A Report On The Zimbabwean Economy Essay - 1753 Words

INTRODUCTION The Zimbabwean economy is nose diving and experiencing huge cash shortages of the currency in circulation ,this is being seen as the banks are now rationing the payments, giving each individual about $100 per day and sometimes less or no cash , also money is now not easily accessible from mobile bankers like eco-cash, telecash and one wallet, this is being caused by the imports which are outweighing the exports and among these imports there is the importation of second hand cars which is seen to have dominated the imports of Zimbabwe. In 2013 between January and November the Zimbabweans imported about 206 519 cars worth over $606 million (ZIMSTATS,The Herald 23 April 2014).Thus the importation of second hand vehicles is worsening the trade deficit that is already unfavorable as in 2013 the budget deficit stood at $3billion(ZIMSTAT). Willowvale Mazda Motor Industry’s production slumped from 18 000 vehicles per year in 1997 to below 4 000 vehicles and stopped producing in 2012 (Zimbabwe Independent 22 May 2015),this was mainly due to the importation of second hand vehicles by the Zimbabweans as they were less costly and complied with their budgets, the other players such as Quest motors and Croco motors in the automobile sector are being affected in the same manner leading to unemployment due to low capacity utilization in these companies as the demand new vehicles was estimated to be 25 000(Zimbabwe Independent 22 May 2015). The imports of second handShow MoreRelatedEvaluating The Effectiveness Of Credit Risk Management Tools Essay1565 Words   |  7 Pagesthat is a microfinance institution cannot engage into other activities done by the bank such as underwriting of securities and foreign trade operations among others . 1.1 Background of the Study Since the adoption of the multi-currency regime, Zimbabwean financial institutions have increasingly been facing challenges associated with credit risk in their operations. Taking a look at the pre-dollarization era, for instance in the year 2003, there were over 1600 registered microfinance institutionsRead MoreThe Surge of Faith Based Organizations in Postcolonial Zimbabwe 1378 Words   |  6 Pages1.1 BACKGROUND OF STUDY There has been a surge of Faith Based Organisations in Postcolonial Zimbabwe. 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Life Span Perspectives Paper Free Essays

In order to truly understand the life span perspectives we must first define developmental psychology, which is a field that falls under the topic of psychology that is centered on describing how individuals change and grow throughout the stages of their life. This field has also been noted to be one of the more popular fields to be studied. We, as humans, must first grasp the concept that before there can be an outcome there has to be a process or a beginning. We will write a custom essay sample on Life Span Perspectives Paper or any similar topic only for you Order Now We can always trace anything that exists back to a beginning, for people this beginning is birth and the developmental processes that follow are individual pieces of the life processes. Charles Darwin had a longing to understand just what evolution was and exactly how it worked; from this desire he drew the study of lifespan development. Adolescence and norms were first introduced to those in the field of science by way of a G. Stanley Hall publication (Boyd Bee, 2006). Within this book these scholarly individuals could read about the first observational studies of children. Within this paper you will find the definition of lifespan development, a description of the many characteristics of the lifespan perspective, and the identifying factors of the human developmental domains and periods. Lifespan Development We recognize that within the lifespan there had to be a beginning; we know this because of the work of Charles Darwin. Darwin began the inner workings of human developmental studies and those early evolutionists who shared his opinions were soon to join in his studies. Darwin’s goal was to prove his theory of evolution; it was his belief that his best chance of proving his theory was to engage in intense studies of human development (Boyd Bee, 2006). According to the American Heritage Dictionary, a lifespan is the average amount of time that an organism, material, or object can be expected to survive or last. If we look for further detail and look for the definition of development, we find that development based on biology is the process of organic growth in an individual organism, we also see that this an be defined as a biological occurrence of events in which an organism changes gradually from a simple to a more complex level (Collins English Dictionary, 2003). When we combine these two individual words we end up with a term that defines the individual changes associated with life progresses that can be tracked in correspondence to the individual’s age. People will change many times over throughout their lifetime; these developmen tal periods are the prenatal period, infancy, childhood, adolescence, and adulthood. In order for one to experience growth developmental change must occur. Life span development will occur over and over, again and again throughout the individual’s life time. Although there are positives and negatives in the developmental process, developmental research and advances will continue to occur throughout an individual’s entire life cycle. Characteristics of the Lifespan Perspective All individuals develop on their own schedule and at their own pace, depending on many internal and external factors. Due to improved nutrition and health and medical knowledge a sharp rise in the average life expectancy has recently been observed. The characteristics of the lifespan perspective are lifelong, multidirectional, plasticity, contextual, multidisciplinary, and multidimensional. One’s development continues throughout their lifespan, there is no certain age that appears to be heavier in this area than others. Continued growth paired with decline affects development which can be said to attribute to the multidirectional portion of the lifespan. Many will seem to focus on the plasticity of the human lifespan, one can see this in the example of a child who has been malnourished, this child may suffer from a diminished intellect but given proper nutrition over an extended period of time the child will, indeed, regain much f the lost function and should eventually catch up to the average for his age. There are many outside forces that have a great effect on human development, these forces can be biological, historical, social, and cultural (Berk, 2007). Lifespan Domain Human Development domains all work together and are affected by one another. The categories of the domains of development are social, physical, and cognitive (Boyd Bee, 2006). The social domain encases the changes that one may find necessary in order to adapt to a new social environment, or situation, this might include developing and maintaining relationships, and improvement upon general social skills. The physical domain can be defined as the way the humans change their physical appearance. A good example of a physical change is when a child enters puberty, and again as the child becomes elderly. Within this domain it is seen that as the physical appearance changes so will the views that the individual possesses in life. Human Development Periods Psychoanalytic, cognitive, and learning are the three theories that have been shown to produce the most information on human development (Boyd Bee, 2006). Within these theories we can find information that best explains how one transitions from one moment within their life and essentially evolves to the next level. In discussing human development we must recognize the age old debate of nature versus nurture. Within this theory we must ask which, if either, is truly the strongest influence? Does the environment or genetics play the biggest part in this factor? Conclusion There are many answers that are yet to be discovered in the field of psychology in spite of the fact that there have already been so many discoveries. In the beginning there was Darwin and his theory of evolution†¦.. we do not yet know where the end may take us. How to cite Life Span Perspectives Paper, Essays

