Aging with Spirituality: A Review of the Literatu Essay

Aging with Spirituality: A Review of the Literature Sherry A. Tattersall South University Tampa Abstract The intention of this subject is to spread awareness of the impact that religion and spirituality play in the aging process, specifically those over the age of eighty-five. It is becoming more and more acceptable to incorporate a person’s faith in their care, both at home and in a clinical setting. The impact of spirituality and/or religion in terms of how much better a person will age physically, mentally and emotionally is overwhelmingly positive. This wisdom and love of God that is not only gained through years of experiences, good and bad, but also through a deep-rooted faith, is often overlooked and even sadly ignored. The elderly have so much to offer anyone that will take the time to listen, as they have a precious ability to embrace the end of life and a love for the Creator that goes beyond the understanding of most young people. It is only recently that spirituality and the neurobiological effects that it has on the aging in relation to mental and physical health, as well as attitudes about death and dying, have been taken seriously enough to study and implement into care. Faith in God seems to be the key to doing what our mothers always told us to do†¦age gracefully. In this day and age, it is acceptable to consider age 85+ years old as elderly, and upon accomplishing the age of 100 years, we win the prestigious title of Centenarian. Due to the baby birth explosion Post WWII, hence the ‘Baby Boomers’, born between the years 1946 and 1964 (U.S. Census Bureau), along with healthier lifestyle, eating habits and advances in science and medicine, more people are living longer. Research has shown that the effects of religious faith and personal spirituality in the elderly are extremely beneficial in understanding the meaning behind death and illness, as well as coping and healing. It makes sense that as we age, we also develop our spiritual capacities, drifting away from the hustle and bustle  of work and raising children, making it easier to explore spirituality and participate in religious activities.After all, there is within each one of us, a strong desire to connect with the Holy. Atchley (2008) defines spirituality as, ‘an in ner, subjective region of life that revolves around individual experiences of being, transcending the personal self, and connecting with the sacred.’ With the loss, disability, illness, and general physical breakdown of the body in the aging process, it becomes increasingly valuable for us to understand our spirituality, ultimately connecting with our Creator as this is truly where all peace and understanding originate. Spirituality is a way of making sense out of what is happening in the aging process and gives the elderly a sense of peace while grappling with serious issues. Even coping with dementia seems to become a more peaceful experience for the older caretaker. The Duke Longitudinal Study of Aging found that, although religious satisfaction and attitudes do not change much with aging, the feelings of being useful and happy, as well as personal adjustment, tend to increase. Tornstam (1997) coined the term, ‘gerotranscendence’, referring to how the older, mature adult experiences conception of time, an awareness of death and mortality, which may result in an increased desire to explore individual spirituality. Tornstam reports the following comments made by an 86-year old woman in relation to this philosophy: â€Å"You go back to childhood almost daily. It comes without reflection. I talked to a good friend about this. We both go back to the town where we grew up (in our thoughts). Childhood means much more than one thinks; I go back to it all the time.† Ironically, the older adult’s childhood may seem nearer at age eighty-five than at age forty-five. Throughout life, we store away life experiences through language and perception as memory in the brain. Some of these experiences could be ‘spiritual’ depending on the individual’s actual capacity to be enchanted in wonder. For example, looking at Niagara Falls or the Grand Canyon could be a spiritual experience if the individual has developed the capacity to perceive the absolute beauty of nature. The wonder or enchantment is not inherent in the falls or the canyon, but in each of us as human beings. Throughout life, spirituality is developed spontaneously, subconsciously, and even purposely as we get into our later years and really begin to accept  our mortality. We do this by nurturing our spiritual being with reading spiritual material, attending church, listening to and watching spiritual programs, spending more time in prayer, and desiring to be around spiritual or religious people. The elderly generally develop a â€Å"let be† attitude about life’s journey, and know that developing spiritually cannot be forced. It is enjoyable and educational to listen to the wisdom expressed by the elderly when they speak or write about their spiritual journey. They teach us that wisdom and spirituality is a living process. Aging successfully through spirituality really sparked interest in the 1990’s by the McArthur Research Network. Their studies showed that religious participation in the elderly is just as beneficial as diet, exercise, mental stimulation and being connected socially. A better quality of life in spiritually-connected elderly can also be linked to the decreased use of tobacco products, abuse of drugs and alcohol, longer marriages and of course their supportive networks that all bring about a sense of peace and tranquility. There are many large-scale community studies that assess religion and spirituality as it coincides with the health and well-being of elderly men and women. The Established Populations for Epidemiological Studies of the Elderly (Lavretsky, 2010) did a study on approximately 20,000 U. S. adults, revealing that involvement in religion can prolong a life by seven years on the average. In another study, Comstock’s and Partridge’s analysis of 91,000 peo ple in Maryland that attended church showed a decrease in the prevalence of cirrhosis, heart disease, and suicide.A great number of studies reveal a direct correlation in commitment to one’s spiritual self with lower rates of hypertension, cancer pain and stroke. Studies also prove that religion or spirituality is also associated with decreased anxiety, stress, strong relationships and better overall mental, physical and emotional health. All of these types of studies have proven similar results in all parts of the world and in all races, cultures and religions. The benefits of spirituality for the aging adult may be a fairly new concept in that it has really only been studied in the past twenty to thirty years, however, it is being taken seriously in geriatric care by practitioners everywhere. In many clinics, religion and spirituality are now taken seriously as a part of an individual’s history when it comes to  assisting elderly or seriously ill patients in order to help them cope, and even heal. Of course, the subject of religion may be a touchy one for some; therefore practitioners know that they must approach this area cautiously. One way to do this is by asking open-ended questions, such as, ‘is faith (religion, spirituality) important to you in this illness’; ‘has faith been important to you at other times in your life’; ‘do you have someone to talk to about religious m atters’; and ‘would you like to discuss religious matters with someone?’ The sense of well-being through spirituality and religion equally runs through White, Mexican, and African-Americans as studies have demonstrated, because inherently, people of faith, no matter what the race or culture, internalize peace and tranquility about aging and illness, leading to better self-esteem, attitudes and lower rates of depression and anxiety. â€Å"Evidence suggests that meditation, prayer, and other religious and spiritual practices may have significant effects on the aging brain – positive effects that may help improve memory and cognition, mood, and overall mental health† (Newberg, 2011). Gerascophobia, the fear of aging, is common in people that have a difficult time experiencing birthdays, and that do everything within their power to ‘stop the clock’. We see as people age that they experience disengagement and loss like never before, such as losing professional identities, incomes, and seeing friends and/or family die or move away. This is a ‘time for working out a philosophy, and then working that philosophy in to a way of life; a time for transcending the senses to find, and dwell with, the reality that underlies this natural world’ (Smith, 1991). As Pope Benedict said to the residents of a nursing home in Rome, Italy in 2012, â€Å"It is beautiful to be elderly!†¦We must never let ourselves be imprisoned by sadness! We received the gift of long life. On our face there must always be the joy of feeling ourselves loved by God, never sadness.†

