Robichon and Quinquart were two comedy actors in Paris and Suzanne was a beautiful actress in their troupe. The two actors loved Suzanne and Suzanne loves the two of them alike. When she was pressed from both the sides, Suzanne had to agree to marry one and consider the other as friend. (I wonder, who made it a law that one should marry only one!) Suzanne leaves the decision to the Paris audience. Whomever the audience chose as the best actor, she will marry him! Now the big question arises – how will Paris choose the best actor? How? How? While the two actors were seriously thinking and discussing about this, they had a visitor. Jacques Roux. Jacques Roux was once an executioner – an official who executed convicted criminals under the guillotine. Now that Jacques Roux had retired from service and is spreading the awareness that capital punishment was a crime against humanity. He wanted his message to be spread through dramatic monologues. Because Jacques had stage-fright, he seeks Robichon’s help and the latter agrees. Robichon enacted Jacques’ role in front of the Paris audience and everyone was spell bound. Suzanne was almost Robichon’s. At this, Quinquart counteracts. He disguises as Marquis de Thevenin, a judge, and invites Robichon to dine with him. During the meeting the Marquis (Quinquart) informs Robichon that he (Robichon) was going to die of the poisoned wine he had taken as a punishment for wrongly sentencing his son. Robichon believes this and is outwitted. Paris chooses Quinquart as the better actor and the judgment goes in favor of Quinquart. Summary What happens if two equally talented actors in Paris (or anywhere else) want to marry the same woman? This was a haunting question that Robichon and Quinquart had to answer because the two actors wanted to marry the beautiful Suzanne. When the duo failed to resolve the issue, Suzanne said, â€Å"Let Paris  decide.† â€Å"But how will Paris decide?† they asked. â€Å"By your performance!,† she replied. That was again another problem. They were like Aamir Khan and Sha Rukh Khan or like Mohanlal and Mammootty or Will Smith and Sylvester Stallone! No, I am wrong – they were comedians. They were like, like, yeas, Charley Chaplin and Johny Lever (I am not good at comparison!) By the way, students of Functional English, I do not have your text. If you send me the scanned/photographed copies of chapters, I can publish those chapters too. So, Robichon and Quinquart had to find a more convincing way to stand above the other. While they were thinking of this, they had a visitor – a retired executioner, and his name was Jacques Roux. You know that an executioner’s job is to kill the criminals whom the court sentences to death. In Paris execution is carried out by a guillotine, a terrible machine whose suspended blade falls on the culprit’s neck. Jacques Roux was disillusioned so he wanted to spread awareness in France about the cruelty of capital punishment. Being no good speaker (he had stage fright), Jacques Roux requested Robichon and Quinquart to do that for him. Without much thinking, Robichon accepted the offer and in a couple of days he gave a terrible shock to the Parisian audience as Jacques Roux but what Quinquart did was more than a shock. You will find that in the analysis section. â€Å"Alas!† persisted the newcomer, â€Å"with me time presses. I, too, am considering my latest part–and it will be the only speaking part I have ever played, though I have been ‘appearing’ for twenty years.† 1. ​​What does Jacques Roux mean by his latest parts? Jacques Roux was an ex-executioner who had resigned from his profession to spread the message that capital punishment was evil by telling the audience of the horrors of the post he had resigned. By his latest part, Jacques Rous meant this. 2. ​What does Jacques Roux refer to the ‘only speaking part’ that he had ever played? Jacques Roux was an ex-executioner. While he was an executioner, he never had a speaking part to do. All he had to do was to see the guillotine blade killed the convict in the best way, without a word. As he resigned from his profession for the horror of it, he was now aiming the stage to tell the world of the horror of capital punishment, the only speaking part in his life. 3. ​Why did Robichon take an acute interest in Jacques Roux’s case? On listening to Jacques Roux’s story and his intentions in life, Robichon thought of performing his story as to prove his acting skills for marrying Bruette. questions 1. Why do you think that Robichon and Quinquart were the best of actors?Robichon and Quinquart were the most loved comedians of Paris. Their very presence on the stage made the audience fall with laughter. When the fat Robichon merely opened his mouth, people started laughing and when the skinny Quinquart remained silent, the audience could not stop laughing. 