Tess of the DUrbervilles and The Drivers Seat Essay Example For Students

Tess of the DUrbervilles and The Drivers Seat Essay In the novels, Tess of the DUrbervilles and The Drivers Seat Tess and Lise are presented as victims of many things, mainly society, men, themselves and fate. Firstly, both women are presented as victims of societal and domestic circumstances despite their dissimilar backgrounds; Tess, on one hand, comes from a poor background in a period where women were seen as second-class citizens in comparison with men. Lise however is presented as a very isolated character due to the fact that there is no mention of family in her life. Both women are also portrayed as victims of men; Tess suffers the rape/seduction by Alec and Lise escapes rape herself on numerous occasions. In addition to this, they are both presented as victims of themselves, Tess because of her naivety, extremely passive nature and her good looks; Lise whereas is shown as having a more self-destructive nature, we see this through her search for her type of man. Finally we see them presented as victims of fate; Tess is constantly plagued by her past, yet Lise seems to make her own fate by searching for her killer. The narrative voices are key to both of the novels, Hardy on one hand is constantly foreshadowing Tess future, through Hardy we also learn of Tess thoughts and feelings as not a lot is revealed through her words, Hardy also constantly uses pathetic fallacy to express Tess emotions. Spark has a very different narrative style, she writes from the perspective of a detached observer, unlike Hardys omnipresence, she also is very unsure of the present but is able to tell the future of Lise. In the novel, Tess of the DUrbervilles Hardy presents Tess as a victim of her social and domestic circumstances. Tess is shown as a victim of domestic circumstances many times throughout the novel; an example would be when Tess mother, Joan is trying to force Tess into claiming kinship You must got to her and claim kin the use of the word must by Mrs. Durbeyfield suggests that it is vital that Tess goes to claim kin, it is this urgency that makes Tess go, as she finds herself unable to put her feelings of doubt above her mothers desires. By sending Tess away to claim kin Mrs. Durbeyfield has unknowingly left her nai ve daughter vulnerable to Alec dUrberville, the word her suggests that Mrs. Durbeyfield knows little about the dUrbervilles, meaning that she knew nothing of Alecs nature. This apparent lack of care shown by Tess mother makes the reader feel sympathy for Tess. Tess is also a victim of her drunken and idle father, John Durbeyfield. John spends the night drinking at Rollivers, leaving him in a drunken state. This shows recklessness on his part, as he was unable to handle copious amounts of alcohol He had, in truth, drunk very little- not a fourth of the quantity which a systematic tippler could carry to church on a Sunday afternoon without a hitch in his eastings the words in truth suggest that Johns appearance was not an accurate reflection of his activities, as in truth he had drank much less than it would appear. This recklessness however turned out to have larger consequences for Tess. The next day John Durbeyfield he was in no fit state to make his journey to market, so Tess sets out with her brother Abraham for company. Tess and Abraham are unable to stay awake and collide with a mail cart, killing their horse. Tess feels like a murderess and that she is personally responsible for ruining the family business, which relied heavily on the horse, Tis all my doing-all mine! the repetition of the word all emphasises how Tess is piling the blame onto herself where in actual fact it was a situation she should never have been in, had it not been for her careless father. Such displays of dramatic unfounded admissions from Tess only make things worse for her in the long run as she feels even more obliged to go to the dUrbervilles, thus meeting her eventual downfall in the form of Alec dUrberville. Tess parents evidently can be blamed for starting Tess troubles they seem to be extremely poor at helping her get out of her troubles. Fro example, when Tess returns home pregnant her mother accepts the pregnancy yet is angry and disappointed that Tess has not got Alec to marry her, And yet thst not got him to marry ee! the use of the word yet suggests that Mrs. Durbeyfield expected them to have prepared for marriage long ago. Mrs. Durbeyfield clearly left Tess vulnerable to the advances of Alec but although she saw the affect her actions had had on her daughter she was unable to admit so Well, we must make the best of it, I suppose the words make the best of it suggest that although Mrs. Durbeyfields plan had not gone as she thought she knows that nothing can be done to change the past, so she therefore feels that its not her fault. Tess feels let down be her mother How could I be expected to know? I was a child when I left this house the word child symbolises Tess innocence and lack of life experience, a void which she feels should have been filled by knowledge from her mother. Mrs. Durbeyfield merely saw Tess going to Alec as an easy way out for the family; Tess was made a victim of her familys opportunism. Tess is also a victim of society. In the particular era the novel is written in we know that the society was very male-orientated; men held the most power and women seen almost as mens subordinates. The class system was also of prime importance in pre 1900 England, meaning that Tess was a victim of the class system, as she was a working class citizen; she had little money and very few opportunities. Mrs. Durbeyfield shows an old-fashioned attitude and no understanding of the social divide that made a marriage between Tess and Alec highly improbable in the first place. Lise, in complete contrast is not presented as a victim of direct family pressure; in fact it is probably the lack of family influence that has the greatest affect on Lise. Because of the evident lack of family in Lises life the reader is left to assume her past and present family situation. Because of this Lise is presented by Spark as an isolated character, there is no mention of family or a boyfriend/husband. Lise is also a victim of the society in which she lives, although she lives in a much more liberal society it still has the same male-dominance of Tess era. This is shown through the hierarchy in her place of work, She has five women under her and two men. Over her are two women and five men this shows the uneven split of male and female workers. This spilt suggests a stereotype that women cannot compete in a male-orientated society; this is one of the ways that Lise is presented as a victim and is an issue that is no doubt dear to Sparks heart keeping in mind that she is a feminist writer. Lises need to be the centre of attention makes her a victim of society; she makes herself the centre of attention through the clothes she wears- which are often brightly colours and clash with one another, this unique dress sense is not acknowledged by the people around her, for example when the sales girl talks to her colleague All those colours together the use of the word all by the sales girls suggests that she thinks Lises judgement is poor and that all the colours dont work together. This is not the only time in the novel that we see Lise being victimised for her choice of clothing, just as she is leaving her block of flats Lise is humiliated by the porter My goodness, what colours! the use of my goodness by the porter shows his complete shock, this shows how Lise is presented as a victim of the narrow minded and somewhat