Project on Spy Ear

CHAPTER 1 INTRODUCTION, CIRCIT DIAGRAM AND WORKING INTRODUCTION Spy ear is the devices which converts low power audio signal to high power signal and gain. It can be used in Theaters , Concert halls, Lecture rooms, Trains, Court houses, Conference rooms, Embassies, Gaming facilities, Recording studios, Aircraft , railways ,bus station etc. With this sound amplifier, you can now hear things crystal clear that you could never hear before. Spy ear is very easy to use, just put the ear buds in your ears – aim the Spy Ear towards what you want to hear and things are heard crystal clear.Spy Ear has adjustable volume control, which amplifies sound up to 50 decibels. Spy ear is also great for watching TV late at night, while your spouse sleeps you can keep the sound on the TV way down and still hear clearly. In spy ear circuit the most important part which is used to amplify the ckt is An IC named LM386N, which is a low sound amplifier, it amplifies the sound which is received by the condenser mic connected in the ckt. The LM386 is a power amplifier designed for use in low voltage consumer applications.The gain is internally set to 20 to keep external part count low, but the addition of an external resistor and capacitor between pins 1 and 8 will increase the gain to any value from 20 to 200. The inputs are ground referenced while the output automatically biases to one-half the supply voltage. The quiescent power drain is only 24 mill watts when operating from a 6 volt supply, making the LM386 ideal for battery operation. Spy ear is widely using in the spy works. Many spy agencies, National Security Agencies using both wired and wireless spy ears to hear the private conversation and to cought any illegal person doing any illegal work.CIRCUIT DIAGRAM [pic] WORKING What binoculars do to improve your vision, this personal sound enhancer circuit does for listening. This lightweight gadget produces an adjustable gain on sounds picked up from the built-in high-sensiti vity condenser microphone. So you can hear what you have been missing. With a 6V (4? 1. 5V) battery, it produces good results. a small signal amplifier is built around transistor BC547 (T1). Transistor T1 and the related. components amplify the sound signals picked up by the condenser microphone (MIC).The amplified signal from the preamplifier stage is fed to input pin 3 of IC LM386N (IC1) through capacitor C2 (100nF) and volume control VR1 (10-kilo-ohm log). A decoupling network comprising resistor R5 and capacitor C3 provides the preamplifier block with a clean supply voltage. Audio amplifier IC LM386N (IC1) is designed for operation with power supplies in the 4-15V DC range. It is housed in a standard 8-pin DIL package, consumes very small quiescent current and is ideal for battery-powered portable applications. The processed output signal from capacitor C2 goes to one end of volume control VR1.The wiper is taken to pin 3 of LM386N audio output amplifier. Note that the R6-C4 netw ork is used to RF-decouple positive-supply pin 6 and R8-C7 is an optional Zobel network that ensures high frequency stability when feeding an inductive headphone load. Capacitor C6 (22? F, 16V) wired between pin 7 and ground gives additional ripple rejection. The output of LM386N power amplifier can safely drive a standard 32-ohm monophonic headphone/earphone. Assemble the circuit on a small general-purpose PCB and house in a suitable metallic enclosure with an integrated battery holder and headphone/ earphone socket as shown in .Fit the on/off switch (S1), volume control (VR1) and power indicator (LED1) on the enclosure. Finally, fit the condenser microphone (MIC) on the front side of the enclosure and link it to the input of the preamplifier via a short length of the shielded wire. CHAPTER 2 COMPONENTS AND TOOLS USED COMPONENT USED COMPONENT NAMESPECIFICATION QUANTITY RESISTANCES R14. 7K? 1 R2330K? 1 R333? 1 R4680? 1 R5150? 1 R610? 1 R71K? 1 R810? , 0. 5W1 CAPACITANCES C110n(Non P olar)1 C2100n(Non Polar)1 C347 µ(elec. ) , 16V(Polar)1 C41000 µ(elec. ) , 16V(Polar)1 C54. 7 µ(elec. ) , 16V(Polar)1 C622 µ(elec. ) , 16V(Polar)1 C7100n(Non Polar)1C8100 µ(elec. ) , 16V(Polar)1 C9100n(Non Polar)1 C10470 µ(elec. ) , 16V(Polar)1 VOLUME CONTROLLER VR110K? 1 TRANSISTOR T1BC5471 ICLM386N1 IC BASE8-PIN1 LED1 CONDENSER MIC1 EARPHONE32? 1 BATTERIES1. 5V4 BATTERIES HOLDER1 HOLDER CAP1 SWITCH1 PCBSINGLE SIDED1 TOOLS USED IN PCB DESIGNING COMPONENTQUANTITY SAW1 FeCl31 [pic] MULTIMETER1 [pic] HAND DRILLER1 [pic] SOLDERING IRON1 [pic] SOLDERING PASTE1 [pic] SOLDERING WIRE1 [pic] CHAPTER 3 PREPARATION AND PROCESS OF PCB DESIGNING Materials: ? Liquid solutions:- Ferric Chloride (Fecl3), Ferric chloride solution,  about 1 liter/ 0,26 gallons Lacquer thinner Safety solutions:- Safety goggles, Soft plastic brush, Clothes iron, Rubber gloves ? layout solutions:- Software for drawing layout. Like:- 1. P-Spice 2. ExpressPCB 3. PCB Wizard 3. 50 Pro 4. EDWinXP ? Good quality magazine pages (A4 Size) (Glossy paper), ? Laser printer ? Scrubbing pad ? Good ventilation ? Paper towel, ? Tin snips ? Drill or rotary tool ? PCB drill bits ? 5-gallon plastic pail full of water ? Single sided 1 ounce copper clad ? A plastic container the board will fit in PREPARATION Print the bottom side layer on a piece of paper from a high quality magazine or Glossy paper.Use one actual page from the magazine or Glossy paper, the thicker and shinier the magazine paper the better, but do not use the cover. You must use a laser printer, not an inkjet. If your printer uses ink cartridges and not toner cartridges, it will not work. If you do not have a laser printer, you can work around this by printing to white paper and using a photocopier set to the darkest setting to copy the layout to the magazine paper. If the paper jams in the printer, you are not using a thick-enough magazine pages. Again, do not use the magazine covers, as they do not work.Magazine pages are used because they work well, and they are cheap! The reason they work is because the paper is very glossy and the toner does not adhere well to the glossy pages. The printing used on the magazine page is ink and it does not come off, but toner does. Toner  is actually a plastic polymer, and different toners may yield varied results. In our experience, a genuine HP toner cartridge was used with great success. The sole purpose of the toner is the protect the copper below it from etching away; you only want the uncovered areas to etch. Next, wash your hands to remove any oils.Keep handling to a minimum once the pages are printed and do not touch the laser printing with your fingers; this could get oils on the printing. Keep pages as flat as possible. [pic][pic] Very carefully, remove the copper clad from the packaging. Do not touch the copper surface for the same reason as above. You can cut the copper clad to size using a tin snip if needed. Use the scrubbing pad to gently buff the surface. Do not use steel wool because it will embed steel into the copper. Clean off the residual dust with a slightly damp paper towel. [pic] Find a hard, very flat, sturdy, heat resistant surface.Empty the water out of the clothes iron and set the iron on the hottest setting. Allow the iron to get hot. [pic] This is both side of a piece of copper clad. Place the blank side facing down and copper side facing up. Align printing/paper onto copper clad board with the printing facing the copper. Do not allow it to move. [pic] [pic] Firmly press the iron onto the back of the magazine paper, sandwiching it between the copper clad and the iron. Pressing hard without moving the iron, hold the iron perfectly still for one full minute. Do not move the iron at all during this minute, and push hard, really hard!Then, for four more minutes, slowly move the iron around making sure to put a lot of pressure on the paper, but not allowing the paper to slide on the copper. When done, let the board fully cool b efore you move it at all. This will allow the toner to adhere to the copper and prevent you from being burned. Put the board in cold water and let soak for five minutes. After five minutes, try to peel the wet paper from the board leaving only the toner/print from your laser printer. Only the toner should be left adhering to the copper. If the paper does not come off easily, let it soak in the water for a while longer.If necessary, rub with your finger to remove any paper, leaving only the toner. It’s ok if there are a few excess paper fibers stuck to the toner. [pic][pic] [pic] If you find not every trace adhered to the copper clad or it is misaligned, use lacquer thinner and paper towel to clean the toner from the copper board and start over. If the traces look good then move on. Inspect the traces carefully, however, because what you see now will be your finished product. [pic] In a well-ventilated area with a fan, add hot water to a plastic container. Gently pour in 1-cup Fecl3, to create the etching solution.Always wear goggles, gloves, and do not inhale the fumes. Do not use any metal containers, measuring cups, stainless steel sinks, or tools with this mixture as this mixture will aggressively etch metal. Acid safety, think â€Å"triple A†, for Always Add the Acid, it’s whatever is in the container that will end up splashing. This etching solution, while made with common chemicals, should command respect. It is dangerous to you and surroundings treat it with respect. Put the board copper side up in the plastic container filled with etching solution. Use a soft plastic brush to gently wipe the board.You will notice the copper begin to dissolve. It takes about 3-4 minutes to get all the exposed copper dissolved. You just have to watch to make sure it is gone in all areas between the traces. Do not leave the board in the etching mix for too long as the traces will dissolve under the toner that is protecting them. [pic]  [pic] Use lac quer thinner (paint thinner and acetone do not work well) and a paper towel to remove any toner left on top of the copper traces. Tinning prevents the copper from oxidizing, which can make it hard to solder to in the future.If you choose, you can tin all the traces with solder and a soldering iron now. This actually makes drilling much easier because it helps to center the drill bit [pic] Print out the top side silkscreen layer on magazine paper and iron this onto the top side, using the same processes as above. Again, run under water and peel off the paper. Now you have the component ID’s on the top side. For layout design we use software: 1. P-Spice 2. ExpressPCBSetup 3. PCB Wizard 3. 50 Pro 4. EDWinXP Drill all the holes for the through-hole parts using the correct size PCB drill bit and rotary tool.Drill large mounting holes with a normal drill. PCB drill bits are carbide and made to drill through fiber glass that would quickly dull standard bits. There are a few very com mon sizes of bits and these are often sold in packs. We use . 0260? for IC holes and . 0310? for resistors and caps. [pic] CHAPTER 4 RESISTANCES [pic] INTRODUCTION A resistor is a two-terminal passive electronic component which implements electrical resistance as a circuit element. When a voltage V is applied across the terminals of a resistor, a current I will flow through the resistor in direct proportion to that voltage. The reciprocal of the onstant of proportionality is known as the resistance R, since, with a given voltage V, a larger value of R further â€Å"resists† the flow of current I as given by Ohm's law: [pic] UNITS The ohm (symbol: ? ) is the SI unit of electrical resistance. An ohm is equivalent to a volt per ampere. Since resistors are specified and manufactured over a very large range of values, the derived units of Milliohm (1 m? = 10? 3 ? ), Kilohm (1 k? = 103 ? ), Megohm (1 M? = 106 ? ) are also in common usage. Resistance is Determined partially by Compo sition,  and is inversely proportional to Cross Sectional Area. [pic]SERIES AND PARALLEL RESISTORS In a series configuration, the current through all of the resistors is the same, but the voltage across each resistor will be in proportion to its resistance. The potential difference (voltage) seen across the network is the sum of those voltages, thus the total resistance can be found as the sum of those resistances: [pic] [pic] As a special case, the resistance of N resistors connected in series, each of the same resistance R is given by NR. Resistors in a parallel configuration are each subject to the same potential difference (voltage), however the currents through them add.The conductance of the resistors then adds to determine the conductance of the network. Thus the equivalent resistance (Req) of the network can be computed: [pic] [pic] The parallel equivalent resistance can be represented in equations by two vertical lines â€Å"||† (as in geometry) as a simplified not ation. For the case of two resistors in parallel, this can be calculated using: [pic] As a special case, the resistance of N resistors connected in parallel, each of the same resistance R, is given by R/N.A resistor network that is a combination of parallel and series connections can be broken up into smaller parts that are either one or the other. For instance, [pic] [pic] POWER DISSIPATION The power P dissipated by a resistor (or the equivalent resistance of a resistor network) is calculated as: [pic] The first form is a restatement of Joule's first law. Using Ohm's law, the two other forms can be derived. The total amount of heat energy released over a period of time can be determined from the integral of the power over that period of time: [pic] Practical resistors are rated according to their maximum power dissipation.The vast majority of resistors used in electronic circuits absorbs much less than a watt of electrical power and require no attention to their power rating. Such resistors in their discrete form, including most of the packages