2. Why did Robichon and Quinquart plague Miss Brouette? How did she solve this crisis? Both Robichon and Quinquart loved Miss Suzanne Brouette as she loved them, flirted with them and had passion for them. But when she was asked to choose one of them as her husband, she could not take a decision. She solved this crisis by asking them to prove their skills on the stage and be judged by the Paris audience. 3. What were the practical difficulties for Paris being the judge? There were two practical difficulties for Paris being the judge. If the usual Paris audience was to be the judge, the two actors should stage their performance on the same stage, same theater but the authorities would not allow them to play serious roles as they had always been identified with comic roles. Besides, both Robichon and Quinquart were equally loved and admired by the Parisians. 4. What brought the friendship of Quinquart and Robichon to a halt because they were both men of the world? Because Quinquart and Robichon were men of the world with emotions, they had both fallen in love with the fair Mademoiselle Brouette, their companion on the stage and for the very same reason, none of them could sacrifice his love for his friend. 5. Why was it necessary that the two actors remained funny till either they reached their death-bed or they demonstrated the supremacy of one of them? The two actors, Quinquart and R obichon, were determined to woo their companion actress Brouette by establishing their acting caliber above the other for the judgment of their Paris audience. 6. â€Å"Our only hope lies in versatility – the conqueror must distinguish in a solemn part.† What did Robichon mean by this? Why were Robichon and Quinquart pleased to accept this? Robichon and Quinquart were the best of comedians and no one had a doubt on this, therefore proving their skills in  handling serious roles as well was important. Robichon agreed to this idea because he knew that the audience would never accept his rival Quinquart as a serious actor because his very presence made the audience laugh. Quinquart was glad to accept this idea because he believed that a man like Robichon with his very heavy body would not get the sympathy of the audience. 7. Why did Quinquart readily agree with Robichon to play tragedy? Quinquart readily agreed to play a tragedy role because he believed that he could better than Robichon because the latter happened to be a fat man for whom playing a serious role was difficult and unlikely. 8. Why did Robichon think that doing a serious role was not going to be easy for the two actors? Robichon was of the opinion that the management of the theatre for which they had been hired and employed would not allow them do an off-track role, a change from comedy to tragedy. Besides, the two had been successful in comedy and the audience would not accept them doing solemn roles. 9. â€Å"There are Robichon and Quinquart, how amusing they always are!† What is ironical about this public opinion? For Paris people both Robichon and Quinquart were their dear comedians and therefore they could never think that they too had pains and sufferings. While they were amused to see them, the comedians were going through one of their hardest trials as to how to win their lady by defeating each other which was almost impossible. 10. Why did Robichon suggest performing off stage? Why was doing an off-the-usual stage performance not a good idea? Robichon, seeing that the two are equally good at acting and were loved by their usual audience for whom they played, because their audience would not choose a better actor, thought it wise to performing privately off-stage. Though this appeared to be a good idea, Quinquart found it not serving the desired purpose because their performance was to be judged by Paris. 11. Who was Jacques Roux? What did he want to tell the world? Why did he seek Robichon’s help? Jacques Roux was once a public executioner whose profession was to behead criminals under the guillotine. Having abandoned his profession because he believed capital punishment was evil, he wished to spend the rest of his life spreading this message on stage. Though he was determined to do so and having got an audience at Appeville-sous-Bois, he found it hard to perform for an audience due to stage-fright. He approached Robichon and Quinquart seeking advices to solve his fear on the stage. 12. â€Å"Across the sunlit terrace seemed to have fallen the black shadow of  guillotine.† How does this statement explain the mood? Jacques Roux was once an executioner though he abandoned the profession. He was a guillotine operator, a man who cared for the precision of the guillotine and accuracy of the blade-fall, so his presence reminded of the shadow of the guillotine. 