conservative society in which she lives. This is not the only way in which Lise is shown as a victim of society, she also finds it necessary to lie to other people about her marital status Yes, I have my boyfriend this is just one of a number of occasions where she blatantly lies to people, usually to impress. This suggests that Lise feels inadequate to the people around her, Lise is presented as a victim of a society that preconceived ideas of what people should be like, or at least thats how Lise views the people around her as thinking. The Hollow Men EssayThis is much like what Alec did to get close to Tess, he offered her a ride home and to help her get away from a confrontational situation. What is different about the rape scenes in each of the novels is the way in which the men act once they are in the company of women; Carlo is presented as being very rough and authoritarian, whereas Alec is presented as being more gentle with Tess, these two affects are put over to the reader mainly through the narrative voice, Hardy uses classic mythology can gentle language, however Spark uses language that presents the situation as being forced and protesting, She kicks him and tries to push him off, gurgling her protests the words kicks, gurgling and protests show the unnaturalness of the situation, the word gurgling suggests that Carlo is smothering her, hoping she will change her mind. Sparks narrative voice is extremely different to Hardys. Sparks narrative is written for the perspective of a detached observer, unlike Hardy is constantly changing is narrative perspective. Sparks narrative in unsure in the present, whereas hardy seems to know all that is happening. Hardy is constantly foreshadowing Tess fate but Spark can tell the future perfect, not sing the hinting words like Hardy, Spark uses simple and clear expression, completely different to the intimacy of Hardys narrative. Finally, in both the novels Tess and Lise are presented as victims of fate. In Tess of the DUrbervilles we know that the lives of the characters are subject to forces beyond their control. Chance and coincidence bring about disasters and the characters have to deal with events in the best way they can. The characters in the novel are often fatalistic about what happens to them and believe in omens and bad luck. Tess mother typifies this view. After talking to Tess and showing her disappointment for Tess not having pressed Alec to marry her when she is pregnant, she says Well, we must make the best of it I suppose. Tis nater, after all, and what do please God! this shows that Mrs. Durbeyfield thinks that their lives are in control of God and that whatever he does is for the best, or at least they should make the most of it. Sometimes the fate lies in the characters own natures; for example Tess pride and her worry for Angels reputation after he has left her from getting help at an earlier stage of her troubles. Also, Angels stubborn morality and his unrealistic ideal of womanhood prevent him from accepting Tess for who she really is. Lise on the other hand appears to create her own fate to a certain extent. She goes and searches for her type which as we find out towards the end of the novel refers to someone who will kill her, not someone that she wants to spend her life with like we would assume it to mean. The fact that Lise appears in control is reflected in the title In The Drivers Seat, it suggests that Lise is in the drivers seat and that she is making her own choices in life, not being controlled some supernatural being, yet it could also be interpreted as the victim sits in the drivers seat. This is totally dissimilar to Tess of the DUrbervilles where the characters seem to be constantly influenced by chance and coincidence. In the Drivers Seat Lises fate is clearly given to the reader, yet you still get the impression that Lise is in control because of her search for her type the fate that is being spelt out is one that she wants. In conclusion I think that both Tess and Lise are presented as victims in a variety of ways, in some cases they are the victims of the same things and sometimes there are not. Tess is presented as a victim of social, domestic, male and fate factors. Hardy does this through various ways. His narrative voice gives an insight into Tess that makes the reader feel sympathy for her, for example with the birds we see her pain and suffering, how she can be compared with the birds-like a hunted animal, this has a deeper impact on the reader and enforces the idea of Tess as a victim. The way Tess is taken advantage of makes the reader worry for Tess as you wonder if she will survive the sexual advances of Alec because she has so little life experience. Tess is also presented as a victim of her own family, not just Alec, this makes the reader see Tess as a victim because it seems as if she has nowhere to turn. Lise is presented as a victim of society, male and fate factors. Spark presents Lise as a very in control character yet when she is victimised she finds it hard to remain in that same frame of mind, she finds herself prone to snap back, an example being with the porter, You are ignorant this shows Lise losing control. Lise also escapes rape narrowly, the reader feels sorry for Lise as we see her being taken advantage of when she is extremely vulnerable and the way Carlo is presented as a rough, unkind and bad-minded attitude makes the reader side even more with Lise. Sparks narrative voice is one that creates a lot of uncertainty around Lises emotions; we can only determine Lises feelings through the things she does, the things she sees and the people she meets. We are never given information as to how Lise got the way she is; the mystery of what drives her is never solved. This presents Lise as a very isolated character, a victim of the lack of family, lack of past and through Sparks narrative a lack of a future. This makes the reader feel a concern for Lise, it makes the reader think that she is being forced into death because of her lack of family and prospects of life, the reader sees her as a victim of domestic and social issues and definitely a victim of herself, through her state of mind. So, in these two novels we can see similarities in the way Tess and Lise are presented as victims. In both novels we see Tess and Lise presented as victims of men, both experience the bad side of men, Tess through the rape/seduction from Alec and Lise narrowly escaping rape by Carlo; another similarity being the way the men are presented in these scenes, Alec and Carlo employ similar tactics to get Tess and Lise where they want them, although Carlo is more opportunist than Alec, they both have a strong desire for sex and see the womens vulnerable situation as a perfect opportunity to capitalise on it. Both Alec and Carlo take the women away from their intended destination yet in Tess of the DUrbervilles, unlike in The Drivers Seat we see the rape/seduction scene presented in a more natural and calm way. Both are presented as victims of fate, Tess constantly being foreshadowed by Hardy and Hardy always hinting at things, yet in The drivers Seat the fate of Lise is spelled out to the reader through Sparks ability to tell the future yet be extremely unsure in the present. So to summarise we see both women presented as victim of many aspects of life, some are themes seen in both novels and sometimes it is shown in varying degrees, the ways they are presented as victims is through the narrative voice mainly, as with Hardy we have lots of suggestion and very little revealed through Tess words and in Sparks we see her tell Lises future, very little is shown through Lises words either.