detailed below, are typically rated as 1/10, 1/8, or 1/4 watt. Resistors required to dissipate substantial amounts of power, particularly used in power supplies, power conversion circuits, and power amplifiers, are generally referred to as power resistors; this designation is loosely applied to resistors with power ratings of 1 watt or greater.Power resistors are physically larger and tend not to use the preferred values, color codes, and external packages described below. If the average power dissipated by a resistor is more than its power rating, damage to the resistor may occur, permanently altering its resistance; this is distinct from the reversible change in resistance due to its temperature coefficient when it warms. Excessive power dissipation may raise the temperature of the resistor to a point where it can burn the circuit board or adjacent components, or even cause a fire. There are flameproof resistors that fail (open circuit) before they overheat dangerously.Note that the nominal power rating of a resistor is not the same as the power that it can safely dissipate in practical use. Air circulation and proximity to a circuit board, ambient temperature, and other factors can reduce acceptable dissipation significantly. Rated power dissipation may be given for an ambient temperature of 25  °C in free air. Inside an equipment case at 60  °C, rated dissipation will be significantly less; a resistor dissipating a bit less than the maximum figure given by the manufacturer may still be outside the safe operating area and may prematurely fail.TYPES OF RESISTER Fixed  resistors Variable resistors FIXED RESISTORS The diagram shows the construction of a carbon film resistor. During manufacture, a thin film of carbon is deposited onto a small ceramic rod. The resistive coating is spiraled away in an automatic machine until the resistance between the two ends of the rod is as close as possibl e to the correct value. Metal leads and end caps are added; the resistor is covered with an insulating coating and finally painted with colored bands to indicate the resistor value.Carbon film resistors are cheap and easily available, with values within  ±10% or  ±5% of their marked or ‘nominal' value. Metal film and metal oxide resistors are made in a similar way, but can be made more accurately to within  ±2% or  ±1% of their nominal value. There are some differences in performance between these resistor types, but none which affect their use in simple circuits. COLOUR CODING OF THE RESISTERS [pic] [pic] [pic] VARIABLE RESISTORS Variable resistors consist of a resistance track with connections at both ends and a wiper which moves along th track as you turn the spindle.The track may be made from carbon, cermets (ceramic and metal mixture) or a coil of wire (for low resistances). The track is usually rotary but straight track versions, usually called sliders, are also available. TYPE OF VARIABLE RESISTORS Linear (LIN) and Logarithmic (LOG) tracks Rheostat Potentiometer Presets LINEAR (LIN) AND LOGARITHMIC (LOG) TRACKS Linear (LIN) track means that the resistance changes at a constant rate as you move the wiper. Logarithmic (LOG) track means that the resistance changes slowly at one end of the track and rapidly at the other end, so halfway along the track is not half the total resistance!This arrangement is used for volume (loudness) controls because the human ear has a logarithmic response to loudness so fine control (slow change) is required at low volumes and coarser control (rapid change) at high volumes. It is important to connect the ends of the track the correct way round, if you find that turning the spindle increases the volume rapidly followed by little further change you should swap the connections to the ends of the track. RHEOSTAT This is the simplest way of using a variable resistor.Two terminals are used: one connected to an end of the track, the other to the moveable wiper. Turning the spindle changes the resistance between the two terminals from zero up to the maximum resistance. [pic] If the rheostat is mounted on a printed circuit board you may find that all three terminals are connected! However, one of them will be linked to the wiper terminal. This improves the mechanical strength of the mounting but it serves no function electrically. POTENTIOMETER Variable resistors used as potentiometers have all three terminals connected.These are miniature versions of the standard variable resistor. They are designed to be mounted directly onto the circuit board and adjusted only when the circuit is built. Presets are much cheaper than standard variable resistors so they are sometimes used in projects where a standard variable resistor would normally be used. [pic] PRESETS Multitier presets are used where very precise adjustments must be made. The screw must be turned many times (10+) to move the slider from one en d of the track to the other, giving very fine control. [pic] |[pic] |[pic] | |Preset |Presets |Multitier preset | |(open style) |(closed style) | | | | | | | | | |CHAPTER 5 CAPACITANCES [pic] INTRODUCTION |A capacitor is a passive electronic component that stores energy in the form of an electrostatic field. In its simplest form, a capacitor consists of two | |conducting plates separated by an insulating material called the dielectric. Capacitance is directly proportional to the surface areas of the plates, and is | |inversely proportional to the plates' separation. | |Capacitance also depends on the dielectric constant of the dielectric material separating the plates. | | |Capacitance calculated as XY x 10Z  for the numbers XYZ and the letter indicates the tolerance J, K or M for  ±5%,  ±10% and  ±20% respectively and unit is in pF. | |The standard units of Capacitance, | |farad: F   | |microfarad:  µF (1  µF = 10-6 F) |nanofarad: nF (1 nF = 10-9 F)   | |microfara d: pF (1 pF = 10-12 F) | | | | | | | |FOR CAPACITORS IN PARALLEL | |Capacitors in a parallel configuration each have the same applied voltage. Their capacitances add up.Charge is apportioned among them by size. Using the | |schematic diagram to visualize parallel plates, it is apparent that each capacitor contributes to the total surface area. | |[pic] | | | |FOR CAPACITORS IN SERIES | |Connected in series, the schematic diagram reveals that the separation distance, not the plate area, adds up.The capacitors each store instantaneous charge | |build-up equal to that of every other capacitor in the series. The total voltage difference from end to end is apportioned to each capacitor according to the | |inverse of its capacitance. The entire series acts as a capacitor  smaller  than any of its components. | |[pic] | |Capacitors are combined in series to achieve a higher working voltage, for example for smoothing a high voltage power supply. The voltage ratings, which are | |base d on plate separation, add up.In such an application, several series connections may in turn be connected in parallel, forming a matrix. The goal is to | |maximize the energy storage utility of each capacitor without overloading it. | |Series connection is also used to adapt  electrolytic capacitors  for AC use. | | | |CAPACITOR MAY BE: | |Polarized | |Unpolrized | |POLARIZED CAPACITOR(VALUE MAX THAN 1  µF) | pic] Circuit symbol:   Ã‚  [pic] ELECTROLYTIC CAPACITORS Electrolytic capacitors are polarized and  they must be connected the correct way round, at least one of their leads will be marked + or -. They are not damaged by heat when soldering. There are two designs of electrolytic capacitors;  axial  where the leads are attached to each end (220 µF in picture) and  radial  where both leads are at the same end (10 µF in picture). Radial capacitors tend to be a little smaller and they stand upright on the circuit board. It is easy to find the value of electr olytic capacitors because they are clearly printed with their capacitance and voltage rating.The voltage rating can be quite low (6V for example) and it should always be checked when selecting an electrolytic capacitor. If the project parts list does not specify a voltage, choose a capacitor with a rating which is greater than the project's power supply voltage. 25V is a sensible minimum for most battery circuits. TANTALUM BEAD CAPACITORS Tantalum bead capacitors are polarized and have low voltage ratings like electrolytic capacitors. They are expensive but very small, so they are used where a large capacitance is needed in a small size. Modern tantalum bead capacitors are printed with their capacitance, voltage and polarity in full.However older ones use a color-code system which has two stripes (for the two digits) and a spot of color for the number of zeros to give the value in  µF. The standard  colour code  is used, but for the spot,  grey  is used to mean ? 0. 01 and   white  means ? 0. 1 so that values of less than 10 µF can be shown. A third color stripe near the leads shows the voltage (yellow 6. 3V, black 10V, green 16V, blue 20V, grey 25V, white 30V, pink 35V). The positive (+) lead is to the right when the spot is facing you: ‘when the spot is in sight, the positive is to the right'.For example:   Ã‚  blue, grey, black spot  Ã‚   means 68 µF for example:   Ã‚  blue, grey, white spot  Ã‚   means 6. 8 µF For example:   Ã‚  blue, grey, grey spot  Ã‚   means 0. 68 µF UNPOLARIZED CAPACITOR(MAX. VALUE UPTO 1  µF) [pic] Circuit symbol:   Ã‚  [pic] Small value capacitors are Unpolrized and may be connected either way round. They are not damaged by heat when soldering, except for one unusual type (polystyrene). They have high voltage ratings of at least 50V, usually 250V or so. It can be difficult to find the values of these small capacitors because there are many types of them and several different labeling system s!Many small value capacitors have their value printed but without a multiplier, so you need to use experience to work out what the multiplier should be! For example  0. 1  means 0. 1 µF = 100nF. Sometimes the multiplier is used in place of the decimal point:   For example:   Ã‚  4n7  means 4. 7nF. POLYSTYRENE CAPACITORS This type is rarely used now. Their value (in pF) is normally printed without units. Polystyrene capacitors can be damaged by heat when soldering (it melts the polystyrene! ) so you should use a heat sink (such as a crocodile clip). Clip the heat sink to the lead between the capacitor and the joint. | | | | | | | VARIABLE CAPACITORS Variable capacitors are mostly used in radio tuning circuits and they are sometimes called ‘tuning capacitors'. They have very small capacitance values, typically between 100pF and 500pF (100pF  =  0. 0001 µF). The type illustrated usually has trimmers built in (for making small adjustments – see below) as well as the main variable capacitor. Many variable capacitors have very short spindles which are not suitable for the standard knobs used for variable resistors and rotary switches. It would be wise to check that a suitable knob is available before ordering a variable capacitor.Variable capacitors are  not  normally used in timing circuits because their capacitance is too small to be practical and the range of values available is very limited. Instead timing circuits use a fixed capacitor and a variable resistor if it is necessary to vary the time period. [pic][pic] Variable Capacitor Symbol Variable Capacitor | | | | | | | | TRIMMER CAPACITORS Trimmer capacitors (trimmers) are miniature variable capacitors.They are designed to be mounted directly onto the circuit board and adjusted only when the circuit is built. A small screwdriver or similar tool is required to adjust trimmers. The process of adjusting them requires patience because the presence of your hand and the tool wil l slightly change the capacitance of the circuit in the region of the trimmer! Trimmer capacitors are only available with very small capacitances, normally less than 100pF. It is impossible to reduce their capacitance to zero, so they are usually specified by their minimum and maximum values, for example 2-10pF.Trimmers are the capacitor equivalent of  presets  which are miniature variable resistors. [pic] [pic] Trimmer Capacitor Symbol Trimmer Capacitor CAPACITOR NUMBER CODE A number code is often used on small capacitors where printing is difficult: †¢ the 1st number is the 1st digit, †¢ the 2nd number is the 2nd digit, †¢ The 3rd number is the number of zeros to give the capacitance in pF. †¢ Ignore any letters – they just indicate tolerance and voltage rating.For example:   Ã‚  102  Ã‚  Ã‚  means 1000pF = 1nF   Ã‚  (not 102pF! ) For example:   Ã‚  472J  means 4700pF = 4. 7nF (J means 5% tolerance). |Color Code | |Color |Number | |Black | 0 | |Brown |1 | |Red |2 | |Orange |3 | |Yellow |4 | |Green |5 | |Blue |6 | |Violet |7 | |Grey |8 | |White |9 | CAPACITOR COLOR CODE A color code was used on polyester capacitors for many years. It is now obsolete, but of course there are many still around.The colors should be read like the resistor code, the top three color bands giving the value in pF. Ignore the 4th band (tolerance) and 5th band (voltage rating). For example: Brown, black, orange  Ã‚   means 10000pF = 10nF = 0. 01 µF. Note that there are no gaps between the colors bands, so 2 identical bands actually appear as a wide band. For example: Wide red, yellow  Ã‚   means 220nF = 0. 