13. Why did Robichon speak dramatically about Jacques Roux’s story? Having decided to do the very dramatic role for Jacques Roux, Robichon thought of convincing Roux of his acting skills. By dramatically speaking like this, he placed himself at a position of asking Roux to let him perform for him. 14. What was ‘queer’ about Jacques Roux suffering from stage fright? Jacques Roux was once a public executioner. His profession was to kill convicted criminals under guillotine without the speck of feelings. Even though he later awakened to a conscience stricken man, it was queer to think t hat he had stage fear. 15. Why did Robichon ask Mr. Jacques Roux if he was known to his audience? Robichon was determined to enact the role that Jacques Roux was to play at Appeville-sous-Bois so he wanted to know if the audience could recognize him when Robichon impersonated Jacques Roux. 16. Why did Jacques Roux agree to let Robichon play his part at Appeville-sous-Bois? Jacques Roux was a changed man though he was once an executioner. He wanted to spread the message that capital punishment was itself a crime against humanity. He agree to let Robichon play the role for him because in that way his message could reach the audience in the best way and he could earn five hundred francs for not doing his role on the stage. 17. Why did Suzanne make more of Quinquart after she heard about Robichon’s prospect of winning her? Though it is not very clear if Suzanne rejoiced at the prospect of Robichon’s winning her, she was found moving and talking with Quinquart more than usual which suggests her ex pression of love for Quinquart. It was likely that she was aware of the fact that she had very little time left to spend with him before getting married to the worthier Robichon. 18. How did Suzanne and Quinquart respond to Robichon’s performance? Sitting with the audience, watching Robichon’s performance, Suzanne felt relieved that Robichon hadn’t been able to strike the right note and that he hadn’t been able to impress the audience while Quinquart remarked that Robichon was amusing the audience for the contrasting effect. 19. What makes you think that Robichon’s performance as Jacques Roux was a great success that sealed his victory over Quinquart? Robichon’s playing the role of Jacques Roux,  from a pleasant note to a gruesome, hideous performance held the audience’ breath even after he ended and the curtain fell. Enumerating the horrors of the condemned criminals along with his shouting that he was a murderer and sob that accompanied his cry left a pin-drop silence in the hall. The fact that the audience didn’t clap at the end of his performance, that he withdrew amid tense silence and the rush of the press representatives placed the crown on Robichon’s success. 20. Why did Quinquart generously congratulate his rival even after the latter had defeated him in the test? Robichon’s performance was remarkable and deserved the praises even of his enemies but it was not for this reason that Quinquart congratulated Robichon. Being very smart, Quinquart had devised a plan to counter Robichon and he was confident that his plan would work as he envisaged. 21. Why was Robichon amazed on reaching the Marquis’ house? Robichon had expected the residence of a typical Marquis but it was more or less like a lodging. He was admitted by a peasant and was led into an ordinary room. 22. Why did Quinquart put on a lot of make-up while impersonating the imaginary Marquis Thevenin? Quinquart was very much known to his companion Robichon so appearing in front of him as an old man was definitely risky. To make sure he would not be recognized, Quinquart put on a load of make-up so that Robichon will feel sympathy for the old man rather than suspicion. 23. What do you figure out about the exact reason why the Marquis had been late? The character of Marquis Thevenin, the most significant role played by Quinquart to defeat his companion Robichon to win Suzanne, demanded considerable effort. Quinquart had to manage all that make-up during his journey to the lodging where his character had to meet Robichon who too would travel to this destination at the same time. To ease his efforts, to make time for his make-up, Quinquart had to give the excuse that he had been to his doctor. 24. How did Quinquart play his role of Marquis Thevenin? Quinquart made a crafty plot to give the biggest shock to his companion and rival, Robichon. Dressed as an old Marquis, infirm and broken hearted, he invited Quinquart who made himself known as Jacques Roux, an ex-executioner who resigned his post because of his late realization that capital punishment was a crime. Having served his guest a cup of wine, Quinquart – the Marquis – informed the ‘ex-executioner’ that the wine was poisoned to  kill him to avenge his son’s execution by his hands. However, Quinquart brought an end to his scary drama by revealing his identity.