Solar Updraft Tower free essay sample

The future of this earth and mankind substantially depends on our ability to slow down the population increase in the Third World by civilized means. The key is to increase the standard of living, to overcome the inhumane poverty and deprivation. To achieve this traditional means will not suffice any longer as exemplified by a paradoxon: Those countries where agriculture provides more than 20 % of the gross national product are those also stricken by starvation! Development requires mechanization and energy. Energy consumption increases proportionally to the gross national product or prosperity while simultaneously the population growth will decrease exponentially. Many developing countries possess hardly any energy sources and their population doubles every 15 to 30 years! The results are commonly known: Civil wars and fundamentalism. If these developing countries are provided with only a humane and viable minimum of energy the global energy consumption will drastically increase! Who could supply such an enormous amount of energy without an ecological breakdown (because poor countries cannot afford environmental protection) and without safety hazards (because they are not acquainted with the safety requirements for nuclear power plants) and without a rapid depletion of natural resources at the expense of future generations? The sun! Many of these countries are lavishly provided with solar radiation in their desert areas. We will write a custom essay sample on Solar Updraft Tower or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page This is common knowledge, stated already in Agenda 21 of the Rio-UN-conference, everybody is talking about it, and nobody does anything. Why? Because apparently it must be a well-kept secret that large-scale solar energy utilization is possible today and that it is affordable and competitive! SCIENTIFIC PRINCIPLE INVOLVED The use of three old technologies Man learned to make active use of solar energy at a very early stage: greenhouses helped to grow food, chimney suction ventilated and cooled buildings and windmills ground corn and pumped water. The solar chimneys three essential elements glass roof collector, chimney, and wind turbines have thus been familiar from time immemorial A solar-thermal chimney simply combines them in a new way . Air is heated by solar radiation under a low circular glass roof open at the periphery; this and the natural grounds below it form a hot air collector. Continuous 24 hours-operations is guaranteed by placing tight water-filled tubes under the roof. The water heats up during the daytime and emits its heat at night. These tubes are filled only once, no further water is needed. In the middle of the roof is a vertical chimney with large air inlets at its base. The joint between the roof and the chimney base is airtight. As hot air is lighter then cold air it rises up the chimney. Suction from the chimney then draws in more hot air from the collector, and cold air comes in from the outer perimeter. Thus solar radiation causes a constant updraught in the chimney. The energy this contains is converted into mechanical energy by pressure-staged wind turbines at the base of the chimney, and into electrical energy by conventional generators. A single solar chimney with a suitably large glazed roof area and a high chimney can be designed to generate 100 to 200 MW continuously 24 h a day. Thus even a small number of solar chimneys can replace a large nuclear power station. Solar chimneys operate simply and have a number of other advantages: -The collector can use all solar radiation, both direct and diffused. This is crucial for tropical countries where the sky is frequently overcast. The other major large scale solar-thermal power plants, parabolic through and central receiver systems, which apply concentrators and therefore can use only direct radiation, are at a disadvantage there. Due to the heat storage system the solar chimney will operate 24h on pure solar energy. The water tubes laying under the glass roof absorb part of the radiated energy during the day and release it into the collector at night. Thus solar chimneys produce electricity at night as well. Solar chimneys are particularly reliable and not liable to break down, in comparison with other solar generating plants. Turbines, transmission and generator subject to a steady flow of air are the plants only moving parts. This simple and robust structure guarantees operation that needs little maintenance and of course no combustible fuel. Unlike conventional power stations (and also other solar-thermal power station types), solar chimneys do not need cooling water. This is a key advantage in the many sunny countries that already have major problems with drinking water. The building materials needed for solar chimneys, mainly concrete and glass, are available everywhere in sufficient quantities. In fact, with the energy taken from the solar chimney itself and the stone and sand available in the desert, they can be reproduced on site. Solar chimneys can be built now, even in less industrially developed countries. The industry already available in most countries is entirely adequate for their requirements. No investment in high-tech manufacturing plant is needed. Even in poor countries it is possible to build a large plant without high foreign currency expenditure by using their own resources and work-force; this creates large numbers of jobs and dramatically reduces the capital investment requirement and the cost of generating electricity. Solar chimneys need large collector areas. As economically viable operation of solar electricity production plants is confined to regions with high solar radiation, this is not a fundamental disadvantage, as such regions usually have enormous deserts and unutilized areas. And so land use is not a particularly significant factor, although of course deserts are also complex biotopes that have to be protected. The technology 3. 1. The collector Hot air for the solar chimney is produced by the greenhouse effect in a simple air collector consisting only of a glass or plastic film covering stretched horizontally two to six meters above the ground. The height of the covering increases adjacent to the chimney base, so that the air is diverted to vertical movement with minimum friction loss. This covering admits the short-wave solar radiation component and retains long-wave radiation from the heated ground. Thus the ground under the roof heats up and transfers its heat to the air flowing radially above it from the outside to the chimney. 3. 2. The energy storage Water filled black tubes are laid down side by side on the soil under the glass roof collector. They are filled with water once and remain closed thereafter, so that no evaporation can take place. The volume of water in the tubes is selected to correspond to a water layer with a depth of 5 to 20 cm depending on the desired power output characteristics. 3. 3. The chimney The chimney itself is the plants actual thermal engine. It is a pressure tube with low friction loss (like a hydroelectric pressure tube or penstock) because of its optimal surface- volume ratio. The upthrust of the air heated in the collector is approximately proportional to the air temperature rise DTcoll in the collector and the volume, (i. e. he height Hc multiplied by the diameter Dc) of the chimney. In a large solar chimney the collector raises the temperature of the air by about 35 K. This produces an updraught velocity in the chimney of about 15m/s. It is thus possible to enter into an operating solar chimney plant for maintenance without difficulty. Chimneys 1,000 m high can be built without difficulty. The television tower in Toronto, Canada is almost 600 m high and serious plans are being made for 2, 000 metre skyscrapers in earthquake-ridden Japan. But all that is needed for a solar chimney is a simple, large diameter hollow cylinder, not particularly slender, and subject to very few demands in comparison with inhabited buildings. There are many different ways of building this kind of chimney. They are best built freestanding, in reinforced concrete. But guyed tubes, their skin made of corrugated metal sheet, as well as cable-net designs with cladding or membranes are also possible. All the structural approaches are well known and have been used in cooling towers. No special development is needed. 3. 4. The turbines Using turbines, mechanical output in the form of rotational energy can be derived from the air current in the chimney. Turbines in a solar chimney do not work with staged velocity like a free-running wind energy converter, but as a cased pressure-staged wind turbogenerator, in which, similarly to a hydroelectric power station, static pressure is converted to rotational energy using a cased turbine in this application installed in a pipe. The power output of a cased pressure-staged turbine of this kind is about eight times greater than that of a speed-stepped open-air turbine of the same diameter. Air speed before and after the turbine is about the same . The output achieved is proportional to the product of volume flow and the fall in pressure at the turbine. With a view to maximum energy yield the aim of the turbine regulation system is to maximize this product under all operating conditions. Blade pitch is adjusted during operation to regulate power output according to the altering airspeed and airflow. If the flat sides of the blades are perpendicular to the airflow, the turbine does not turn. If the blades are parallel to the air flow and allow the air to flow through undisturbed there is no drop in pressure at the turbine and no electricity is generated. Between these two extremes there is an optimum blade setting: the output is maximized if the pressure drop at the turbine is about two thirds of the total pressure differential available. 3. 