22 µF. CHAPTER 6 TRANSISTORS INTRODUCTION Transistors amplify current, A transistor may be used as a switch (either fully on with maximum current, or fully off with no current) and as an amplifier (always partly on).The amount of current amplification is called the current gain, symbol hFE. [pic] [pic] Transistor circuit symbols Types of transistor | | | | There are two types of standard transistors, NPN and PNP, with different circuit symbols. The letters refer to the layers of semiconductor material used to make the transistor. Most transistors used today are NPN because this is the easiest type to make from silicon. If you are new to electronics it is best to start by learning how to use NPN transistors. The leads are labeled base (B), collector (C) and emitter (E). These terms efer to the internal operation of a transistor but they are not much help in understanding how a transistor is used, so just treat them as labels. CONNECTING Transistors have three leads which must be connected the correct way round. Please take care with this because a wrongly connected transistor may be damaged instantly when you switch on. If you are lucky the orientation of the transistor will be clear from the PCB or strip board layout diagram, otherwise you will need to refer to a supplier's catalogue to identify the leads. The dr awings on the right show the leads for some of the most common case styles.Please note that transistor lead diagrams show the view from below with the leads towards you. This is the opposite of IC (chip) pin diagrams which show the view from above. [pic] TRANSISTOR CODES There are three main series of transistor codes used in the UK: ? Codes beginning with B (or A), for example BC108, BC478 the first letter B is for silicon, A is for germanium (rarely used now). The second letter indicates the type; for example C means low power audio frequency; D means high power audio frequency; F means low power high frequency. The rest of the code identifies the particular transistor.There is no obvious logic to the numbering system. Sometimes a letter is added to the end (e. g. BC108C) to identify a special version of the main type, for example a higher current gain or a different case style. If a project specifies a higher gain version (BC108C) it must be used, but if the general code is given (BC108) any transistor with that code is suitable. ? Codes beginning with TIP, for example TIP31A TIP refers to the manufacturer: Texas Instruments Power transistor. The letter at the end identifies versions with different voltage ratings. ? Codes beginning with 2N, for example 2N3053The initial ‘2N' identifies the part as a transistor and the rest of the code identifies the particular transistor. There is no obvious logic to the numbering system. CHOOSING A TRANSISTOR Most projects will specify a particular transistor, but if necessary you can usually substitute an equivalent transistor from the wide range available. The most important properties to look for are the maximum collector current IC and the current gain hFE. To make selection easier most suppliers group their transistors in categories determined either by their typical use or maximum power rating. NPN transistors | |Code | |PNP transistors | |Code |Structure | |Case  style |There is a diagram showing the lead s for some of the most common case styles in the Connecting section above.This information | | |is also available in suppliers' catalogues. | |IC max. |Maximum collector current. | |VCE max. |Maximum voltage across the collector-emitter junction. | | |You can ignore this rating in low voltage circuits. | |hFE |This is the current gain (strictly the DC current gain). The guaranteed minimum value is given because the actual value varies | | |from transistor to transistor – even for those of the same type! Note that current gain is just a number so it has no units. | | The gain is often quoted at a particular collector current IC which is usually in the middle of the transistor's range, for | | |example ‘[email  protected]' means the gain is at least 100 at 20mA. Sometimes minimum and maximum values are given. Since the gain is | | |roughly constant for various currents but it varies from transistor to transistor this detail is only really of interest to | | |experts. | | | | | |Why hFE? | |It is one of a whole series of parameters for transistors, each with their own symbol. There are too many to explain here. | |Ptot max. |Maximum total power which can be developed in the transistor, note that a heat  sink will be required to achieve the maximum | | |rating. This rating is important for transistors operating as amplifiers; the power is roughly IC ? VCE. For transistors | | |operating as switches the maximum collector current (IC max. is more important. | |Category |This shows the typical use for the transistor, it is a good starting point when looking for a substitute. Catalogues may have | | |separate tables for different categories. | |Possible  substitutes |These are transistors with similar electrical properties which will be suitable substitutes in most circuits. However, they may | | |have a different case style so you will need to take care when placing them on the circuit board. | THE NPN TRANSISTORIn the previous tutorial we saw tha t the standard Bipolar Transistor or BJT comes in two basic forms. An NPN (Negative-Positive-Negative) type and a PNP (Positive-Negative-Positive) type, with the most commonly used transistor type being the NPN Transistor. We also learnt that the transistor junctions can be biased in one of three different ways – Common Base, Common Emitter and Common Collector. In this tutorial we will look more closely at the â€Å"Common Emitter† configuration using NPN Transistors with an example of the construction of a NPN transistor along with the transistors current flow characteristics is given below. pic] THE COMMON EMITTER CONFIGURATION As well as being used as a semiconductor switch to turn load currents â€Å"ON† or â€Å"OFF† by controlling the Base signal to the transistor in ether its saturation or cut-off regions, NPN Transistors can also be used in its active region to produce a circuit which will amplify any small AC signal applied to its Base terminal with the Emitter grounded. If a suitable DC â€Å"biasing† voltage is firstly applied to the transistors Base terminal thus allowing it to always operate within its linear active region, an inverting amplifier circuit called a single stage common emitter amplifier is produced.One such Common Emitter Amplifier configuration of an NPN transistor is called a Class A Amplifier. A â€Å"Class an Amplifier† operation is one where the transistors Base terminal is biased in such a way as to forward bias the Base-emitter junction. The result is that the transistor is always operating halfway between its cut-off and saturation regions, thereby allowing the transistor amplifier to accurately reproduce the positive and negative halves of any AC input signal superimposed upon this DC biasing voltage. Without this â€Å"Bias Voltage† only one half of the input waveform would be amplified.This common emitter amplifier configuration using an NPN transistor has many applications but is commonly used in audio circuits such as pre-amplifier and power amplifier stages. With reference to the common emitter configuration shown below, a family of curves known as the Output Characteristics Curves relates the output collector current, (Ic) to the collector voltage, (Vce) when different values of Base current, (Ib) are applied to the transistor for transistors with the same ? value. A DC â€Å"Load Line† can also be drawn onto the output characteristics curves to show all the possible operating points when ifferent values of base current are applied. It is necessary to set the initial value of Vce correctly to allow the output voltage to vary both up and down when amplifying AC input signals and this is called setting the operating point or Quiescent Point, Q-point for short and this is shown below. SINGLE STAGE COMMON EMITTER AMPLIFIER CIRCUIT |[pic] | CHAPTER 7 CONDENSER MIC [pic] INTRODUCTION Microphones are a type of  transducer  Ã¢â‚¬â€œ a device w hich converts energy from one form to another.Microphones convert acoustical energy (sound waves) into electrical energy (the audio signal). Different types of microphone have different ways of converting energy but they all share one thing in common: The  diaphragm. This is a thin piece of material (such as paper, plastic or aluminum) which vibrates when it is struck by sound waves. In a typical hand-held mic like the one below, the diaphragm is located in the head of the microphone. LOCATION OF MICROPHONE DIAPHRAGM [pic] When the diaphragm vibrates, it causes other components in the microphone to vibrate.These vibrations are converted into an electrical current which becomes the audio signal. Note: At the other end of the audio chain, the loudspeaker is also a transducer – it converts the electrical energy back into acoustical energy. TYPES OF MICROPHONE There are a number of different types of microphone in common use. The differences can be divided into two areas: (a) T HE TYPE OF CONVERSION TECHNOLOGY THEY USE this refers to the technical method the mic uses to convert sound into electricity. The most common technologies are dynamic, condenser, ribbon and crystal.Each has advantages and disadvantages, and each is generally more suited to certain types of application. The following pages will provide details. (b) THE TYPE OF APPLICATION THEY ARE DESIGNED FOR some mics are designed for general use and can be used effectively in many different situations. Others are very specialized and are only really useful for their intended purpose. Characteristics to look for include directional properties, frequency response and impedance (more on these later). MIC LEVEL & LINE LEVEL The electrical current generated by a microphone is very small.Referred to as mic level, this signal is typically measured in mill volts. Before it can be used for anything serious the signal needs to be amplified, usually to line level (typically 0. 5 -2V). Being a stronger and mo re robust signal, line level is the standard signal strength used by audio processing equipment and common domestic equipment such as CD players, tape machines, VCRs, etc. This amplification is achieved in one or more of the following ways: †¢ Some microphones have tiny built-in amplifiers which boost the signal to a high mic level or line level. The mic can be fed through a small boosting amplifier, often called a line amp. †¢ Sound mixers have small amplifiers in each channel. Attenuators can accommodate mics of varying levels and adjust them all to an even line level. †¢ The audio signal is fed to a power amplifier – a specialized amp which boosts the signal enough to be fed to loudspeakers. Audio signal is fed to a power amplifier – a specialized amp which boosts the signal enough to be fed to loudspeakers. CONDENSER MICROPHONES Condenser  means  capacitor, an electronic component which stores energy in the form of an electrostatic field.The term condenser  is actually obsolete but has stuck as the name for this type of microphone, which uses a capacitor to convert acoustical energy into electrical energy. Condenser microphones require power from a battery or external source. The resulting audio signal is stronger signal than that from a dynamic. Condensers also tend to be more sensitive and responsive than dynamics, making them well-suited to capturing subtle nuances in a sound. They are not ideal for high-volume work, as their sensitivity makes them prone to distort. HOW CONDENSER MICROPHONES WORK A capacitor has two plates with a voltage between them.In the condenser mic, one of these plates is made of very light material and acts as the diaphragm. The diaphragm vibrates when struck by sound waves, changing the distance between the two plates and therefore changing the capacitance. Specifically, when the plates are closer together, capacitance increases and a charge current occurs. When the plates are further apart, ca pacitance decreases and a discharge current occurs. A voltage is required across the capacitor for this to work. This voltage is supplied either by a battery in the mic or by external phantom power.Phantom power is a means of distributing a DC current through audio cables to provide power for microphones and other equipment. The supplied voltage is usually between 12 and 48 Volts, with 48V being the most common. Individual microphones draw as much current from this voltage as they need. [pic] THE ELECTRET CONDENSER MICROPHONE The Electret condenser mic uses a special type of capacitor which has a permanent voltage built in during manufacture. This is somewhat like a permanent magnet, in that it doesn't require any external power for operation.However good Electret condensers mics usually include a pre-amplifier which does still require power. Other than this difference, you can think of an Electret condenser microphone as being the same as a normal condenser. Technical Notes: †¢ Condenser microphones have a flatter frequency response than dynamics. A condenser mic works in much the same way as an electrostatic tweeter (although obviously in reverse) DIRECTIONAL PROPERTIES Every microphone has a property known as  directionality. This describes the microphone's sensitivity to sound from various directions.Some microphones pick up sound equally from all directions; others pick up sound only from one direction or a particular combination of directions. The types of directionality are divided into three main categories: 1. OMNI DIRECTIONAL Picks up sound evenly from all directions (Omni means â€Å"all† or â€Å"every†). 2. UNIDIRECTIONAL Picks up sound predominantly from one direction. 3. BIDIRECTIONAL picks up sound from two opposite directions. CHAPTER 8 IC LM386N [pic] INTRODUCTION The LM386 is a power amplifier designed for use in low voltage consumer applications.The gain is internally set to 20 to keep external part count low, but the a ddition of an external resistor and capacitor between pins 1 and 8 will increase the gain to any value from 20 to 200. The inputs are ground referenced while the output automatically biases to one-half the supply voltage. The quiescent power drain is only 24 mill watts when operating from a 6 volt supply, making the LM386 ideal for battery operation. FEATURES Battery operation Minimum external parts Wide supply voltage range: 4V–12V or 5V–18V Low quiescent current drain: 4mA Voltage gains from 20 to 200Ground referenced input Self-centering output quiescent voltage Low distortion: 0. 2% (AV = 20, VS = 6V, RL = 8W, PO =125mW, f = 1 kHz) Available in 8 pin MSOP package APPLICATION HINTS GAIN CONTROL To make the LM386 a more versatile amplifier, two pins (1 and 8) are provided for gain control. With pins 1 and 8 open the 1. 35 k? resistor sets the gain at 20 (26 dB). If a capacitor is put from pin 1 to 8, bypassing the 1. 35 k? resistor, the gain will go up to 200 (46 dB) . If a resistor is placed in series with the capacitor, the gain can be set to any value from 20 to 200.Gain control can also be done by capacitive coupling a resistor (or FET) from pin 1 to ground. Additional external components can be placed in parallel with the internal feedback resistors to tailor the gain and frequency response for individual applications. For example, we can compensate poor speaker bass response by frequency shaping the feedback path. This is done with a series RC from pin 1 to 5 (paralleling the internal 15 k? resistor). For 6 dB effective bass boost: R. 15 k? , the lowest value for good stable operation is R = 10 k? if pin 8 is open. If pins 1 and 8 are bypassed then R as low as 2 k? an be used. This restriction is because the amplifier is only compensated for closed-loop gains greater than 9. INPUT BIASING The schematic shows that both inputs are biased to ground with a 50 kW resistor. The base current of the input transistors is about 250 nA, so the inputs are at about 12. 5 mV when left open. If the dc source resistance driving the LM386 is higher than 250 kW it will contribute very little additional offset (about 2. 5 mV at the input, 50 mV at the output). If the dc source resistance is less than 10 kW, then shorting the unused input to ground will keep the offset low (about 2. mV At the input, 50 mV at the output). For dc source resistances between these values we can eliminate excess offset by putting a resistor from the unused input to ground, equal in value to the dc source resistance. Of course all offset problems are eliminated if the input is capacitive coupled. When using the LM386 with higher gains (bypassing the 1. 35 kW resistors between pins 1 and 8) it is necessary to bypass the unused input, preventing degradation of gain and possible instabilities. This is done with a 0. 1 ? F capacitor or a short to ground depending on the dc source resistance on the driven input.CHAPTER 9 EARPHONE [pic] INTRODUCTION Headphones are a pair of small loudspeakers, or less commonly a single speaker, held close to a user's ears and connected to a signal source such as an audio amplifier, radio, CD player or portable media player. They are also known as stereophones, headsets or, colloquially cans. The in-ear versions are known as earphones or earbuds. In the context of telecommunication, the term headset is used to describe a combination of headphone and microphone used for two-way communication, for example with a telephone.The telephone earpiece such as the one pictured at the right was common at the beginning of the 20th century. Headphones originated from the earpiece, and were the only way to listen to audio signals before amplifiers were developed. The first truly successful set was developed by Nathaniel Baldwin, who made them by hand in his kitchen and sold them to the U. S. Navy. Very sensitive headphones such as those manufactured by Brandes around 1919 were commonly used for early radio work. These early headphones used moving iron drivers, either single ended or balanced armature.The requirement for high sensitivity meant no damping was used, thus the sound quality was crude. They also had very poor comfort compared to modern types, usually having no padding and too often having excessive clamping force to the head. Their impedance varied; headphones used in telegraph and telephone work had an impedance of 75 ohms. Those used with early wireless radio had to be more sensitive and were made with more turns of finer wire; impedance of 1,000 to 2,000 ohms was common, which suited both crystal sets and triode receivers.In early powered radios, the headphone was part of the vacuum tube's plate circuit and had dangerous voltages on it. It was normally connected directly to the positive high voltage battery terminal, and the other battery terminal was securely earthed. The use of bare electrical connections meant that users could be shocked if they touched the bare headphone connections while adjusting an uncomfortable headset. APPLICATIONS Headphones may be used both with fixed equipment such as CD or DVD players, home theater, personal computers and with portable devices (e. g. igital audio player/mp3 player, mobile phone, etc. ). Cordless headphones are not connected via a wire, receiving a radio or infrared signal encoded using a radio or infrared transmission link, like FM, Bluetooth or Wi-Fi. These are actually made of powered receiver systems of which the headphone is only a component, these types of cordless headphones are being used more frequently with events such as a Silent disco or Silent Gig. In the professional audio sector headphones are used in live situations by disc jockeys with a DJ mixer and sound engineers for monitoring signal sources.In radio studios, DJs use a pair of headphones when talking to the microphone while the speakers are turned off, to eliminate acoustic feedback and monitor their own voice. In studio recordings, musicians and si ngers use headphones to play along to a backing track. In the military, audio signals of many varieties are monitored using headphones. Wired headphones are attached to an audio source. The most common connection standards are 6. 35mm ( ) and 3. 5mm TRS connectors and sockets. The larger 6. 35mm connector tending to be found on fixed location home or professional equipment.Sony introduced the smaller, and now widely used, 3. 5mm â€Å"minijack† stereo connector in 1979, adapting the older monophonic 3. 5mm connector for use with its Walkman portable stereo tape player and the 3. 5mm connector remains the common connector for portable application today. Adapters are available for converting between 6. 35mm and 3. 5mm devices. BENEFITS AND LIMITATIONS [pic] Headphones may be used to prevent other people from hearing the sound either for privacy or to prevent disturbance, as in listening in a public library.They can also provide a level of sound fidelity greater than loudspeaker s of similar cost. Part of their ability to do so comes from the lack of any need to perform room correction treatments with headphones. High quality headphones can have an extremely flat low-frequency response down to 20  Hz within 3dB. However, rated frequency response distortion figures do not provide information on what character the sound reproduced at that frequency will be. Marketed claims such as ‘frequency response 4  Hz to 20  kHz' are usually overstatements; the product's response at frequencies lower than 20  Hz is typically very small.Headphones are also useful for video games that use 3D positional audio processing algorithms, as they allow players to better judge the position of an off-screen sound source (such as the footsteps of an opponent). Although modern headphones have been particularly widely sold and used for listening to stereo recordings since the release of the Walkman, there is subjective debate regarding the nature of their reproduction of stereo sound. Stereo recordings represent the position of horizontal depth cues (stereo separation) via volume differences of the sound in question between the two channels.When the sounds from two speakers mix, they create the phase difference the brain uses to locate direction. Through most headphones, because the right and left channels do not combine in this manner, the illusion of the phantom center can be perceived as lost. Hard panned sounds will also only be heard only in one ear rather than from one side. This latter point is of particular importance for earlier stereo recordings which were less sophisticated, sometimes playing vocals through one channel and music through the other.Binaural recordings use a different microphone technique to encode direction directly as phase, with very little amplitude difference (except above 2  kHz) often using a dummy head, and can produce a surprisingly life-like spatial impression through headphones. Commercial recordings almost alwa ys use stereo recording, because historically loudspeaker listening has been more popular than headphone listening. It is possible to change the spatial effects of stereo sound on headphones to better approximate the presentation of speaker reproduction by using frequency-dependent cross-feed between the channels, or—better still—aBlumlein shuffler (a custom EQ employed to augment the low-frequency content of the difference information in a stereo signal). While cross-feed can reduce the unpleasantness that some listeners find with hard panned stereo in headphones, the use of a dummy head during recording, with artificial pinnae, can allow on playback through headphones, the experience of hearing the performance as though situated in the position of the dummy head. Optimal sound is achieved when the dummy head matches the listener's head, since pinnae vary greatly in size and shape.Headsets can have ergonomic benefits over traditional telephone handsets. They allow cal l center agents to maintain better posture instead of tilting their head sideways to cradle a handset. Over time, headphone cables fail. The common scenario in which a replacement might need to be purchased is the physical breakdown of copper wiring at junction points on the cord (at the TRS jack, or at the point of connection to the headphone). These are the sites of greatest and most stressful motion on a cord and so they are typically fitted with some kind of strain relief.CHAPTER 10 APPLICATIONS,FUTURE SCOPE AND CONCLUSION APPLICATIONS IN SPY AGENCIES [pic] 1. To hear private conversations of anyone. 2. To caught anyone doing any illegal work. SOUND AMPLIFIER 1. To amplify the low power audio signals. 2. In hearing aids. SOME OTHER APPLICATIONS As a spy can be use in 1. Concert halls 2. Court houses 3. Conference rooms 4. Embassies 5. Government facilities 6. Recording studios. 7. In army. 8. Secret agencies. FUTURE SCOPE [pic]Spy ears are widely using in the spy agencies due to its amplifying capability of the low power audio signals into the high power audible audio signals due to this property of spy ears we can use it to hear the private conversations of anyone, In the present time spy ears are very popular to hear the private conversations and it can also be used as a hearing aid for the persons who do not have the ability to hear the voice correctly. Spy ears amplifies the sound so it amplify the sounds of low signal for the person and he can clearly hear the voice of the other person and other things.If we consider the future prospectus than we can imagine that spy ears will become very popular in the future due to its hiding capability because we all know that at what rate corruption and illegal things are increasing so due to help of this equipment we can hear the conversation of any suspicious person and stop him. Spy ear can easily hide so they are very difficult to find and the other person can not see it and we can easily hear the conversation of the peritcular person and he van not imagine than someone hearing his conversation and his secret is now opened.TYPES OF SPY EAR In the present condition spy ear are of two types: 1. Wired. 2. Wireless. 1. WIRED [pic] ? Wired spy ear for the short distance use only. ? We can only hear the sound of the person who is near the spy ear. ? Due to its short distance use they are now uses very less in compare to wireless spy ears. ? Wired spy ear can be used to hear the voice of the person at bus stop, school, colleges and many other places without getting his/her attention towards us. ? Wired spy ear can also be used as a hearing aid because of its audio amplifying capability.But if we see in present condition the use of wired spy ears is very less because wireless spy ears can cover a wide range than the wired spy ears, many spy agencies and private security forces use wireless spy ear for the long distance communication. 2. WIRELESS [pic] ? Wire less spy ears are widely using for th e long distance conversation due to its capability of receiving and sending signals from the long distance. ? Wire less spy ears are widely using in spy agencies and private security agencies to connect an long distance communication. ? Wire less spy ear consist of a receiving and a transmitting device. Both device are fabricated on the separate board so they have the property of long distance connectivity and the voice quality is also good. ? Wire less spy ears are also using with the mobile equipments. Transmitting device contain a sim and from our we call on it and after the connectivity we can hear and transmit our voice without getting the attention of the other person. CONCLUSION By the above all discussion at last we can say that the spy ear is very helpful at many levels such as PRIVATE LEVEL †¢ We can hear the conversation of our neighbours without getting their attention. We can hear the conversation of people at bus stop, school, colleges without looking towards them †¢ We can use it as h sound amplifier for low voice signals etc. COUNTRY LEVEL †¢ We can use spy ear to hear the conversation of any suspected person and can know that what is going on. †¢ We can use it against any corrupted person and send him in the jail. At last we can say that the spy ears are very helpful for private as well as national security purpose and in future they will become more popular due to there ability of hiding and catching low frequency voice signal. ———————– IASSCOM FORTUNE INSTITUTE OF TECHNOLOGY 1

Summery Essay Example | Topics and Well Written Essays - 250 words

Summery - Essay Example Idealism encompass individual dealings based on corporate ethical values, religion, gender and age, while the relativism encompass religion and provide the view that moral actions of individuals depend upon the natural history and weigh the situation accordingly. The article discuss about the ethical value questionnaire to examine the ethical ideologies of senior managers from organizations listed in Australian Stock Exchange. The results signify that senior Australian managers display geometric mean of 22.9 for idealism and relativism with geometric mean of 16.4. The study also specifies that no relationship was observed between age and idealism. Although, the study finds a low response, but those who responded are keen to behave ethically as compared to non-responders. However, the study did not incorporate heterogeneous immigrant community and emphasize on the fact that effective ethical training is required to generate managerial skills for ethically challenging situations. These training programs will enhance sensitivity to the diverse ethical ideologies and help the managers to avoid potential conflicts. The study opens the door to perform research in the direction of providing an insight for examining and generating interplay between individualism/ collectivism and idealism/ relativism of managers belonging to different cultures.

Ask Essay Example | Topics and Well Written Essays - 250 words

Ask - Essay Example She says â€Å"She wasn’t at all serious when she had to be and nice when it requires. Interpreting her conversation wasn’t difficult. She made is clear that I wasn’t professional enough to be promoted† Did the vice president use the leadership styles in addressing the issue of the banker? 3. It is apparent that the banker was not happy because the vice president didn’t seem to pay attention to him/her. He/she says â€Å"When we started discussing the case, she was less interested and no eye contact was made between us (her eyes were always on her Monitor and very minimal on me)† Did the vice president use the correct communication style in addressing the banker’s issue? 4. During the conversation, the manager thought â€Å"I have been working for three years straight learned everything I can and how can I learn to become a fully-fledged manager if neither you nor the other managers have time to teach me anything to further assist me.† Could the banker’s feelings and thoughts have influenced the outcome of their conversation? 5. In terms of managerial skills, the vice president told the banker that he/she wasn’t professional enough to be promoted. What does the banker need to know about leadership before being promoted to a managerial post? The said subordinate is alleged to have gone against the rules of the company by disclosing important financial information. According to what transpired between him/her with the financial manager, the following insight questions can be deemed appropriate. 1. The manager is alleged to have jumped into conclusion even before conducting his own independent investigation on the alleged misconduct of the sub ordinate. Are these assumptions by the manager indicating good managerial skills? 4. The subordinate is seen to engage the manager in some heated conversation. He asked the manager â€Å"Is this always your leadership style?†

W8 Exemption PT1 Essay Example | Topics and Well Written Essays - 2000 words

W8 Exemption PT1 - Essay Example They include history of diplomacy, economics and international system, international law and international system, conflict avoidance, prevention and containment in international system, conflict resolution and post-conflict reconstruction in the international system and military intervention and conflict management in the international system. As evidenced by the number of seminars I had to attend, this programs has been both rigorous and time consuming. I have had to devote my time to conduct additional research on several matters in a bid to consolidate my understanding of the various concepts discussed in the seminars. Nonetheless, putting aside the aspect of time and dedication that was required in the program, it is undeniable that I have learnt so much from these seminars as discussed below. The History of Diplomacy seminar served as an eye-opener of what transpires in political realms as governments strive to strike agreements that require much of compromises. I learnt that t he docket of foreign affairs is critical for any government because it is where allies and enemies are created in international relations. From the historical perspective to contemporary perspective, foreign policy decision-making remains integral component of international political environment (Black, 2011). Through the seminar, I have been able to trace the root of diplomatic efforts in resolution of conflicts between nations. For example, the Peace of Westphalia remains an important event in conflict international negotiations as it served to end 30 years war (1618-1648) that characterized the Roman Empire. In this period, Spain and Dutch Republic were in a state of war. However, after a series of treaties which were signed in Osnabruck and Munster, the two nations resolved to end their destructive and perennial wars (Whaley, 2011). In addition, I have been able to understand the complexity of modern diplomatic procedures. This is especially so because of economic, political and legal themes. The seminar on Economics and international system particularly fell in my area of specialization undertaken in my undergraduate studies. Being a professional in Business Management, studying economics and international system was an extra boost to the knowledge I had already acquired previously. From the seminar, I have been able to understand the impacts of globalizations on world economy and the role of the international institutions such as the World Bank and International Monetary Fund. After the devastating economic impacts of World War II and the Great Depression, it became evident that the globalized market needed urgent intervention to safeguard it from probable future eventualities (Boughton, 2004). I have learnt that this formed one of the primary reasons as to why United States convened a Bretton Woods, New Hampshire Conference to deliberate on salvaging the global economy. International Monetary Fund (IMF) and World Bank is a product of this conference. Th e unparalleled role played by these international bodies as in the globalized international market is remarkable. I have learnt that protectionism is no longer a path to pursue as liberalized economies are bound to grow faster. Furthermore, through critical thinking and analysis of various reports, I understand why the U.S. is particularly mad with the idea of China manipulating its currency so as to

Employment law for hr managers Essay Example | Topics and Well Written Essays - 2000 words

Employment law for hr managers - Essay Example Furthermore, indirect discrimination arises when a person discriminates against another person through applying a ‘provision, criteria or practice’ that is discriminatory against another person. For example, an employer only advertises jobs in magazines aimed at young people. The first two issues that may arise with regards to showing photographs of white and Asian people are that this is considered by statutory laws to be racial discrimination. However, it could be argued through the use of the principle of positive action which states that racial discrimination is only applicable when a person reasonably believes that he/she would suffer a disadvantage in relation to the characteristic shared. Therefore, in this case it could be argued that races other than white or Asian are not reasonably disadvantaged.2 The second issue in this case is the use of a specified term â€Å"young† to relate to the age of the suitable applicants. This could result in age discrimination as mentioned in Equality Act. Age discrimination happens when a person refers to another person in relation to a specified age group3. In this case it could be argued that Outrageous has discriminated by referring to a specific age group. It could be concluded by the usage of all arguments mentioned above that Outrageous may face problems in relation to the age discriminating terms used in the advertisement. However, the photographs of white and Asian seem to be less important as there are no reasonable grounds to believe that a certain race is being disadvantaged. So it is advisable that Outrageous changes the language used in the advertisement and in the same time keep the photographs as it is. b) The fact of the case above shows that Outrageous has already done the first round of interviews for the trainee position and has rejected three interviewees, one of them was a male who wears turban another was a Muslim woman aged 21 who wears a hijab the and

Social Psychology Essay Example | Topics and Well Written Essays - 750 words - 4

Social Psychology - Essay Example The study of social influence, social comparison, conformity, obedience, motives, group processes, attitudes and attitude changes involve social psychology to very large extent in understanding the culture and background of a region together with its history and social practices, and helps to track the means to change mindsets and augment the economy. Undoubtedly, the individual has a huge responsibility in social behavior and practices. Human nature is hereditary and follows the pattern and practices an individual sees and observes around him. As such, the study on self and one’s identity has a special place in the study of social psychology. Every individual is naturally inclined to be self-centered, and central to all his or her life is the concern for the security and well-being of the individual within the social standards, resources and beliefs being followed in the region. The purposes and goals of the individual have a lot to do with the resources and influence society brings about with the help of the natural environment, traditional customs and leadership unique to the region. Man has always had the capability to understand what he is like and the desire to know what he would like to be. Progress is achieved when one puts one’s perception and experience to work and grasp what is feasible and attainable. It makes sense to the individual to seek better things in life and see all round progress and prosperity where he is concerned as well as where others are also involved. The means to these issues are interpersonal relationships, social standards and understanding of one’s culture. The events in Rwanda some decades ago shocked the world and exposed the incapacity of the United Nations to quickly and effectively deal with the situation. A mute world looked on as marauding mobs went on rampage, looting and massacring a hapless minority whose only fault lay in the lopsided governing

Managed Change at Toyota Australia Case Study Example | Topics and Well Written Essays - 2000 words

Managed Change at Toyota Australia - Case Study Example What we assumed was a temporary circumstance has  turned into a permanent situation. This drop of 36% in just four years shows the scale of our  challenges.† (Toyota Motor Corporation Australia 2012) As Mr. Yasuda notes, business is down and the trend is not temporary, but has been in process for the past four years. Export volumes are down, and not only that, the competitiveness of Australian-made Toyota vehicles is also noted to be down. The Australian currency's strength has likewise negatively impacted the volumes, because of the higher prices owing to the improved currency valuation versus other currencies. This makes Toyota in Australia less competitive in terms of cost too, in comparison to other markets and other production locations in the world (Toyota Motor Corporation Australia 2012). As of the time of the announcement, Mr. Yasuda also noted that the changes that were being made in the Toyota operations in Australia were geared for the long term, and towards mak ing Toyota Australia competitive under the changed operating condition and market conditions in the world. Those market changes are long-term, and so must the changes. The workforce is to undergo adjustment to align it with the company's long-term plans, and that adjustment may mean re-training and reorganizing the workforce. That can also include renegotiating wages and working arrangements as well. Sourcing for parts is to be optimized for cost and efficiency. Efficiency gains are to be a primary goal. As well the overall cost structure of the manufacturing facilities and the entire operations is to be optimized (Toyota Motor Corporation Australia 2012; Beissman 2012; Beissman 2012 (b)). That said, it is to be noted that Toyota in... The company basically made use of fundamental change management tools centering on communication and in the explanation of the fundamental reasons for the change. There is, first of all, the use of systematic modes of managing the personnel side of the change, via planned layoffs that reflect the changed fundamentals of the company's financial viability. As well the company communicated and validated how the external market conditions necessitated such personnel change. The literature calls this making a formal case out of the planned changes. No doubt with the fact that Toyota Australia is not alone in facing difficulties in the domestic and international markets, and the fact that government itself had acknowledged the changed and difficult market conditions, made it easy for Toyota Australia to make the formal case for change. The formal case made by the CEO is one that is also a solid business case. There are good business reasons for the changes, in other words, and that was the message and the formal case that made it easier for Toyota Australia to sell the idea of the planned changes not only to employees but to the market in general.

Teacher and Lords Prayer Essay Example for Free

Teacher and Lords Prayer Essay Prior to 1944, in British Columbia, the Public Schools Act (1872) permitted the use of the Lord’s Prayer in opening or closing school. In 1944, the government of British Columbia amended the Public Schools Act to provide for compulsory Bible reading at the opening of the school day, to be followed by a compulsory recitation of the Lord’s Prayer. This amendment appeared as section 167 of the Public Schools Act, and read as follows:[15] 167. All public schools shall be opened by the reading, without explanation or comment, of a passage of Scripture to be selected from readings prescribed or approved by the Council of Public Instruction. The reading of the passage of Scripture shall be followed by the recitation of the Lord’s Prayer, but otherwise the schools shall be conducted on strictly secular and non-sectarian principles. The highest morality shall be inculcated, but no religious dogma or creed shall be taught. 1948, c.42, s.167 The compulsory nature of the Bible reading and prayer recitation was slightly modified by regulations drawn up by the Council of Public Instruction. These regulations provided that either a teacher or student who has conscientious ground for objecting to the religious observances may be excused from them. The procedure to be followed in such cases was outlined in the regulations, which follow in full: Division (15)—Scripture Readings (Section 167) 15.01 Where a teacher sends a written notice to the Board of School Trustees or official trustee by whom he is employed that he has conscientious objections to conducting the. ceremony of reading prescribed selections from the Bible and reciting the Lord’s Prayer (as provided by Section 167 of the Public Schools Act), he shall be excused from such duty, and in such case it shall be the duty of the Board of School Trustees or official trustee concerned to arrange with the Principal to have the ceremony conducted by some other teacher in the school, or by a school trustee, or, where neither of these alternatives is possible, by one of the senior pupils of the school or by some other suitable person other than an ordained member of a religious sect or denomination. 15.02 Where the parent or guardian of any pupil attending a public school sends a written notice to the teacher of the pupil stating that for conscientious reasons he does not wish the pupil to attend the ceremony of reading prescribed selections from the Bible and reciting the Lord’s Prayer at the opening of school, the teacher shall excuse the pupil from attendance at such ceremony and at his discretion may assign the pupil some other useful employment at school during that period, but the pupil so excused shall not be deprived of any other benefits of the school by reason of his non-attendance at the ceremony. In 1982, the Canadian Charter of Rights and Freedoms received royal assent. Section 2 of the charter guaranteeing freedom of conscience and freedom of religion trumped Section 167 of the Public Schools Act (1872). Sixteen years later in 1996, based on precedent that would be established in Ontario (1989), required recitation of the Lord’s Prayer as outlined in the Public Schools Act would be held to violate the Charter of Rights and Freedoms. In 1989, Joan Russow challenged, in the British Columbia Supreme Court, the Public Schools Act’s requirement that in British Columbia all public schools were to be opened with the Lord’s Prayer and a Bible reading. The argument was similar to the Zylberberg case and the result was the same: The offending words in the Public Schools Act were removed as being inconsistent with freedom of conscience and religion guarantees in the Canadian Charter of Rights and Freedoms. Further following the Zylberberg case to strike down use of the Lord’s Prayer in schools,[17] the British Columbia Supreme Court incorporated the Ontario Court of Appeals decision in Zylberberg in its entirety. From 1871 to 1989, observance of school prayer had declined. With the unfavorable court decision, the requirement for Christian morning exercises was replaced with the following clauses found in the School Act (1996) in British Columbia.[18] Conduct: 76 (1) All schools and Provincial schools must be conducted on strictly secular and nonsectarian principles. (2) The highest morality must be inculcated, but no religious dogma or creed is to be taught in a school or Provincial school.

Nicholas and Absolon Essay Example for Free

Nicholas and Absolon Essay To what extent are Nicholas and Absolon courtly lovers? Nicholas and Absolon both execute elements of the courtly love tradition, though the elements they express differ from each other and from the ideal courtly lover. Both Nicholas and Absolon attempt to use the language of the courtly lover to win Alison. When Nicholas attempts to seduce Alison into sleeping with him, he declares For deerne love of thee, lemman, I spille. At first glance this may appear to be the elevated language of courtly love, with Nicholas revealing to Alison that he loves her so much that if she were to reject him, he would die. Upon closer inspection, however, we notice that his term of affection for Alison is lemman which was often used in medieval times in a sexual context. Furthermore, the word spille can mean to die, though its cruder meaning (and the meaning more fitting with Nicholas physical treatment of Alison in this section) is to ejaculate. Here, the overall impression that Nicholas gives is that he uses the language of courtly love to cloak his dishonourable intentions. Absolon uses the language of courtly love in a different way. He utilises more romantic terms of endearment than Nicholas, such as hony-comb, faire brid and sweete cinamome and at the same time, unknowingly, uses highly unromantic imagery to describe himself. He tells Alison for youre love I swete, creating a very unappealing image of himself sweating for her love. He then proceeds to use many more unappealing images. He declares I moorne as dooth a lamb after the tete, likening himself to a helpless lamb, an emasculating concept, and that he may nat ete na moore than a maide, this time likening himself to a woman. Absolons misuse of the language of courtly love makes him all the more ridiculous, and his affected manner means that the reader has little sympathy for him. Perhaps a lot of Nicholas success in wooing Alison is that he woos secretly, as a traditional courtly lover would. Discretion is paramount, as Alison warns Nicholas that their lovemaking must be privee else if John found out he would kill her. Nicholas, in order to ensure that their lovemaking is secret, formulates an elaborate plan. This highlights his intellect and his cunning, and also reminds the reader of the description of Nicholas at the beginning of the tale, in which he is revealed to known much of deerne love and solas he is experienced in the ways of secret love. Absolon does little to secretly woo Alison. When Absolon sings and plays his guitar beneath Alisons window, he does not take care to do it at a time when John is away. Moreover, John is awoken by Absolons singing before Alison. The fact that John, a jealous husband, does not consider Absolon to be any threat to him is revealing of how others perceive Absolon. He is viewed as ineffectual and harmless. Absolon and Nicholas both use music in their wooing of Alison. Nicholas uses his sautrie to make a-nightes melodie. The next references to melody are when Alison has promised Nicholas that she will sleep with him Nicholas playethe faste, and maketh melodie and when Nicholas and Alison enjoy the revel and the melodie of their lovemaking. In this case, Nicholas music-making is symbolic of his skill and cunning as a lover. In contrast, Absolon plays music on a smal rubible and sings with a loud quinible. The fact that Absolons instrument is described as smal makes it seem unimpressive in comparison to Nicholas gay sautrie. His loud, high-pitched voice is effeminate, the ridiculousness of which is highlighted by the comic rhyme of rubible and quinible.

Youth Subcultures And Its Influence On Youth Media Essay

Youth Subcultures And Its Influence On Youth Media Essay About: This report intends to analyze the complex relationship between media and youth subculture and argues that subcultures can reproduced and constructed through the media. It therefore, states that the national media should take responsibility in the discourses that are used to represent youth groups and youth subcultures as they impact on the activities of broader youth communities worldwide. The cultural universe of young people is a complex and dynamic one (White, 1999) and there has always been a tendency among youth researchers to investigate the significant social changes that are being revealed through the experiences of contemporary youth (Leccardi Ruspini, 2006). Some of the earliest sociological researches on youth can be linked to the emergence of new forms of consumptions and distinct youth cultures that began to rise in the late 1950s. The changes in youth at this era were highly visible through music and fashion the young populations were consuming. This was viewed both as a result of the increase time available for leisure and personal resources (Leccardi Ruspini, 2006) as well as an attempt to create some symbolic meaning for self (White, 1999). In times of high unemployment where youth were caught in between the ideology of spectacular consumption promoted by the mass media and the traditional ideology of capitalism and the meritocratic work led to a pro liferation of empirical studies across a wide range of diverse issues from homelessness to unemployment, youth crime to street gang violence that engages in research relevant to both empirical and theoretical matters in order to stretch the conceptual boundaries in the contemporary society (White, 1993). Youth subcultures can be viewed as a response to the interaction between these different areas. This response is seen by some as an identity seeking reaction between resistance to consumerism created by the production based Puritanism and the new hedonism of post war consumption (White, 1993). This paper looks into the contemporary youth subcultures and the media discourse used in the representation of these subcultures. It is argued that such negative representations of youth subcultures would result in the popularization and re enforcement of activities rather than limiting or controlling such deviant behaviors and thereby confirming the labeling of a demonized and at risk youth groups. Further, reports supports the idea that the media interventions in crime and social problem areas can lead to misplaced reactive political resources in mythic rather than real social problem areas resulting in amplified and exacerbated social problems generating moral panics (White, 1999). A culture can be defined as designs for living that constitute peoples way of life (Macionis Plummer, 2008:128). The five components of culture identified by Macionis and Plummer (2008: 130) include; symbols, language, values, norms and material culture. Culture has several, often contradictory meanings that carries ambiguity that can be traced in its different uses throughout history (Brake, 1985). While the classical perspective views culture as a standard of excellence (high culture), others view culture as a way of life which expresses certain meanings and values attached with a particular way of life known as the low culture'(Williams, 1961, p. 57). It is this conceptualisation of low culture that is central to the development of subcultures as an analytical concept (Brake, 1985). Subcultures can be defined as a cultural pattern that set apart some segment of a societys population (Macionis Plummer, 2008: 139) or a social group which is perceived to deviate from the normative ideals of adult communities (Thornton, 1995: 2). The earliest use of subcultural theories within sociology can be linked to its application as a subdivision of a national culture (Gordon, 1947). Culture in this context was viewed as learned behaviour with emphasis on the effects of socialisation within the cultural subgroups of a pluralist society (Brake, 1985). In most of the Western world, studies of youth subcultures have been dominated by a tradition associated with the 1970s work of the Centre of Contemporary Cultural Studies, University of Birmingham, England (Thornton, 1995). The Birmingham subcultural studies tend to banish media and commerce from their definition of authentic culture seen media and commerce as incorporating subcultures into the hegemony and effectively dismantling them (Hedbige, 1978). Chicago School sociologists on the other hand were concerned on researching empirical social groups by taking precedence over their elaboration of theory and were mainly focused on the shadier recesses of polite society (Thornton, 1995). This report will look at subcultures as cultures that are labelled directly or indirectly by the media with a problematic authenticity and as media and commerce integral to the authentication of its cultural practices. Supporting this, A.K. Cohen states that a major determinant of subcultures among th e youth as what people do depending upon the problems they contended with (Cohen, 1955, p.51). Cultural theorists argue that what it means to be young should be seen in the context of its cultural significance indicating that it is the context of cultural significance that makes been young so distinctive and not the structural focus of society (Alan, 2007). That is, the context the youth are exposed to and the issues that their exposures carry play a significant role in the construction of a youths culture. When understanding the conflicts surrounding young people and the way they use public space, the media plays a central role by constituting and shaping the principal form of the public sphere and by gathering and distributing important public information (Thompson, 1994 in Sercombe, 1999). One may argue that there is no certain measure of the direct effects of media coverage on the public. However, there are often negative and powerful cultural effects of media produced by the constant flow of its commercialized imaginary fictions and stereotypical coverages that socially construct a moral and narrative set of offerings upon which the youth attempt to build their identities on (White, 1993). Not only in building identities, the youth tend to use these social constructions by the media also as a measure for their achievements and personal worth by simply deriving an identity from a set of meanings drawn on the basis of media constructed stimulations instead of their local experiences (Baudrillard, 1983). It is important to note that the notion of identities are constructed across and by differences, and the social construction of youth identities though historically varied is tightly bound with the media representations made available at the time (White,1999). Therefore, we can argue that media is a critical component of the development and maintenance of the representation of young people which often feeds into the fears and negative attitude surrounding the presence of young people in public space as problematic or threatening (Sercombe, 1999). Moral panics in relation to youth, music and subculture are not uncommon in the news and other current media (Goode Ben-Yehuda, 2008, pp. 124-145 in Journal of Media Culture). Most cities in Australia like many other cities around the world housed for a large number of subcultural activities ranging from skateboarders occupying the steps and benches in the Melbourne streets to Goths congregating the inner city suburbs (Gelder, 2007). It also has a number of drag night clubs, gay and lesbian bars, a remarkable graffiti subculture; in which Melbourne has been claimed as a stencil graffiti capital (Smallman Nyman, 2005). Australia has several times witnessed its teenage subcultures clash in the streets; like the Mods and Sharpies in August 1966 (Sparrow Sparrow, 2004: 73-77). Stan Cohens classic Folk Devils and Moral Panics (1980) and the centre for Contemporary Cultural Studies Policing the Crisis (Hall et al. 1978) both indicate how mainstream media contributes to the public anxiety about youth subcultures and youth groups that are deemed to be deviant. Cohen, in his work looks at the development of conflict between mods and rockers, in a British seaside town, and particularly the escalation of conflict that arose as a result of the medias representation of these events. He argues that the media were responsible for amplifying the perception of deviance arising from a few of small-scale disturbances, which ultimately led to an escalated interventions from the police and judiciary, with the demonization and over-typification of young people involved in the mod or rocker styles. Similarly in Australia Cunneen et al. 1989, carried out a study on the disturbances at the Bathurst motorcycle races concluding that it was the over representation of the small di sturbances that led to the large scale conflicts and that the press concentrated on authority opinion while sensationalizing the material published (Cunneen et al., 1989). When analysing the literature published on the media representations of youth and youth subcultures it is evident that communications media create subcultures in the process of naming them and drawing boundaries around them in the act of describing them (Thonrton, 1995). The way media is inextricably involved in the meaning making and organization of youth subcultures will be discussed through the analysis of the representations of many recent incidents related to youth subcultures, particularly the ravers, Goths and Emo subcultures. The rave subculture emerged worldwide in the late 1980s as a musical subculture and was a phenomenon in the area that attempted to invert the traditional rock n roll authenticity by remixing and creating a cutting edge disk culture with a warehouse party format and was established in Chicago, Detroit and across Britain (Thornton, 1995:4). Soon groups of young people were clustered in sites conventionally aligned with musical performance to listen and dance to electronic dance music played by djs in Sydneys alternative rock scene Unlike other musical subcultures such as alternative rock scene where performances generally took place in formal environments such as pubs and clubs the raves in Australian cities began to use spaces such as old warehouses, factories and train stations for their activities (Gibson Pagan, 2006). Since the late 1980s rave culture worldwide has increased their members and was diversified and fragmented in many aspects becoming more contradictory with various s ubcultures emerging such as the Doofs, Drum and Bass and Happy hard core. Mean while controversies and public moral panics were starting to generate over the diverged more politicized illegal party culture that were shifting itself from the mainstream (Gibson Pagen, 2006). Associations were made between these part scenes and illegal drugs such as ecstasy by the media providing the basis for a moral panic. Ravres were described as new age hippies where their activities summed up to no sex, but drugs and rock roll (Benette, 1999). Dance parties in Sydney eventually became associated with tropes of youth deviance and illegality making the rave space in the public consciousness as a site beyond the domain of mainstream, and thereby causing strong reactions from the public and a need for increased control over their events (Gibson Pagen, 2006). A major shift in the perception of the public of youth subcultures could be related to the ecstasy related death of teenager Anna Woods from Sy dney at an Apache party in 1995. Her death was magnified within the media creating an unprecedented wave of media attention and public panic. With headlines such as Ecstasy agony and Ecstasy secret world running on the front pages for nearly two weeks, dramatically altering not only the rave culture but the perception of youth subcultures as a whole (See Sydney Herald Sun, 4/3/2007). The initial response of sympathy by the public to the incident soon turned into fear and anger that progressed from tension and social anxiety to a full blown social and political crisis (McRobbie, 1994) with scapegoating not only the ravers but creating fear against many youth subcultures (see Daily Telegraph, 27/3/2007:73). The death of Anna was interpreted as a symptom of the malaise affecting many young Australians (Daily Telegraph, 5/11/1995:8), with the NSW state government taking actions to close down clubs and bars which have promoted drugs in parties (Gibson Pagen, 2006). For a few months in 2007, the dangers of emo and computer use were significant themes in Australian newspaper coverages (Phillipoy, 2009). Emo is an abbreviation of the terms emocore and emotional hardcore which is a musical subgenre of punk rock music, characterised by emotional or personal themes. They adopt a look that includes black stovepipe jeans, dyed black hair and side-parted long fringes, which might merely have been one of the many tribes (Bennett, 1999) that characterise this contemporary youth culture(Phillipoy, 2009). Following the deaths of Melbourne teenagers, Jodie Gater, Stephanie Gestier and Carly Ryan in 2007, over an approximately five months period the media portrayed the two separate incidents linking the suicide and the murder to the emo subculture and to the social networking site MySpace, presenting both as dangerous and worrying developments in contemporary youth culture (Phillipoy, 2009). These media discourses surrounding the deaths included many features of moral panic uncluding a build-up of concern disproportionate to real risk of harm (see Goode Ben-Yehuda, 2002, pp.33-41). While the emo youth were viewed as straightforward folk devil (Cohen, 1972) or the enemy, the problem of emo was also framed as a product of much broader problems of youth culture (Goode Ben-Yehuda, 2002). The connections between emo and the deaths of these young girls were tenuously published over the mass media and was seen as symptomatic of what John Hartley (1998) describes in the context of reporting o n young people more generally as a profound uncertainty in the textual system of journalism about where the line that defines the boundary of the social should be drawn by the broader groups of non-subculturaly affiliated youth. The result of this according to Phillipoy, is a cultural thinking out loud (Hartley, 1998) where broader cultural anxiety are expressed and explored that can be described as anxiety about disclosure. The newspaper coverages on the deaths focused on the dangers of young peoples disclosures that made them inaccessible to adult authority that otherwise could have prevented the tragedies. Though some of these concerns were connected to the specificities of emo subcultural expression, with excessive emotions on display and the enigma associated with subcultural imagery respectively, they were on the whole linked to a broader problem in contemporary youth culture that was seen to apply to all young people, irrespective of any subcultural affiliation. The expressio ns of anxieties that the private lives of young people were becoming increasingly unknowable to adult authorities, and, hence, that youth culture itself was increasingly unknowable were popular statements made by the media (Phillipoy, 2006). Reportings such as bizarre teenage goth and emo world world constructed both as dangerous (in the sense that her apparent involvement in subcultural activities was presented as disturbing and something that put her at risk of harm) and impenetrable (in the sense that subcultural imagery was understood not simply as harmful but also as bizarre). In conclusion, the representations of young people in the media directly or indirectly depend on the interest of the newspapers and the discourse of its source. Language used by these media allows painting young people in different colors (Sercombe, 1999) and as youth subcultures are prime fare for the news media as in terms of news value they are both exotic and familiar (White, 1993) media and youth subcultures have a complex and symbolic relationship where young people are devoted consumers and producers of media and engage with media in the approval and adaptation of subcultural forms for their own context. Therefore, many of the subcultures can be argued to be reproduced and constructed through the media (White, 1999). The mainstream media however tend to represent youth subcultures mythologically as they often attempts to represent not the real world but the world that suits the advertisers, owners and the government. This leads to the constant stereotyping, reinforcing and exa ggerating issues, particularly in relation to the youth (White, 1993). Youth was portrayed within the media as the mindless hedonism of lost youth and were categorized as a careless generation that was only concerned with seeking pleasure and satisfaction from personal risk taking and drug use (Brown, 2005 in Allan 2007). By constructing notions of deviance and illegality, commercial media not only position youth and youth subcultures but are implicated in defining authentic underground activities that further strengthen subcultural practices that are deemed deviant (Gibson Pagan, 2006). Therefore, it is clear that media have been and is today, a major influence in fuelling and reinforcing perceptions of problem youth. Subcultures are constructed and stereotyped by the media as deviant and the media representations linked to the issues around subcultures have created an image of uncaring, hedonistic and self centered youth (Alan, 2007). Hence, this report suggest that the media is directly or indirectly responsibility for the fuelling and reinforcing of such deviant activities that they have constructed aligned to youth subcultures and that youth subcultures are a social construction mainly influenced by the national mass media. Therefore, the national media, particularly newspapers as the most commo nly used news media has a responsibility in the a discourses that are used to represent youth groups and youth subcultures as it carries an impact on the broader youth communities worldwide.