Miranda Rights essays

Miranda Rights essays On February 28 and March 1, 1966, the case of Miranda v. Arizona was argued in the Supreme Court, and was decided on June 13, 1966. The issue in question was Does the police practice of interrogating individuals without notifying them of their right to counsel and their protection against self-incrimination violate the Fifth Amendment? Early in 1963, an 18- year old woman was kidnapped and raped in Phoenix, Arizona. The police investigated the case, and soon found and arrested a poor, and mentally disturbed man. The name of this man was Ernesto Miranda, a name that would become well known in American constitutional studies. Miranda was 23 years old when he was arrested. He confessed that he had kidnapped and raped the young woman after only two hours of questioning. By confessing to the crime, Miranda was convicted for kidnapping and rape. However, when Miranda was arrested he was not told his rights that are stated in amendment number five. On appeal, Mirandas lawyers pointed out that the police had never told him that he had the right to be represented by a lawyer, and that he could remain silent if he wished to do so. In addition, he was not told that everything that he said could be used against him. In the end of 1966, the United States Supreme Court gave support to the defendant side by only a 5-4 majority. The Supreme Court decision detailed the principles governing police interrogation. In addition, they decided that the police have to make certain points clear for the accused before questioning and suspect. Ernesto Miranda, the defendant was a Mexican immigrant working as a truck driver. Miranda previously had already had a police record. Mirandas attorneys in court argued that even though Miranda had admitted to the kidnapping and rape in the integration room that this information could not be used in court. Also Miranda was not told his rights, so therefore Miranda may not have confes...

12 Best Art Schools in the World

12 Best Art Schools in the World SAT / ACT Prep Online Guides and Tips If you have a passion for art, there are some great college options out there for you! Art schools can provide you with the tools you need to develop your skills and make a career out of what you love. In this article, I'll give you a list of the best art schools in the world, tell you what each of their programs is like, and give you some tips on how to choose the right one for you. What Makes a Great Art School? The best art schools are institutions that teach students to think creatively across disciplines and provide them with the instruction and resources that will enable them to fulfill their artistic potential. All the schools on this list are forward-thinking, well-respected colleges with constantly evolving curricula that always keep pace with changes in the art world. They have international name recognition and strong reputations as a result of the successes of their alumni. These universities offer a variety of majors in artistic disciplines that will lead to fulfilling careers. They also have cutting edge facilities that allow students to make their visions a reality, whether that involves welding a giant metal sculpture or creating life-like 3D animations. Programs in the digital arts are prominent features of most of these colleges because knowledge of design programs and other art-making software is crucial in the current artistic landscape for students who hope to develop their practice into a career. The schools on this list provide excellent career counseling services to make the transition from student to professional as smooth as possible for their students. Many provide students with the opportunity to work at internships or in other professional development contexts while still in school so that they can build their experience and be prepared to take on the job world. At a great art school, you’ll be consistently inspired through interactions with some of the most interesting and creative people you’ll ever meet. If you love art, these schools will help you develop your passion and take it to places you never even thought possible! Make your dreams a (sur)reality. The Best Art Schools in the World Without further ado, here's a list of the top twelve art schools in the world ranked by reputation and quality! #1: Rhode Island School of Design- Providence, Rhode Island (US) Undergraduate enrollment: 1,976 Acceptance rate: 29% About the School: RISD is considered by many to be the best art and design school out there. With distinguished faculty members, extensive resources for students, and a strong career services department, RISD offers pretty much anything you could want in an art and design education. RISD also has an associated museum with thousands of works in its collection that span different time periods, cultures, and media. Rhode Island School of Design #2: School of the Art Institute of Chicago- Chicago, Illinois (US) Undergraduate enrollment: 2,889Acceptance rate: 61% About the School: School of the Art Institute of Chicago boasts a strong global reputation; its alumni include Georgia O'Keeffe, David Sedaris, and Edward Gorey (who is one of my favorite artists!). SAIC has an interdisciplinary curriculum, meaning that students are encouraged to experiment widely across artistic disciplines before deciding on the best medium for their ideas. The education at SAIC is highly customizable, encouraging