5. A hydroelectric power station for the desert Solar chimneys are technically very similar to hydroelectric power stations so far the only really successful large scale renewable energy source: the collector roof is the equivalent of the reservoir, and the chimney of the penstock. Both power generation systems work with pressure-staged turbines, and both achieve low power production costs because of their extremely long life-span and low running costs. The collector roof and reservoir areas required are also comparable in size for the same electrical output. But the collector roof can be built in arid deserts and removed without any difficulty, whereas useful (often even populated) land is submerged under reservoirs. Solar chimneys work on dry air and can be operated without the corrosion and cavitation typically caused by water. They will soon be just as successful as hydroelectric power stations. Electricity yielded by a solar chimney is in proportion to the intensity of global solar radiation, collector area and chimney height. Optimum dimensions can be calculated only by including specific component costs (collector, chimney, turbines) for individual sites. And so plants of different sizes are built from site to site but always at optimum cost: if glass is cheap and concrete expensive then the collector will be large with a high proportion of double glazing and a relatively low chimney, and if glass is expensive there will be a smaller, largely single-glazed collector and a tall chimney. THE PROTOTYPE IN MANZANARES Detailed theoretical preliminary research and a wide range of wind tunnel experiments led to the establishment of an experimental plant with a peak output of 50 kW on a site made available by the Spanish utility Union Electrica Fenosa in Manzanares (about 150km south of Madrid) in 1981/82, with funds provided by the German Ministry of Research and Technology (BMFT). The aim of this research project was to verify, through field measurements, the performance projected from calculations based on theory, and to examine the influence of individual components on the plants output and efficiency under realistic engineering and meteorological conditions. To this end a chimney 195 m high and 10 m in diameter was built, surrounded by a collector 240 m in diameter. The plant was equipped with extensive measurement data acquisition facilities. The performance of the plant was registered second by second by 180 sensors. Since the type of collector roof primarily determines a solar chimneys performance costs, different building methods and materials for the collector roof were also to be tested in Manzanares. A realistic collector roof for large-scale plants has to be built 2 to 6 metres above ground level. For this reason the lowest realistic height for a collector roof for large-scale technical use, 2 metres, was selected for the small Manzanares plant. (For output, a roof height of 50 cm only would in fact have been ideal. Thus only 50 kW could be achieved in Manzanares, but this realistic roof height also permitted convenient access to the turbine at the base of the chimney. This also meant that experimental planting could be carried out under the roof to investigate additional use of the collector as a greenhouse. The experimental plant in Manzanares operated for about 15,000 hours from 1982 onwards. The following tests were run in the course of the project: In 1986 the structural improvement wo rk that made occasional operational interruptions necessary was completed. After that, from mid 1986 to early 1989 it was possible to run the plant on a regular daily basis, except for a period of four months which was set aside for special measurements and specific modifications. During this 32 month period, the plant ran, fully automatically, an average of 8. 9 hours per day for a total of 8611 operating hours. One person at the most was needed for supervision. Thus there is no doubt that solar chimneys can be built, run in the long term and reliably maintained even in countries that are technologically less developed. During the 32 month period, plant reliability was over 95 %. Sporadic storm damage to the old plastic film area of the collector was repaired without switching off the plant. The 5 per cent non-operational period was due to automatic plant switch-off at the weekend when the Spanish grid occasionally failed. DESIGNING LARGE SOLAR CHIMNEYS Measurements taken from the experimental plant in Manzanares and solar chimney thermodynamic behaviour simulation programs were used to design large plants with outputs of 200 MW and more. Detailed investigations, supported by extensive wind tunnel experiments, showed that thermodynamic calculations for collector, tower and turbine were very reliable for large plants as well. Despite considerable area and volume differences between the Manzanares pilot plant and a projected 100 MW facility, the key thermodynamic factors are of similar size in both cases. Using the temperature rise and wind speed in the collector as examples, the measured temperature rise at Manzanares was up to 17 K and the wind speed up to 12 etres per second, while the corresponding calculated figures for a 100 MW facility are 35 K and 16 metres per second. FINANCIAL FEASIBILITY This section discusses only the simplest, classical design of a solar updraft tower power plant, and variations are not considered. A solar updraft power station would require a large initial capital outlay, but would have relatively low operating cost. However, the capital outlay required is roughly the same as next-generati on nuclear plants such as the AP-1000 at roughly $5 per W of capacity. Like other renewable power sources there would be no cost for fuel. The cost per energy is largely determined by interest rates and years of operation, varying from 5 eurocent per kWh for 4% and 20 years to 15 eurocent per kWh for 12% and 40 years. A disadvantage of a solar updraft tower is the much lower conversion efficiency than concentrating solar power stations have, thus requiring a larger collector area and leading to higher cost of construction and maintenance. Financial comparisons between solar updraft towers and concentrating solar technologies contrast a larger, simpler structure against a smaller, more complex structure. The better of the two methods is the subject of much speculation and debate. A solar tower is expected to have less of a requirement for standby capacity from traditional energy sources than wind power does. Various types of thermal storage mechanisms (such as heat-absorbing surface material or salt water ponds) could be incorporated to smooth out power yields over the day/night cycle. Most renewable power systems (wind, solar-electrical) are variable, and a typical national electrical grid requires a combination of base, variable and on-demand power sources for stability. However, since distributed generation by intermittent power sources provides smoothing of the rate of change, this issue of variability can also be addressed by a large interconnected electrical super grid, incorporating wind farms, hydroelectric, and solar power stations. There is still a great amount of uncertainty and debate on what the cost of production for electricity would be for a solar updraft tower and whether a tower (large or small) can be made profitable. Schlaich et al. stimate a cost of electricity between 7 (for a 200 MW plant) and 21 (for a 5 MW plant) euro cents per kWh, but other estimates indicate that the electricity cannot possibly be cheaper than 25-35 cents per kWh. Compare this to LECs of approximately 3 Euro cents per KWh for a 100 MW wind or natural gas plant. No reliable electricity cost figures will exist until such time as actual data are available on a utility scale power plant, since cost predictions for a time scale of 25 years or more are unreliable. Energy Production Costs With the support of construction companies, the glass industry and turbine manufacturers a rather exact cost estimate for a 200 MW solar chimney could be compiled. We asked a big utility Energie Baden-Wurttemberg (formerly EVS/BW) to determine the energy production costs compared to coal- and combined cycle power plants based on equal and common methods. Table 1: Comparison between the energy production costs of a solar chimney (2 solar chimneys with 200 MW each) and 400 MW coal and combined cycle power plants according to the present business managerial calculations. Purely under commercial aspects with a gross interest rate of about 11 % and a construction period of 4 years during which the investment costs increase already by 30 %(! ) Electricity from solar chimneys is merely 20 % more expensive than that from coal. In case of the solar chimney the interest on the fix investment governs the price of electricity, whereas in the case of fossil fuel power plants the variable fuel costs are the deciding factor. By just reducing the interest rate to 8 % electricity from solar chimneys would become competitive today. In low-wage-countries the costs will decrease further especially those of the glass roof collector which alone amounts to 50 % of the overall costs. On the other hand there are a number of advantages: 1)No ecological harm and no consumption of resources, not even for the construction. Solar chimneys predominantly consist of concrete and glass which are made from sand and stone plus self-generated energy. Consequently in desert areas with inexhaustible sand and stone solar chimneys can reproduce themselves. A truly sustainable source of energy! )The (high) investment costs are almost exclusively due to labour costs. This creates jobs, and a high net product for the country with increased tax income and reduced social costs (= human dignity, social harmony), and in addition no costly imports of coal, oil, gas which is especially beneficial for the developing countries releasing means for their development. We have no choice but to do something for the energy consent, the environment and above all for the billions of underprivileged people in the Third World. But we should not offer them hand-outs, a multiple of which we deceitfully regain by imposing a high interest rate on their debt. Instead we should opt for global job sharing. If we buy solar energy form Third World countries, they can afford our products. A global energy market with large scale solar energy generation supplementing substantially hydropower, fossil and nuclear fuels is not an utopian dream! Therefore, now it is absolutely essential to build and operate a large solar chimney.

Akij group Essays

Akij group Essays Akij group Essay Akij group Essay We also thankful to our dear teacher Mafia Islam to teach us and help us all about advice that helped immensely in preparing this report. ; In this paper we want to focuses on about the organization culture and one of the implementation on a organization like: Kaki Group. ; Here we discussed about some of the different organizational culture, why we want to study about that and what type of culture followed by our reference Company Kaki Group. ; Here we also recommend some points about how their organization may improve. Presentation content SSL No Topic Presenter Introduction Objective Corporate Profile of Kaki Group 5 followed Kaki Group Jabs Advantage 6 Improvement Suggestions of the CO in Kaki Group 7 Conclusion Moisturizer Raman Khan Culture can help drive business results, but it takes a cultural audit to differentiate which elements of the culture can lead to superior performance. High the Performance when CO is effective and can be accepted by the employees. Low Performance when: the culture of the organization is not proper and transparent and it is not accepted by the employees High satisfaction when the employees are willing to adapt the organizational culture. Low satisfaction when the employee is unwilling to adapt the organizational culture. ; Kaki group is one of the biggest group of industries in Bangladesh. Has various type of company and various type of products all most all sectors of our country. C] For analysis of the portfolio we decided to do a term paper on organizational culture of Kaki group to know the organization culture of a biggest groups. L] In this Term paper, we worked on the organizational Practices on Kaki Group. At first we discussed about their organizational overview, history, management and about organizational culture of Kaki group . C] We took information from both primary and secondary sources. We also discussed in this paper about the whole organizational culture. 0 Finally we summed up the whole topic and specified them to different chapters and parts. The general objective of our report is to discussed the about the Organization culture and Its implementation on our reference company, the Kaki Group. We have focused on different sectors of their business. Specific Objective To explore different terms of organization culture. To define the enacted environment of an organization. To know the organization culture of an organization.. To discuss the organization cultured should followed by 5. And what should do to improve the organizational culture of Kaki group. ; A system of shared meanings and common beliefs held by organizational members that determines, in a large degree, how they act towards each other. ; Organizational culture is the workplace environment formulated from the interaction of the employees in the workplace. Organizational culture is defined by all experiences, strengths, weaknesses, upbringing and so forth of the employees. Of the life education, ; While executive leaders play a large role in defining organizational culture by their actions and leadership, all employees contribute to the organizational culture. 8 9 Establishing Maintaining Cultures Top Managemen t Philosophy of Organization s Founders Organizations Culture Selection Criteria Colonization 10 Corporate Profile of Kaki Group 0 the most organized distribution company in the country and one of the leading business conglomerates. CLC was established by Mr.. Sheikh Kaki Duding in 1950. C] Kaki birr factory Old is the first company of kaki group and which produce Hand Made Cigarettes. C] This sector gave a real boost o the revenue earning of the Group as well as making a substantial contribution to government exchequer 11 D Initially Kaki Corporation Limited was known as Main Enterprise. 0 In June 1 997 Main Enterprise was renamed as Mudding Enterprise Limited and C] in 2001 Mudding Enterprise Limited was again renamed as Kaki Corporation Limited.. With the passage of time, the Group undertook new ventures and presently there are 20 units of industries under its umbrella like catering jobs for more than 32,000 people in various categories. 12 Kaki group is in operation The Group has plans for setting up more projects. C] With the passage of time, the Group undertook new ventures and presently there are 20 units of industries under its umbrella like-? Kaki Corporation Limited Kaki Jute Mills Ltd Kaki Food Beverage Ltd products including carbonated drinks. Dacha Tobacco Industries Kaki Bid Factory Ltd Kaki Izard Factory Ltd Kaki Match Factory Ltd Kaki Textile Mills Ltd Kaki Particle Board Mills Ltd Kaki printing Packaging Ltd Kaki Cement Company Ltd Kaki Ceramics Company Ltd Kaki Pharmaceuticals Ltd Kaki Real Estate Ltd Ad-din Hospital(Philanthropic) S. A. F Industries Ltd Kaki Gas Company Ltd Kaki Computer Ltd Kaki Online Ltd Kaki Institute of Technology 13 ; Kaki Group is also involved in socio-cultural activities. The Group has been operating a sizeable orphanage free of charge in district town. ; The Group has also acquired a modern mother children hospital previously owned by Save the Children (ASK). The hospital is being operated as a Nan-profitable concern by Ad-Din Welfare Trust. 14 15 Organizational Culture followed by Kaki Group To observe the culture of Kaki group we stated that this group is highly Cultured. Management is extremely centralized in Kaki Group Of Industries. Although every employee is entitled to report to their direct supervisor and the supervisors are supposed to guide them and take decisions for them. C] All decisions are checked by the top of the organization hierarchy. Kaki Group follows a multi-channel cross communication style. The management of the group generally holds a meeting in alternate months or at a predetermined date to critically analyze the present near future situation of the group and its enterprises. C] All sister concerns are connected to the co rporate office through 1 6 inline to take rapid decisions. Headquarter is not apprised of important competitive information and, thus, is slow to respond ; Different divisions/functions/regions operate as silos. ; Poor horizontal communication leads to inefficiencies and conflicting messages to the market. ; The firm frustrates strong performers and fails to weed out poor performers ; Firms fail to attract and retain talent complacency takes hold because career advancement and compensation are not closely tied to performance ; Ineffective appraisals result in individuals advancing beyond their pap abilities. 7 Organization culture and Kaki Groups ; First they follow the Out come orientation culture ; Secondly they followed the Aggressiveness culture. ; Thirdly they followed Innovation Risk Taking culture ; They also follow less in the People orientation too less importance on Team Orientation and stability cue True. ; But they followed the culture of Attention to details in mid lev el management and top management. 18 Type of Culture High Innovation and Risk Taking Attention to detail Outcome oriented Aggressiveness Stability Low People oriented Team Oriented Medium 19 Our recommendation to Improve the CO in Kaki group 1 . The first step to breaking out of these typical and debilitating patterns of behavior is to recognize how and why the inherent traits of an organization influence, determine, and even predict the actions of each individual within it. These individuals each make decisions and tradeoffs every day that are bounded by their access to information and their anticipation of the incentives or consequences that will result from their actions. 0 The challenge in motivating superior performance then s to design an organization that aligns individual actions with the actions of others and the interests of the firm as a whole. Every day at every level yet few organizations have discovered the right formula. The organization needs to be sharing the details that for an employee realize themselves as a member of the company and they can easily motivate themselves.

Advertising’s Positive Influences Essay -- Advertising

Advertising influences people negatively; it convinces people to buy unneeded or unhealthy products. People often waste money on items because they tend to not notice the negative aspects of an item. A nice car, such as the 1954 Cadillac advertisement shown in Laurence Behrens’ and Leonard J. Rosen’s portfolio, is not a required product to have (580-581). However, this advertisement attracts one. When I saw various celebrities in proactive commercials, I decided to buy the product because I believed how effective it was. I did not have great results from Proactive; in fact, I experienced improved results with Aveeno’s Ultra-Calming Facial Cleanser. Although this product was three times cheaper, Proactive influenced me to buy their product by using celebrities in their commercials. Ads including products like cigarettes, influence people negatively because they are harmful to one’s health. As stated in a Camel cigarette ad, cigarettes are clearly dangerous to one’s health, â€Å"Warning: The Surgeon General Has Determined That Cigarette Smoking Is Dangerous to Your Health† (Behrens and Rosen 569). This ad shows a man attracting a woman while ligh... ... middle of paper ... ...me with friends by drinking Miller Beer. Fowles states that Coca-Cola refers to friendship by using the slogan, â€Å"a Coke and a smile† (545). This slogan is saying that if you buy Coca-Cola, you will be cheerful and affiliated. Advertisements influence people more positively than negatively by helping satisfy one’s need to nurture, achieve, and affiliate. To avoid negatively convincing advertisements, you need to appear cautious about a product. Be aware of the pros and cons of a product, look at product reviews, and understand the importance of an item before purchasing one. Works Cited Behrens, Laurence and Leonard J. Rosen, eds. Writing and Reading across the Curriculum. New York: Pearson/Longman, 2011. 566-594. Print. Fowles, Jib. â€Å"Advertising’s Fifteen Basic Appeals.† Writing and Reading across the Curriculum. New York: Pearson/Longman, 2011. 536-556 Print.

Legalization of Drugs in United States and Mexico (based on drug Research Paper

Legalization of Drugs in United States and Mexico (based on drug problems, trafficking, and cartels between these two countries) - Research Paper Example egardless of the legality; or allow the illegal status of drugs to continue to foster an environment and business that spreads violence, fear, insecurity, and the loss of life into American communities (Morris 36). Instead of wasting a lot of the government resources in trying to suppress the use of the drugs, the state should run a campaign that is information oriented so as to enlighten people about the risks and even possible consequences of using many kinds of drugs. This paper seeks to analyze whether the use of drugs should be legalized or not in the United States and Mexico based on the problems that are associated with the drugs that create cartel between the two countries. In the United States, purity of illegal Amphetamine in most cases is below 5%, and some of the tablets that are sold in the marketplaces are sold as ecstasy that do not contain MDMA at all. Instead, a lot of drugs are adulterated with other substances like chalk and even talcum to form completely different drugs. When the use of drugs are made legal then the state can get it very easy to regulate their sale and availability in the market to make sure that they are very safe and clean for human consumption and that they ate not cut with other substances that may be harmful to human life. Making the use of drugs illegal by the state increases the amount of crime that could have been easily eliminated if the drugs were legalized. Controlling the prices of the drugs would imply that drug addicts would leave their habits of stealing so as to fund their habits of using drugs. On the other hand state provided drugs services would keep out the drug dealers out of the business thereby starving the criminal gangs of their primary source of funds. Most Taliban get a lot of their revenues from the sale of poppies which gives a good ground for the heroin. They participate in doing this through intimidation farmers in the local regions who would otherwise sell their produce at the market places

Business Economics 2 Essay Example | Topics and Well Written Essays - 1500 words - 3

Business Economics 2 - Essay Example In other words it is a closed private economy. Households supply labor to firms which in turn pay wages to the former. They buy goods and services produced by the firms. Next we introduce the government. The government is both a producer and a consumer at the same time. It is not only actively involved in production and consumption but also in charging taxes from and giving subsidies to the first two groups. In the next stage we introduce financial institutions such as banks. They enable the flows to be made smoother through their services such as cheques, credit cards and so on. However, still this is a domestic economy, though there are financial institutions in the rest of the world as well. So we finally introduce international trade, i.e. imports and exports. This is where the problem of balance of payments comes up. Balance of payments is the sum total of all imports and exports between a particular country (e.g. Britain) and the rest of the world in monetary terms. Therefore global financial institutions also come into the system. The circular flow diagram, indeed, adequately represents the fact that what is paid by a member of a given sector, say, firms to a member of another sector, say, households, is income for the latter while it’s expenditure for the former. However, in itself it’s a static model of a dynamic series of national and international flows. This is where its inadequacy as a representative model of income flows shows up. The balance of payments problem of Britain or for that matter of any other country is a dynamic one which necessitates a dynamic modeling structure to adequately capture the hidden forces of change. For instance in 2006, Britain’s total exports were equal to  £ 369,691 million while imports were equal to  £ 424,128 million. Thus the current account balance recorded a deficit of  £ 54,437 million in 2006 (Annual Blue Book of Statistics,

Placenta Previa Essay Example for Free

Placenta Previa Essay The topic I have chosen for my journal is placenta previa. My patient, 39-year-old M.C came in to the hospital for her fourth cesarean delivery. She has three healthy children that are twenty, ten and two years old. She is not a good candidate for vaginal birth because she has an android or heart shaped pelvis. The birth of her first child resulted in an emergency cesarean delivery and she has opted to have planned cesarean deliveries since then. During this pregnancy M. C had preeclampsia, which is an increase in blood pressure after 20 weeks gestation, which is also commonly accompanied by protenuria. During this pregnancy M.C also had placenta previa, which is a placental implantation in the lower uterine segment over or near the internal os of the cervix (Buckley Schub, 2013). M.C did not have this complication in her other 3 pregnancies. It is a very rare occasion occurring in only 2 per 1,000 births or 0.3-0.5% of all pregnancies in the United States. Placenta previa occurs during the second or third trimester. There are three types of placenta previa, which are total, partial and marginal. M.C presented with marginal placenta previa also known as low lying, which occurs when the edge of the placenta reaches the internal cervical os (Buckley Schub, 2013). The cause of placenta previa is not known but it may be from abnormal vascularization due to a prior uterine injury (Buckley Schub, 2013). M.C presented with vaginal bleeding during her pregnancy and that is when she found out about her condition. Placenta previa is the most common cause of bleeding in the second half of pregnancy (Buckley Schub, 2013). If a patient presents with sudden, painless vaginal bleeding beyond 20 weeks gestation than placenta previa should be suspected. If placenta previa is suspected the use of a transvaginal ultrasound is the most useful diagnostic tool and has an accuracy of 100% in diagnosing placenta previa. After M.C was diagnosed with placenta previa she was ordered to be on bed rest for the rest of her pregnancy and was monitored very closely by her obstetrician. There are many potential complications that come with placenta previa and a few are premature rupture of membranes, preterm birth, placental abruption, postpartum hemorrhage, anemia, infection disseminated intravascular coagulation, shock, renal failure, thrombophlebitis and maternal or fetal death (Buckley Schub, 2013). According to Buckley Schub, (2013) â€Å" for women who have had multiple cesarean deliveries the risk for placenta previa can reach 10%† and M.C had three previous cesarean sections which could be a reason why she developed this condition. M.C was carrying a boy and placenta previa is also more common in pregnancies with male fetuses (Buckley Schub, 2013). Fortunately M.C was able to carry her baby boy to term but 50% of women with placenta previa have a preterm delivery. The treatment goals for patients with placenta previa is to monitor the mothers vital signs, vaginal bleeding and watch for physiologically signs of hemorrhage, shock and infection. Closely monitor the fetal heart tones for any type of distress such as bradycardia, tachycardia and late and variable decelerations. Closely monitor post-surgical patients for bleeding, infection and other complications. Assess the patient’s anxiety level and any knowledge deficits the patient might have regarding placenta previa. Provide the patient is emotional support, education regarding the condition and reassurance that the prognosis is usually good.

Critical Analysis of Shakespeares Hamlet Essay -- Shakespeare Hamlet

Critical Analysis of Shakespeare's Hamlet What is mans' purpose in life? Is there a purpose? If there isn't, then is it wise to end it, despite the fact that there might be nothing better? In Hamlet, by William Shakespeare, Hamlet struggles with these and other issues. He states that the question of life is "To be, or not to be...?" Is existence really worth the troubles of life? In this monologue, Hamlet is wondering what is his purpose. He asserts that the only reason people endure their horrible lives is the uncertainty of what lies after death. "Who would fardels bear, to grunt and sweat under a weary life, but that the dread of something after death..." Is it noble to suffer, and is life worth all its misery? Hamlet must question himself to discover the answers. At the point in Hamlet when this famous soliloquy takes place, Hamlet has many reasons to be questioning his existence. Hamlet is visited by the ghost of his late father, who explains that he was murdered by Hamlet's uncle, who is Hamlet's mother's new husband. His father cannot rest until Hamlet has gotten revenge. Hamlet's father has just been murdered, his friends are sent to spy on him, his lover is forbidden to see him, and Hamlet feels that his life is pointless and miserable. "The pangs of disprized love, the law's delay, the insolence of office, and the spurns that patient merit of the unworthy takes..." These are the miseries that Hamlet must endure. This is why he makes this s...

Photoshop Cs5

ADOBE ® PHOTOSHOP ® CS5 2010/5/5  © 2010 Adobe Systems Incorporated and its licensors. All rights reserved. Using Adobe ® Photoshop ® CS5 for Windows ® and Mac OS ® This user guide is protected under copyright law, furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in the informational content contained in this guide.This user guide is licensed for use under the terms of the Creative Commons Attribution Non-Commercial 3. 0 License. This License allows users to copy, distribute, and transmit the user guide for noncommercial purposes only so long as (1) proper attribution to Adobe is given as the owner of the user guide; and (2) any reuse or distribution of the user guide contains a notice that use of the user guide is governed by these terms. 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(http://www. iis. fhg. de/amm/) AdobeSystems Incorporated, 345 Park Avenue, San Jose, California 95110, USA. Notice to U. S. Government End Users: The Software and Documentation are â€Å"Commercial Items,† as that term is defined at 48 C. F. R.  §2. 101, consisting of â€Å"Commercial Computer Software† and â€Å"Commercial Computer Software Documentation,† as such terms are used in 48 C. F. R.  §12. 212 or 48 C. F. R.  §227. 7202, as applicable. Consistent with 48 C. F. R.  §12. 212 or 48 C. F. R.  §Ã‚ §227. 7202-1 through 227. 7202-4, as applicable, the Commercial Computer Software and Commercial Computer Software Documentation are being licensed to U. S.Government end users (a) only as Commercial Items and (b) with only those rights as are granted to all other end users pursuant to the terms and conditions herein. Unpublished-rights reserved under the copyright laws of the United States. Adobe agrees to comply with all applicable equal opportunity laws including, if appropriate, the provisions of Executive Order 11246, as amended, Section 402 of the Vietnam Era Veterans Readjustment Assistance Act of 1974 (38 USC 4212), and Section 503 of the Rehabilitation Act of 1973, as amended, a nd the regulations at 41 CFR Parts 60-1 through 60-60, 60-250, and 60-741.The affirmative action clause and regulations contained in the preceding sentence shall be incorporated by reference. 2010/5/5 iii 1 2 : : †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 . . . . . . . . . . . . . . . . . . . . . . . . . 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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 9 : . . . . . . . . . . . . . . . . . . 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. . 269 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276 10 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 2010/5/5 PHOTOSHOP CS5 v . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 11 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314 12 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344 13 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351 PDF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371 Digimarc Photoshop 14 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391 15 Web : Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375 Photoshop Photoshop Web 2010/5/5 PHOTOSHOP CS5 vi 16 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410 (Photoshop Extended) (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415 Photoshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420 (Photoshop Extended) (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424 (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438 17 3D 3D : 3D Photoshop Extended . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463 (Photoshop Extended) 3D (Photoshop Extended) 3D 18 : (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483 (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469 DICOM (Photoshop Extended) (Photoshop Extended) Photoshop MATLAB (Photoshop Extended) (Photoshop Extended) 19 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498 20 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 504 Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515 TWAIN 21 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516 2010/5/5 1 1 : 8 â€Å" † 185 â€Å" † 274 † 132 â€Å" † â€Å" HDR Pro 61 â€Å" HDR† 109 â€Å" HDR HDR † HDR 249 † 259 â€Å" † â€Å" 150 â€Å" † 138 † 3D 2D 3D 3D â€Å" † (Photoshop Extended)† 448 â€Å"3D Adobe Ray Tracer (Photoshop Extended)† â€Å" 3D 463 â€Å" 3D (Photoshop Extended)† 452 â€Å" â€Å"3D † CS Review CS Review Adobe Brid ge CS5 Adobe Bridge Mini Bridge RAW ISO Camera Raw Web Mini Bridge Photoshop Camera Raw 2010/5/5 PHOTOSHOP CS5 2 †¢ †¢ †¢ †¢ †¢ †¢ †¢ †¢ Windows Mac OS 127 136 269 129 223 â€Å" â€Å" â€Å" â€Å" â€Å" † 205 â€Å" † † † † 188 â€Å" † 379 GPU â€Å" † â€Å" â€Å" 64 Mac OS † 124 â€Å" † † 79 64 Windows 10% 43 â€Å" † 2010/5/5 3 2 : Adobe ® Creative Suite ® 5 A B C D E G F H A. Illustrator â€Å" † B. C. D. E. â€Å" † F. â€Å" † G. â€Å" † H. †¢ Windows â€Å" † Mac †¢ †¢ â€Å" â€Å" † † â€Å" † Illustrator â€Å" † Adobe Flash ® Adobe Dreamweaver ® Adobe Photoshop ® Adobe Fireworks ® â€Å" † 2010/5/5 PHOTOSHOP CS5 4 †¢ †¢ † †¢ Dreamweaver Flash â€Å"CSS † Illustrator â€Å" † Adobe Photoshop ® â€Å" Mac â€Å" â₠¬ >â€Å" Dreamweaver for Mac Adobe Illustrator ® † Flash Mac †¢ †¢ Illustrator Adobe InCopy ® Adobe InDesign ® Photoshop Fireworks Tab Illustrator InCopy InDesign Photoshop Shift+Tab â€Å" † â€Å" (Windows ®) Fireworks † (Mac OS ®) F4 â€Å" † Illustrator â€Å" † †¢Flash Dreamweaver ? Photoshop † â€Å" † â€Å" (Illustrator) ? â€Å" † â€Å" † â€Å" † â€Å" † InCopy Fireworks Flash InDesign ? â€Å" † â€Å" Fireworks Photoshop † 2010/5/5 PHOTOSHOP CS5 5 â€Å" â€Å" †¢ †¢ † † â€Å" † †>â€Å" â€Å" â€Å" † † â€Å" † â€Å" † â€Å" † † â€Å" † † â€Å" † † â€Å" † â€Å" kb405298 †>â€Å" † â€Å" Photoshop †>â€Å" Dreamweaver (Windows) Dreamweaver †¢ †¢ â€Å" † â€Å" â€Å" †>à ¢â‚¬Å" †>â€Å" â€Å" † † â€Å" †¢ † â€Å" † â€Å" † †¢ †¢ †¢ â€Å" † 2010/5/5 PHOTOSHOP CS5 6 â€Å" † †¢ †¢ A B C â€Å" † â€Å" † A. B. C. Ctrl (Windows) Command (Mac OS) Esc †¢ †¢ (Windows) â€Å" † Control (Mac) â€Å" † â€Å" † †¢ 2010/5/5 PHOTOSHOP CS5 7 †¢ †¢ †¢ †¢ †¢ †¢ †¢ †¢ Photoshop â€Å" † 2010/5/5 PHOTOSHOP CS5 8 †¢ †¢ †¢ †¢ â€Å" †¢ †¢ † â€Å" † â€Å" † 1 †¢ (Illustrator) †¢ â€Å" †>â€Å" †>â€Å" InCopy †>â€Å" â€Å" †>â€Å" â€Å" †>â€Å" † † †>â€Å" † Photoshop InDesign â€Å" †¢ (Dreamweaver) †¢ (Flash) 2010/5/5 PHOTOSHOP CS5 9 †¢ (Fireworks) 2 3 â€Å" † Photoshop InDesign â€Å" † InDesign Phot oshop ? Photoshop †¢ †¢ †¢ â€Å" Photoshop InDesign â€Å" †>â€Å" â€Å" InCopy †>â€Å" †>â€Å" † â€Å" † †>â€Å" † † â€Å" † Fireworks †¢ (Illustrator) â€Å" † â€Å" † Photoshop InDesign 1 Dreamweaver 2 â€Å" InCopy â€Å" † †>â€Å" †>â€Å" [ ]† Photoshop InDesign (Photoshop) Photoshop †¢ †¢ â€Å" Photoshop †>â€Å" †>â€Å" â€Å" † † â€Å" † ? â€Å" † â€Å" † 2010/5/5 PHOTOSHOP CS5 10 ? †¢ †¢ †¢ †¢ †¢ †¢ (Windows) †¢ A B Enter (Windows) Return (Mac OS) FOX C IT D E A. B. C. D. E. 11 â€Å" † â€Å" Enter 10% A B † â€Å" Esc † Shift A. B. â€Å" † â€Å" † â€Å" † â€Å" † 2010/5/5 PHOTOSHOP CS5 11 Shift 0 / A B â€Å" † A. B. ? 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