students to be creative in combining different types of art. Off-campus study is also required at SAIC. Students can fulfill this requirement through an internship program, study trip, or study abroad experience. This provides a bridge to the art world outside of college and helps students prepare for careers in the arts. School of the Art Institute of Chicago #3: California Institute of the Arts- Valencia, California (US) Undergraduate enrollment: 984Acceptance rate: 24% About the School: CalArts is an internationally recognized art school that encourages students to go beyond the boundaries of traditional media. It has a strong focus on individualized attention for each student. Students are also given a high level of creative freedom and independence in their studies- artistic promise is the number one criteria for admission. CalArts also participates in the Community Arts Partnership, which gives students the opportunity to teach art to youth in Los Angeles while gaining experience and earning an income. The Institute provides resources such as internships and mentoring programs for students to help them translate their artistic skills into a career after college. California Institute of the Arts #4: Central Saint Martins College of Art and Design- London, England Undergraduate enrollment: 3,013Acceptance rate: Not reported About the School: Central Saint Martins is a constituent college of the University of the Arts in London. It is considered one of the world’s leading institutions in art and design education. The college offers nine different areas of study to students, including Graphic Communication Design, Fine Art, and Jewelry and Textiles. Students are encouraged to develop their ideas beyond the accepted boundaries of each artistic discipline and to always be open to new approaches and ideas. Facilities include digital fabrication studios, letterpress studios, a digital media lab, an animation lab, and more. CSM College of Art and Design #5: Parsons School of Design at The New School- New York City, New York (US) Undergraduate enrollment: 6,695Acceptance rate: 51% About the School: The New School emphasizes a design thinking approach to solving problems on a global scale. Parsons is dedicated to remaining on the cutting edge of arts education; it strives to continually embrace new trends and interdisciplinary approaches to the arts. It also has a community service and social justice focus, encouraging design projects that have tangible outcomes in the world. Parsons provides one-on-one career counseling to students as well as connections to jobs and internships through the Center for Student Success. Parsons #6: Berlin University of the Arts- Berlin, Germany Enrollment: 3,618Acceptance rate: 20% About the School: The Berlin University of the Arts is the largest art school in Europe. Its faculty includes some of the most well-respected contemporary artists in the world, including Chinese artist and social activist Ai Weiwei (watch the documentary Ai Weiwei: Never Sorry about his work- it’s super interesting). There are four colleges within the University system that specialize in Fine Arts, Music, Design, and Performing Arts. Berlin University of the Arts has more than 170 international partnerships with other universities. The university hosts over 500 events every year and is a key cultural venue in the city. Students present their work to the public in exhibitions, concerts, dramatic productions, evenings of song, readings, and lectures. Berlin University of the Arts #7: Pratt Institute- New York City, New York (US) Undergraduate enrollment: 3,439Acceptance rate: 50% About the School: Pratt is at the center of the New York art scene, and is consistently ranked among the top art and design colleges in the world. A highly distinguished faculty made up of leaders in artistic fields means that students will make meaningful connections to the art world during their time at Pratt. Career Counseling services are excellent and have a high job placement rate after graduation. Pratt also sits on a beautiful enclosed campus that gives students a sanctuary apart from the hectic city life. Pratt Institute #8: ArtCenter College of Design- Pasadena, California (US) Undergraduate enrollment: 2,005Acceptance rate: Not reported About the School: ArtCenter College of Design has a distinguished reputation. Alumni include the advertising genius behind the "Got Milk?" campaign and the concept illustrator who gave R2-D2 life! The college is always willing to change with the times, and has added six undergraduate departments since 1970, the most recent being Interaction Design in 2012. ArtCenter College of Design was the first design school to install computer labs on its campus in the 1980s. Its â€Å"Designmatters† educational program gives students the opportunity to work on design projects that have a positive social impact. ArtCenter is known for its international focus and interdisciplinary curriculum that encourages transcendence of individual artistic mediums. ArtCenter College of Design #9: Glasgow School of Art- Glasgow, Scotland Undergraduate enrollment: 2,195Acceptance rate: Not reported About the School: Glasgow School of Art is Scotland’s only public self-governing art school. It is divided into two campuses: the School of Fine Arts and the School of Design. GSA is at the head of research in creative disciplines, with research centers including the Digital Design Studio, the Institute of Design Innovation, the Mackintosh Environmental Architectural Research Institute, and the Glasgow Urban Lab. Glasgow School of Art also has an extensive student and staff exchange program with about 75 of the world’s leading Art, Design and Architecture schools. Numerous alumni have won the Turner Prize, the most prestigious award in the British art scene given to one artist under 50 every year. Glasgow School of Art #10: China Central Academy of Fine Arts- Beijing, China Undergraduate enrollment: 4,700Acceptance rate: Less than 10% About the School: The China Central Academy of Fine Arts is one of the most selective schools in China and is considered China’s most prestigious art academy. It is made up of six specialty schools: the School of Fine Art, the School of Chinese Painting, the School of Design, the School of Architecture, the School of Humanities, and the School of Urban Design. The School of Design has been heavily involved with national Chinese design projects, including designs for the 2008 Beijing Olympics. The Academy is also home to a huge museum that includes over 2,000 Chinese scroll paintings that date back to the Ming Dynasty. #: National School of Fine Arts- Paris, France Undergraduate enrollment: Not reportedAcceptance rate: Not reported About the School: The National School of Fine Arts holds 450,000 items in its collections in the form of books and artworks; this is one of the largest public collections in France. Faculty and alumni include many internationally recognized artists. The five-year curriculum is made up of two consecutive "cycles," the first lasting three years and the second two years, in which students learn the fundamental practical and theoretical components of artistic creation. National School of Fine Arts- Paris #12: Tokyo University of the Arts- Tokyo, Japan Undergraduate enrollment: 3,302Acceptance rate: 30% About the School: As the only national arts university in Japan, Tokyo University of the Arts seeks to develop Japanese art and culture and emphasize a spirit of artistic freedom and creativity. Through collaboration with other universities and institutions, TUA works to create new forms of artistic expression and demonstrate the power of art to influence global trends. TUA also runs an exchange program with the School of the Art Institute of Chicago. Tokyo University of the Arts Which Art School is the Right Choice for You? It's difficult to decide on the right art school when there are so many great options out there. The first thing you should think about is location. Would you consider going to another state or country for college? Or would you prefer to stay closer to home? From there, you can decide which schools in the area of your choice appeal to you most. Are you looking for a city, suburban, or rural atmosphere? One factor that sets many of these colleges apart is the level of specialization throughout the curriculum. For example, ArtCenter College of Design requires students to choose an artistic discipline right away rather than including a year of foundational courses. This might be fine for you if you're convinced that you want to make a certain type of art, but it might not be the best fit if you're still not sure of your concentration. Rhode Island School of Design, on the other hand, requires a baseline course of study for all freshman before they're split up into their separate artistic disciplines sophomore year. It's also very important to consider whether each school offers the types of opportunities and facilities you want. If you're more design-oriented than fine art-oriented, you might consider a college like Parson's or ArtCenter College of Design. These schools have programs that focus on the practical application of design-thinking to solve problems in the real world. If you're hoping to spend some time studying abroad in college, you might think about School of the Art Institute of Chicago, which requires students to complete an off-campus study program. Fully explore what each school has to offer before making a decision based on first impressions. What do you want to get out of your arts education? Consider the potential connections you'll form with faculty and the surrounding artistic community. This type of networking can be a huge help down the road. Schools in New York City like Pratt and Parsons have an advantage in this regard since they're located in one of the central hubs of the art world. All of the schools on this list have great things to offer, but if you choose one that strongly appeals to your interests and provides the specific types of programs you're looking for, you'll be in for an amazing college experience. What's Next? If you want to apply to one of the best art schools in the world, you'll need to put together a portfolio. Learn more about how to create an art portfolio that showcases your strengths. Are you still researching colleges (or haven't started yet)? If so, take a look at this guide to the college research process for some helpful tips. If you're worried about paying for college, there are tons of scholarships out there for you. Read this article on the best scholarships you can win as a high school senior. Want to improve your SAT score by 160 points or your ACT score by 4 points? We've written a guide for each test about the top 5 strategies you must be using to have a shot at improving your score. Download it for free now: