The American Voting System Should Be Changed

â€Å"If you don’t vote, you can’t complain. † Americans have heard this statement for decades. Those who feel that it is their duty, hold to this statement as if it were sacred. For the most part it is true. America has been fortunate to have a system that allows its citizens to take part in voting for the lawmakers who will represent them. Over time, more freedoms have come to the American people. African Americans, women, and eighteen year old individuals now have the liberty that was not afforded to them in the beginning of this great nation. They fought for this right, and many gave their lives for this privilege.Why would they believe this right is so important? They knew that the right to vote meant that lawmakers would have to listen to their needs to insure their reelections. The right to vote meant power. Voting in America is definitely a privilege, but there are flaws in the system. The first defect is the Electoral College that elects the president. T he electors meet in each State on the first Monday after the second Wednesday in December (December 13, 2004). A majority of 270 electoral votes is required to elect the President and Vice President.No Constitutional provision or Federal law requires electors to vote in accordance with the popular vote in their State. (NARA) This factor takes away the right of the people to choose the president. The popular vote is the real will of the people. Four times in the history of the election for the president the popular vote and the electoral votes were at odds. The first was in 1824 when Andrew Jackson won the popular vote, but John Quincy Adams was chosen to be president instead. Other times were Samuel J. Tilden vs. Rutherford B. Hayes, Grover Cleveland vs. Benjamin Harrison, and in the recent 2000 election Albert Gore vs. George W.Bush. It is impossible to judge whether the right decision was made or not, but that is not the point. The American voters should have been the ones to make the decision. The other flaw that should be addressed is the right of college students to vote in the area where they are attending school. They should use the absentee ballot of there state, county and town where they have resided. Of registered voters between the ages of 18 and 24 (typically referred to as college students), 32 percent vote. Now, certainly there are reasons for this, shedding a negative light on both the system that we are in and the kids that live with us.(Luckett) The problem is that while students are of age and should have the right to, they should not be making local decisions in the town and county where they are only going to be residing for a few years. In most cases, out of town students will pack up and move away from their college when they graduate or decide no to finish. There is nothing wrong with that, except for the fact that since they knew they would not reside in that area for a long period of time, they had no motivation to properly think abou t the consequences of their votes.When long term residents cast their votes they know that they will live with the results of the election for the rest of their lives, and that it will affect their children and grandchildren as well. America offers its citizens a wonderful opportunity to have a say in their government. Their decisions will lives for generations to come. That does not mean that the voting system is perfect. These problems can be solved and America can remain the greatest country in the world. Works Cited â€Å"A Procedural Guide to the Electoral College,† NARA, 30, May, 2007 < http://www.archives. gov/federal-register/electoral-college/procedural_guide. html> â€Å"Elections. † Info USA, 30, May, 2007 < http://www. archiv es. gov/federal- register/electoralcollege/procedural_guide. html> Grossman, Wendy M. â€Å"Ballot Breakdown† Scientific American. 19, January 2004 Luckett, Wade. â€Å"Voting Lets College Students Have Say in the Future of Am erica. † Flyer News. September 26, 2003

Animation

Research Hameed Khan Topic: Animation: A way of introducing literature and moral values to children at adolescence by comparing William Shakespeare’s ‘Hamlet’ and ‘The Lion King’ Animation Long Term Paper on ‘Preparing a Research Proposal ’ Title: Animation: A way of introducing literature and moral values to children at adolescence by comparing William Shakespeare’s ‘Hamlet’ and ‘The Lion King’ Animation . There is no doubt that today's entertainment has lost most of its touch with the more classical influences of its predecessors.However, in mid-1994, Walt Disney Pictures released what could arguably be the best animated feature of all time in The Lion King. With a moral base unlike most of the movies released at the time, The Lion King placed a children's facade on a very serious story of responsibility and revenge. However, this theme is one of the oldest in history, and it is not the least apparent in one of the oldest works of literature by The Bard himself, William Shakespeare.The work that Disney's The Lion King parallels is none other than Hamlet: Prince of Denmark and the film shadows this work so closely, that parallels between the main characters themselves are wildly apparent. This very close comparison has led critics â€Å"to compare the movie to Hamlet in the importance of its themes†. But with a closer inspection of the characters themselves do we see just how apparent these similarities are.The movie addresses in one way or another all of the important contemporary dilemmas: bravery, responsibility, vulnerability, preparedness, stewardship, faith, science, the importance of history, family and the environment. In these days of personal uncertainty and political cynicism, The Lion King provides clear moral guidance wrapped up in an entertaining and wholesome shell. Introduction: In The Lion King, the role of the young prince whose father is murdered is played by a cub named Simba, whose naivety procures him more than his fair share of hardships and troubles.By the acts in the story alone, one can see that Simba is a direct representation of Shakespeare's Hamlet Jr. , but not only that, each of them shares similar actions in the play. Interpretations if Simba's actions are as profound as Hamlet's, particularly of why Hamlet delayed in exacting vengeance for his father's death (Harrison 236). Both Simba and Hamlet Jr. â€Å"delay† their action of retribution for their respective father's deaths. The loss of their paternal companion leaves Hamlet incredibly melancholy and Simba without a royal teacher and father during his tender years.Each of them runs from their responsibility, although inside themselves they know what must be done: Hamlet attempts to validate his suspicions while Simba hides from his past. However, some have attempted to theorize that Hamlet's delay is due to his mental instability, his madness over the death of h is father. Eliot refutes this, calling the characterization â€Å"a simple ruse, and to the end, we may assume, understood as a ruse to the audience† .Simba exhibits this same behavior, venting his feelings in mournful retaliation against responsibility, most notably when his childhood friend Nala attempts to persuade him to return to the Pride Lands. This delay between our characters adds a more haunting effect between the two works. It's surprising that today's audiences can be so moved by themes that were first implemented in literature almost four hundred years before. Similarly, the characters of Hamlet Sr. and Mufasa bear a striking resemblance to one another, not only in their actions, but their meanings as well.Hamlet Sr. , the once king of Denmark, ruled his kingdom in peace and prosperity, evident in the conversations in Act I, Scene I between Marcellus and Horatio about the creations of implements of war in Denmark under the new king, Claudius. Mufasa, too, ruled p eacefully over the Pride Lands, only worrying about his son and his responsibilities. But, after their deaths, they each become more than the kings they once were. They become the heralds for their sons, compelling them to avenge their deaths and take responsibility for what their uncles have done. Each deceased king pproaches his son in the same way: via an apparition that gives a direct, if not opaque, monologue driving their princes to action and each ghost leaves the interpretation of their messages open to their sons. Neither Hamlet Sr. nor Mufasa tell their respective sons directly to destroy their murderers, although Hamlet Sr. does name the perpetrator directly, it is Hamlet that decides that action must be taken. It is this direct allusion of one major character with an integral part in advancing the work to another that helps solidify Shakespeare's influence as a writer of great literature.But it isn't just the protagonists that allude to one another; the villains in both The Lion King and Hamlet can be directly and similarly compared to one another. Both Scar, from The Lion King and Claudius, from Hamlet, are brothers of the king, murder their sibling to usurp the throne, and take their brother's wife as their queen (There is no direct proof of this conjecture for Scar, but since Scar calls upon Sarabi, the former mate of King Mufasa, in The Lion King to report on the status of the Pride Lands, it stands to reason that she is Queen of Pride Rock. . It is not so much the characterizations of the characters in this instance than the actions that provide proof of how Shakespearean literature invokes writers today. Claudius, at first, appears satisfied by his deeds, enjoying the life of a king, parading around to view his belongings, wedding his own brother's wife, and holding banquets in his own honor, all the while preparing for war with a neighboring Scandinavian country.Scar revels in his ill-gotten spoils as well, allowing his hyannic henchmen to h unt the Pride Lands to practical defoliation while he reclines in the pride's cave, tormenting his majordomo Zazu and eating more than his fair share of the kills. Scar, like Claudius, grossly exploits his new-found power and drives his kingdom into war. But here is where the similarity begins to diverge. In Hamlet, we see Claudius repenting for his sins against his brother, repealing the fact that he committed that heinous deed and begging forgiveness from his Lord.Scar, on the other hand, never once doubts his actions, and goes with them to their final conclusion. Scar even goes as far as to taunt the prince, Simba, has he hangs of the precipice of Pride Rock: â€Å"And now here's my little secret. I killed Mufasa! † One could argue that the act of confessing to the crimes is an additional parallel between the characters, but their motives for doing so are not alike. Claudius is making an attempt to repent for the sin cast upon his soul, while Scar is bawdily declaring his cleverness over his kind-hearted yet naive brother.With the major characters in both works aside, the similarities between secondary characters in The Lion King and Hamlet are still quite striking. The insight of one work in another is so deep that The Lion King goes as far to allude Hamlet's Rosencrantz and Guildenstern with Timon and Pumbaa. A comparison here, if not the greatest comparison, is the fact that both pairs of characters in both works are provided as relief from the main focus of the stories.Timon and Pumbaa provide a welcome resort from his responsibilities and hauntings of his past by introducing him to the carefree life of â€Å"Hakuna Matata†, while Rosencrantz and Guildenstern allow the audience to know that Prince Hamlet does enjoy a life outside of the royal house, mingling with fellow scholars-to-be and friends. However, Hamlet's friends are charged by his nemesis, Claudius, to bring Hamlet before the King on numerous occasions. There is no direct eviden ce that Timon and Pumbaa are in the employment of Scar, nevertheless, the sidekick pair in The Lion King provide a very similar function, whether they realize it or not.Rosencrantz and Guildenstern are a constant reminder to Hamlet about the revenge that must be exacted upon Claudius by being messengers to the mournful prince whenever Claudius needs them to be. By locating Hamlet and announcing that the king wishes to have court with him, they play an important role in the foreward progress of the play, and the downward spiral of Hamlet's sadness. Timon and Pumbaa, similarly, at one time attempt to procure their leonine friend's past from his memory. Simba falters, at first, his carefree life shattered by the memories of what brought him to the jungle in the first place.But when he finally gives in and tells them when his own father entrusted him too, Timon and Pumbaa laugh uproariously, disbelieving what they hear. But it is this jogging of Simba's memory at the prodding of Timon a nd Pumbaa that moves the story onward, and brings Simba's melancholy back to him. And when the past finally becomes fully clear to Timon and Pumbaa with the arrival of the lioness Nala, they not only attempt to bring Simba to his senses in their own blunt, of not comical, way, they attempt to confront him and make him face his past.They fail in this, but they still bring to Simba's mind the events in his childhood, and the pain that it brought to him. Although Timon and Pumbaa had no intention of doing so, they performed the same act of reminding the main character of their responsibility to their father, and to their kingdoms that Rosencrantz and Guildenstern did to Hamlet Jr. Another secondary character to the protagonist and antagonist are the respective queens of each work, Sarabi from The Lion King and Gertrude from Hamlet: Prince of Denmark.Each of them are nearly complete mirror images of one another, each having the same place in the social hierarchy, equal amounts of power over their kingdoms, and emotional ties to the main protagonists of the stories. Sarabi is the Queen of Pride Rock, leader of the lionesses since the reign of King Mufasa. Although she is not the reason Scar usurped the throne from his brother, it is a near certainty that she has stayed on as Queen because she is quite adept at her duties. Gertrude, likewise, is adept at her duties as well, although they take on a quite different task than Sarabi.She is mainly for show, for Claudius to own and adorn with his newly gotten wealth. Both Sarabi and Gertrude are Queens, but both show little or no power over their subjects. Sarabi is nearly killed by Scar when she dares to question one of his decisions, which shows the place of the lionesses in the pride: pawns in Scar's quest for power. Any deviation from being simple huntresses results in pain, and perhaps death at the paws of Scar and his multitude of hyenas. Gertrude, too, never appears to order anyone, although she certainly has the capacity to do so.She instead plays the weakened queen, doing as her husband bids her and plaintively bending to Claudius's will. But even though these similarities are surprisingly close for non-primary characters, it is their emotional connection to their sons that spurns the stories along. Gertrude's marriage to Claudius enrages Hamlet to no end, driving him more and more out of his delay to act upon his father's death. It is her willing forgetfulness of her former husband that pushes Hamlet to the brink, their emotional bond that pains them both to ends that he must act on, and she tries deeply to hide.Sarabi, too, has such an effect on her son Simba. When Nala finds Simba, and realizes that he is not dead, as Scar had said, she is enthralled and wonders aloud about the feelings of his mother. This has a noticeable affect on Simba. He recoils, the responsibility that he believes is his is once again thrust upon him, and the thought of his mother's feelings towards his past deeds sends him further into sadness, furthering the story. And when Simba does return to Pride Rock, he is enraged when he sees how Scar is treating his mother, just as Hamlet is enraged at how Claudius treats his mother as well.In a way, it is the queen in each work that adds to the deep melancholy of the main characters and drives them to action. This movie both reflects and shapes our cultural consciousness about contemporary social and political change, speaking forcefully to the question of who should hold power and how people should acquire it. The movie reinforces hierarchy, especially primogeniture, in nearly all of its 26 scenes, either through what the characters say, how they are displayed, or both.The message presented at every turn is that we are better off with our traditional leadership, that those individuals are both wise and benevolent, protecting the health and welfare of all members of the group, even the most vulnerable. At the same time, the movie attacks those out side the traditional group of leaders who rise to power â€Å"illegitimately,† showing us how they are inherently unfit to hold positions of authority and can bring disaster down upon all of us.The Lion King, even though it is an American movie, does not promote what we might have come to think of as â€Å"American† values, those which support meritocracy and democracy. Finally, the movie reinforces the submissive and passive role of the citizen. At a time when we might consider democracy to be challenged, The Lion King doesn't make a strong case for inclusion, diversity and broader political participation. In fact, it does just the opposite, arguing essentially from an aristocratic position for the return to old-fashioned values and maintenance of the status quo.Purpose of Study: The main agenda behind doing this research is to highlight the fact that modern entertainment media is a very powerful source to teach literature and moral values to students when they are at a turning point in life. The time when they learn what life is all about. Although much of modern entertainment may look like new entertainment on the surface, if we probe deeply enough, we can find connections to some of the greatest literature of all time.Shakespeare is probably one of the most influential writers of all time, if not all time, and his greatest works, not limited to Hamlet: Prince of Denmark, are the basis of many stories written today. His plays are continuously redone and reperformed, his sonnets quoted in many a song and story, his histories the basis of many school lessons, and his influences are more than profound in many cases, and in the case of The Lion King, those influences are the basis of the story, not only of the main protagonist and antagonist, but of secondary characters as well.All these Dramas, Poetry and Stories do impart Value education to children in many ways. I intend to research on to what extent does entertainment is of any use in teaching literature to students looking forward to take literature as a subject for specialization and of be any use to keep the moral values of these students intact? Review of Literature: There has been research on comparison between literature and Animation earlier. But my research mainly deals with the factor that had been left untouched yet, that both Hamlet and The Lion King show similarities in plot and characterization.The cinematic adaptation appeals to the children as well as the adults. Whereas Hamlet only circles around literature students. Doing a complete analysis of the film adaptation gives us a detailed structure of what amount of principles and beliefs that influence the behavior and way of life of the future generation can be extracted from this modern media of value education through entertainment and detailed knowledge of how literature can be thought to students at pre-graduation level. * Hierarchy and LegitimacyScene 1 of the movie depicts all the animals on the Afric an savannah gathering to pay tribute to the new heir, Simba. The lyrics of â€Å"The Circle of Life† present life as overwhelming, explaining why we need our traditional leaders: â€Å"There's more to see than can ever be seen/More to do than can ever be done. . . . /It's the Circle of Life/And it moves us all/Through despair and hope/Through faith and love/Till we find our place/On the path unwinding. † One by one, the critical characters are introduced and their â€Å"places† are identified. Mufasa, the ajestic patriarch, watches from the point of Pride Rock while his loyal subjects gather below for the presentation of his new-born son. Zazu, the horn-bill, appears first and clarifies his role, first as the most-loyal subject by bowing low, and then as Mufasa's trusted advisor, allowing him unusual familiarity with the king, although he always refers to him as â€Å"sire. † While the assembled zebras part and bow down, making a path for Rafiki, the old shaman, he is embraced by Mufasa, treated with the deference and respect usually accorded a society's senior priests.His first action is to anoint the young Simba, to validate him as the heir apparent, and to present him to the crowd assembled below. As in many of the scenes in The Lion King, the music and visuals carry messages as important as the dialogue. In this first scene, for example, there is no conversation. Instead the message of class difference is conveyed through the different levels on which characters appear. Throughout the movie, those with power appear above those who are powerless; for example, the most powerful characters are usually up on ledges, and those who are vulnerable are down on the valley floor.Mufasa gazes down upon the mass of animals gathering below him; Pride Rock, his â€Å"throne,† is the highest point in the Pride Lands. Camera angle also tells us about power relationships, close-up for those in power, panoramas and long shots for the mass of undifferentiated animals who have no status. The change in the complexity of the musical arrangement, the drop from a full orchestral arrangement, in which there is little differentiation between instruments, to a instrumental solo as the scene moves from the group of subjects to the single important character, identifies to whom we should shift our attention.In this first scene, lest the youngest among us miss all these clues, Simba is highlighted by a sunbeam as Rafiki holds him up before the mass of animals, who then, cued by this natural sign of individuation, howl and stamp their feet in approval and bow down in a mass display of obeisance. The problems of hierarchy, legitimacy, and power are explored in Scene 2 in which Scar is introduced. His first line, and ironically the first piece of dialogue, may be thought of as a basic premise of the movie: â€Å"Life's not fair, is it? (Much of what currently upsets conservatives are attempts to achieve social, political and econo mic â€Å"fairness† by such legislative means as affirmative action, guaranteed health insurance, easier voter registration, the minimum wage, and a host of additional government regulations. ) The scene explores the sources of â€Å"unfairness:† differences in physical size or strength, differences in lineage or position, and differences in cleverness or intelligence. Obviously, the mouse is vulnerable in this scene because he is small, but he is saved by a Zazu whose power derives initially from his ability to distract Scar.When Zazu is threatened in turn, he is rescued by Mufasa, who just orders Scar to drop the bird. Mufasa's authority comes from his position as king, which Scar questions by not attending Simba's presentation, but his power comes, according to Scar, from â€Å"Brute Strength. † Scar's power, by his own admission, derives from his â€Å"brains. † Some critics have argued that Scar's accent, tone of voice, appearance, movement and word choice (â€Å"curtsy,† â€Å"shallow end of the gene pool†) suggest that he is homosexual, and that his role as supreme villain attests to powerful strains of homophobia in our cultural consciousness.Those who have focused on these features of his characterization point out that Scar rises to power through unnatural means, including deceit and fratricide, and that his â€Å"administration† results in the near-destruction of the Pride Lands and the potential extinction or exile of all the animals. They also point to Zazu's sympathetic comment to Mufasa that â€Å"there's one in every family,† and lambaste his (albeit mocking) suggestion that Scar be reduced to a useless ornament (â€Å"a handsome throw rug†) which would permit Mufasa to â€Å"take him out and beat him . . . henever he gets dirty. † Some viewers have argued that this interpretation resides â€Å"in the eye of the beholder† and not â€Å"in the movie,† but cultura l critics would point out that texts reflect as well as shape our cultural consciousness and can invoke an audience as well as address one already identified. Adding another dimension to the question of legitimacy, it is curious that although they are brothers, Mufasa speaks with an American accent and Scar's is clearly identifiable as British (hence â€Å"illegitimate† or â€Å"foreign† in contemporary American society). The Role of Nature Scene 3 follows to remind us that Simba is the legitimate heir by virtue of his class and lineage, that he has been presented to his subjects and then anointed in a public ceremony, with the event now recorded for posterity in a cave painting (the movie's version of a public record or historical document). What follows (in Scene 4) is another argument for hierarchy and patriarchy, this time derived from nature.In this father-son encounter (Sarabi recedes into the background here; women clearly are secondary yet numerous, generally u nnamed, and lacking influence in this culture), Mufasa explains how what they â€Å"own† is defined and measured by natural processes (â€Å"Everything the light touches is our kingdom. † â€Å"A king's time as ruler rises and falls like the sun. â€Å"). Just as we can infer from Scene 2 that illegitimate power is unnatural, so we learn here that legitimate power is organic, harmonious, predictable and regular, attuned with the natural order of birth and death and based on respect for all species.The succession, to occur in some distant future, is already determined, and in this father-son colloquy, Mufasa emphasizes the orderliness of it all. The movie makes use of our cultural knowledge of nature. There are numerous references to being higher or lower on the food chain, and selection of animals and their characterizations make use of the actual qualities of the animals. The warthog, for example, is an ugly African pig that usually travels in small family groups (m uch like the trio of Pumbaa, Timon and Simba). They are indiscriminate eaters and often use the burrows created by other animals.Hyenas, in addition to having a weird howl, are scavengers, feeding on the carrion left behind by other animals. Even the weather in this movie reflects what is going on in the plot: clouds stream across the sky when conflict threatens, the winds of change blow when the plot turns, and the sunrises and sunsets flash by in rapid succession to signal the passage of time. The movie also depends on our knowledge of human development, especially the behavior of the young. The jaunty â€Å"I Just Can't Wait to Be King† (Scene 7) shows just how immature and incomplete the young Simba's understanding of the responsibilities of leadership is.To him, preparation for kingship is limited to â€Å"brushing up on looking down† and â€Å"working on his ROAR,† and the primary benefits of the job are being able to ignore orders from others, being free to â€Å"run around all day† and â€Å"do it all his way. † Coupled with â€Å"Hakuna Matata† (Scene 14), another bouncy carpe diem number that emphasizes just how alienated from work and his adult responsibilities Simba has become as he drifts around the African plains with Pumbaa and Timon, we can see how unsuited Simba is for the role of king.Even Nala recognizes (in Scene 20) that the older Simba is somehow less mature than she expected he would be, and yet she falls in love with him anyway, restoring â€Å"the perfect harmony† alluded to in the lovely ballad, â€Å"Can You Feel the Love Tonight? † While a psychological interpretation of the movie would move through these scenes, showing how Simba eventually comes to take his leadership responsibilities more seriously, a cultural analysis finds them more problematic, for these are the songs we hum as we leave the theater and the lyrics we sing under our breath without thinking about the values they promote.The context may be ironic in the movie, but we forget that quickly enough. * The Importance of Borders In Scene 4, Mufasa carefully explains to his son that there is land beyond their authority, an area to the north that Simba calls â€Å"the shadowy place,† and one role of the king is to make sure the borders are not breached. The Pride Lands are economically healthy and ecologically sound in part because the scavenging hyenas (â€Å"those slobbering, mangy, stupid poachers†) are excluded, relegated to the colorless Elephant Graveyard where there is neither sufficient food nor water to sustain them.When they take over the Pride Lands in league with Scar, they destroy the â€Å"balance of nature† and the land withers; their presence nearly destroys the entire society. Some critics have suggested that selecting Whoopi Goldberg, Cheech Marin, and Jim Cummings as the voices of Shenzi, Banzai, and Ed, the three speaking hyenas, reflects a variety of rac ist and ethnic biases; Mark Leeper notes, â€Å"Outwardly the film has a love of African rhythms and language and yearns for a united world–everyone but hyenas united.But the core is just a bit ugly and scary. † The Pride Lands has, in effect, its own Proposition. While its borders are not impermeable, the hyenas are prevented from any role but that of scavenger. Perhaps Scene 10 (‘Be Prepared') presents the most troubling picture of the hyenas and their pact with Scar. Set in the hyena cave where it is dark and gray, the scene opens with Shenzi, Banzai, and Ed licking their wounds (both figuratively and literally) after Mufasa has saved Simba from their clutches in the Elephant Graveyard.They clearly are out of control: Ed is laughing hysterically and chewing on his own back leg, unaware that it is his own, and Banzai and Shenzi are castigating lions in general and boosting their own morale in the process. They are momentarily startled when Scar appears, but unl ike Mufasa, he presents no threat to them because he has no real power. Indeed, during this scene he reveals to the hyenas and to the viewers his general plan to kill Mufasa and Simba and assume the throne himself. The song's refrain â€Å"Be Prepared! ironically echoes the Boy Scout motto as hundreds of hyenas, singing â€Å"in tight, crisp phrasing and enunciation,† goose-step past in tight military formation, fires casting their eerie shadows against the walls of the cave and a crescent moon (looking at first like a hammer and sickle) appearing high above the cavern walls. Obviously Scar views the hyenas as â€Å"thick,† â€Å"crude and unspeakably plain,† with deficient â€Å"powers of retention† and â€Å"vacant expressions,† yet he promises them that if they support him in his efforts to wrest power from Mufasa, they will â€Å"never go hungry again. Scar has contempt for his accomplices, even while he enlists their aid. Contrasting these m iscreants with the wise, patient patriarch stacks the deck. * Religion Not surprisingly, The Lion King makes use of many religious images and echoes, affirming faith and folklore while rejecting science. Beginning with the baptism of Simba in the opening scene, the movie is full of familiar rituals. In Scene 9, for example, just after Mufasa has chastised Simba for disobeying him, he explains the mystery of the stars to his son: â€Å"The great kings of the past look down on us from those stars. . . Just remember that those kings will always be there to guide you. And so will I. † Indeed, Simba repeats this explanation to Timon and Pumbaa at the end of Scene 16 (although Timon translates it into â€Å"You mean a bunch of royal dead guys are watching us? † and dismisses Simba's explanation in favor of his own, that the stars are fireflies â€Å"stuck up on that big bluish-black thing. â€Å"), although he is troubled by the memories of his father's promise. After Nala finds Simba and urges him to return to save the Pride from sure destruction, Simba bitterly addresses the stars and his father, â€Å"You said you'd always be there for me. This crisis of faith, in Scene 20, continues until Rafiki forces him to look in the pool where he sees the face of Mufasa emerge from the clouds. Mufasa says sadly, â€Å"Simba. You have forgotten me. † When Simba cries that he is not who he used to be, Mufasa admonishes him, â€Å"You are my son, the true king. † Finally, after Simba vanquishes Scar and the Pride Lands are consumed by fire and then cleansed by the rains, Mufasa appears again in the heavens with a single word, â€Å"Remember. In fact, Simba has become the savior, restoring the Pride Lands and saving the lives of the animals. Even Christianity seems to support the restoration of â€Å"The Circle of Life. † * Conclusion Of course, this is not the way an allegory of the modern egalitarian and inclusive society should conclude . The story should end, as Scar implies it will in Scene 12, with the lions and hyenas coming together â€Å"in a great and glorious future,† one in which everyone has enough to eat, a role to play, and an equal say in the governance of the Pride.In the new society, the border between the Pride Lands and the Elephant Graveyard would disappear, the hyenas would be transformed into productive members of a global society, contributing their efforts in promoting the welfare of the whole group, and Scar would learn how to be a wise leader, making sure that no one was taxed beyond his or her ability or left needy. Future leaders would emerge from the Pride based on merit, not birth. Some readers will object to this analysis, arguing that The Lion King is a children's movie after all and shouldn't be interpreted as speaking to adult issues.But what is a children's movie, if not one that transmits the dominant values of the culture to young children in an entertaining manner, while a t the same time confirming those values for adults. This movie addresses an important social issue that affects children, in their schools, churches, parks and neighborhoods. Unfortunately, it suggests that excluding people because their appearance or their heritage or their habits differ from those of the people in power is an acceptable social and political policy, one supported by tradition, history, and religion.The Lion King sugar-coats a bitter and powerful message about patriarchy, legitimacy and hierarchy. Hypothesis: On the basis of this detailed analysis, my hypothesis is that The Lion King is a shadowed representation of Hamlet, taking what is presentable to the young minds but enough to interest students into literature. The conclusion I drew out of it is that entertainment is not mere enjoyment but a very powerful and effective media to spread the teachings of literature among the young minds of future. Methodology:My research method will include a detailed study of Ham let text and the movie from every angle related to literature and its appeal to the audience, especially the novice level students of arts and literature. I will also concern this factor with the respective experts of both fields Literature and Cinema. Research Limitations: This study is limited by the study of a single literary text and a movie that resembles the similar plot, characters and moral values. A similar significant phenomenon can be observed in other works too but to study the comparison and representation in detail they have been excluded.Significance: As previously given this study will help the future development of literature learning and widen the scope of limited medium of learning. The study is limited to only a single comparison so as to keep the study in detailed spectrum. Tentative Chapterization: 1. Introduction: 2. Comparison between Plot and Characters: Tentative plan: The Lion King, though very much based on Hamlet, has many different elements that we can make comparisons with Shakespeare’s work. It begins with the birth of Simba, the young cub of the King, Mufasa. This introduces the importance of the natural cycle.As Mufasa says, â€Å"We are all connected in the great Circle of Life. † The death of one King leads to the rise of another. This is also what happens in Hamlet. Simba is born to be the successor of the King and he cannot deny his destined role. As a carefree cub, Simba â€Å"just can't wait to be king,† his attitude is quite different from Hamlet, who is also carefree in the beginning of the story, but does not want to be King. Similar to the plot in Hamlet, Mufasa’s spirit appears to Simba, and reminds him of his duty, and repeatedly tells Simba to â€Å"Remember† him when Simba runs away after thinking that he had caused the death of Mufasa.This is similar as in Hamlet, the Ghost of old Hamlet appears to him and asks his son to take revenge on Claudius. Also there is comparison betwe en secondary characters. 3. Detailed study of The Themes in the movie * Hierarchy and Legitimacy * The Role of Nature * The Importance of Borders 4. Influence of entertainment on Literature learners. Tentative Plan: A detailed study about how entertainment industry has influenced the younger generations and how it can help to expand the scope of learners of literature around the world. 5. CriticizingThere have been arguments that this kind of cultural analysis in fact, any close analysis at all ruins the entertainment value of the movie, forcing us to confront all kinds of unpleasant truths when we are expecting merely to be entertained. Granted that I see more layers of meaning every time I view the movie or listen to the music or read the script, but I still find the musical score stirring, the animations fanciful, and the antics of Timon and Pumbaa engaging. Just because we become aware of the multiple levels of meaning doesn't mean that we have to deny the aesthetic appeal of th is creation.Bibliography: Shakespeare, William. Hamlet: The New Variorum Edition. 2 vols. 1877. Ed. Horace Howard Furness. New York: Dover Publications, 2000. Shaw, George Bernard. â€Å"Shakespeare: A Standard Text. † Times Literary Supplement. 18 Mar. 1921. rpt. in Shaw on Theatre. Ed. E. J. West. New York: Hill and Wang, 1958. Rowse, A. L. , ed. Hamlet. 1978. By William Shakespeare. The Annotated Shakespeare. New York: Greenwich House, Crown Publishers, Inc. , 1988. Harrison, G. B, ed. â€Å"The Tragedy of Hamlet, Prince of Denmark. † Major British Writers.Harcourt, Brace, & World, Inc. : New York, 1959. Adams, Joseph Quincy. A Life of William Shakespeare. Boston: Houghton Mifflin Company, 1923. Asimov, Isaac. Asimov's Guide to Shakespeare. 2 vols. New Jersey: Random House Value Publishing, Inc. , 1970. Eliot, T. S. â€Å"Hamlet. † Elizabethan Essays. Haskell House: New York, 1964. Brandes, Georg. â€Å"The Classic Tendency of the Tragedy. † Willia m Shakespeare, A Critical Study. 1898. Frederick Ungar Publishing Co: 1963. Taymor, Julie. The Lion King: Pride Rock on Broadway. Hyperion: New York, 1997.

Bangus Production

FISHPOND ENGINEERING 1. INTRODUCTION Fishpond Engineering is the science of planning, designing and constructing ponds including water control structures. Although not entirely new in the Fish Farm industry, it has gained international acceptance and plays an important role for the efficiency of the farm management as well as in attaining higher farm production. Fishpond Engineering takes into consideration most especially the physical structures and economy of construction based on the proper engineering procedure and application. . SITE SELECTION AND EVALUATION OF EXISTING AREAS 2. 1 Water Supply Water supply is the first and most important factor to consider in the suitability of a fishpond site. Usually, water supply comes from a river, a creek or from the sea. It must meet the quality and quantity requirement of the pond system throughout the year. Water quality is affected by the physical, the chemical, and the biological parameters. Such parameters are affected by the 1) by-products and wastes resulting from urbanization, 2) agricultural pollutants such as pesticides and fertilizers, 3) industrial wastes from pulp mills, sugar, oil refineries, and textile plants, 4) radio-active wastes, 5) oil pollution arising navigational activities, uncontrolled spillage, and oil exploration. Some of these parameters are discussed in detail under fishpond management. Poor quality water sometimes causes the fouling of gates, screens or metal pipes. This happens when heavy dredging is being conducted in an area. Heavy dredging increases turbidity and causes the release of organic substances embedded in the soil. Once these organic substances are released, they use up oxygen causing high biological oxygen demand (BOD). Higher BOD causes oxygen depletion which in turn makes the water foul. Similar conditions also occur during floods. Water supply in tide-fed farms must be adequate especially during some months of the year when the height of high water is at minimum. This problem can be solved by proper gate design and by the use of pumps. The rate of volume flow of nearby tidal stream needs also to be considered; measurement is made during the dry stream flow and during floods. The data obtained give the developer the minimum and maximum rates of discharge. These are important requirements in fish farm design. For details, refer to Annex I. 2. 2 Tidal Characteristic and Ground Elevation The suitability of a tide-fed area for a â€Å"bangus† fishpond project depends on the relationship between the tidal characteristic of the area and its ground elevation. The only free source of energy that could be tapped for flooding a brackishwater coastal pond is tidal energy which is available once or twice a day depending on geographical location. Five reference stations in the Philippines exhibit five peculiarly different patterns during some months of the year. Figure 1 shows in a graphical form the relationship of natural ground elevation to tidal characteristic. Tables 1 and 2 show such relationships as they are applicable to the six stations of reference. [pic] Figure 1 – Suitability of Proposed Fishpond Site Based on Tidal Characteristic and Ground Elevation. |LOCALITY |Elevations in Meters Above Mean Lower Low H20 | | |Mean High Water (MHW) |Mean Sea Level (MSL) |Mean Low Water (MLW) | |Pier 13, South Harbor, Manila |0. 872 |0. 479 |0. 104 | |Pier 2, Cebu City |1. 50 |0. 722 |0. 183 | |Legaspi Port, Legaspi City |1. 329 |0. 744 |0. 165 | |Sta. Ana Port Davao City |1. 405 |0. 753 |0. 101 | |Port of Poro, San Fernando, La Union |- |0. 372 |- | |Jolo Wharf Jolo, Sulu |0. 631 |0. 38 |0. 034 | Table 1. List of Primary Tide Stations and Datum Planes |   |Highest |Lowest |Absolute |Normal daily fluctuation |R E M A R K S | | |recorded tide |recorded tide|annual range |low/high(range) (m) | | | |(m) |(m) |(m) | | | |PHILIPPINES |1. 4 |(-)0. 21 |1. 25 |(-)0. 03/0. 61(0. 64) |Tidal fluctuation too | |San Fernando, La | | | | |narrow for proper | |Union | | | | |fishpond management | |Manila City |1. 46 |(-)0. 34 |1. 8 |0. 14/1. 05(0. 1) |T idal fluctuation | | | | | | |slightly narrow for | | | | | | |proper fishpond | | | | | | |management | |Legaspi City |1. 83 |(-)0. 4 |2. 23 |1. 09/1. 40(1. 9) |Tidal fluctuation | | | | | | |favorable for proper | | | | | | |fishpond management | |Cebu City |1. 98 |(-)0. 4 |2. 38 |(-)0. 03/1. 49(1. 52) |-do- | |Davao City |1. 98 |(-)0. 49 |2. 47 |(-)0. 03/1. 77(1. 80) |-do- | |Jolo, Sulu |1. 19 |(-)0. 12 |1. 31 |(-)0. 03/0. 98(1. 1) |Tidal fluctuation | | | | | | |slightly narrow for | | | | | | |proper fishpond | | | | | | |management | Table 2. Suitability of Six Tidal Stations of Reference for Fish Farms Areas reached only by the high spring tides should be ruled out as it is costly to move large quantities of soil during the process of excavation. There is that other problem of where to place the excess materials. While these can be solved by constructing high and wide perimeter dikes, putting up more dikes will create narrow compartments resulting in less area intended for fish production. Low areas on the other hand will require higher and more formidable dikes which may mean that earth will have to be moved long distances. The pond bottom should not be so low that drainage will be a problem. The best elevation for a pond bottom therefore, would at least be 0. 2 meter from the datum plane or at an elevation where you can maintain at least 0. meter depth of water inside a pond during ordinary tides. This index should satisfy the requirements of both fish and natural fish food. 2. 2. 1 Tides The attractive forces of both the moon and the sun on the earth surface which changes according to the position of the two planets bring about the occurrence of tides. Tides recur with great regularity and uniformity, although tidal charac teristic vary in different areas all over the world. The principal variations are in the frequency of fluctuation and in the time and height of high and low waters. When the sun, the moon and the earth are in a straight line, greater tidal amplitudes are produced. These are called spring tides. Tides of smaller amplitudes are produced when the sun and the moon form the extremes of a right triangle with the earth at the apex. These are called neap tides. When high and low waters occur twice a day it is called a semi-diurnal tide. When the high and the low occur once a day it is called a diurnal tide. The moon passes through a given meridian at a mean interval of 24 hours and 50 minutes. We call this interval one lunar day. Observations reveal that the mean interval between two successive high (or low) waters is 12 hours and 25 minutes. Thus, if there is a high water at 11:00 A. M. today, the next high water will take place 12 hours and 25 minutes later, i. e. , 11:25 P. M. and the next will be at 11:50 A. M. of the following day. Each day the time of tide changes an average of 50 minutes. The difference in the sea water level between successive high and low waters is called the range. Generally, the range becomes maximum during the new and full moon and minimum during the first and last quarter of the moon. The difference in the height between the mean higher high and the mean lower low waters is called the diurnal range. The difference in the tide intervals observed in the morning and afternoon is called diurnal inequality. At Jolo, for instance, the inequality is mainly in the high waters while at Cebu and Manila it is in the low waters as well as in the high waters. The average height of all the lower of low waters is the mean lower low (MLLW), or (0. 00) elevations. This is the datum plane of reference for land elevation of fish farms. Prediction of tides for several places throughout the Philippines can be obtained from Tide and Current Tables published annually by the Bureau of Coast and Geodetic Survey (BCGS). These tables give the time and height of high and low water. The actual tidal fluctuation on the farm however, deviates to some extent from that obtained from the table. The deviation is corrected by observing the time and height of tidal fluctuation at the river adjacent to the farm, and from this, the ratio of the tidal range can be computed. From the corrected data obtained, bench marks scattered in strategic places can be established. These bench marks will serve later on as starting point in determining elevations of a particular area. 2. 2. 2 Tide prediction There are six tide stations in the Philippines, namely: San Fernando, Manila, Legaspi, Cebu, Jolo and Davao stations. Reference stations for other places are listed under the â€Å"Tidal Differences† and â€Å"Constants† of the Tide and Current Tables. The predicted time and height of high and low waters each day for the six tide stations can be read directly from the table. Tide predictions for other places are obtained by applying tidal differences and ratios to the daily predictions. Tidal differences and ratios are also found in the Tide and Current Tables. Let us take for example, the tidal predictions for Iloilo on 23 Sept. 1979. Looking through the tidal differences and constants of the Tide Tables, you will find that reference station for Iloilo is Cebu. The predicted time and height of tides for Cebu obtained from the tide tables on 23 Sept. 1979 are as follows: |High |Low            | |Time |: |Height |Time |: |Height | |0004 |: |1. 3 m |0606 |: |0. 14 m | |1216 |   |1. 52 m |1822 |   |0. 18 m | (The heights are in meters and reckoned from mean lower low water (MLLW); 0000 is midnight and 1200 is noon). Again, from the table on Tidal Differences and Constants, the corrections on the time and height of high and low waters for Iloilo are as follows: |Time |Height of High Water |Height of Low Water | |+ 0 hr. 05 min. |+ 0. 09 |+ 0. 3 | Thus, the corrected time and heights of high and low waters for Iloilo are: |High |Low            | |Tim e |: |Height |Time |: |Height | |0009 |: |1. 52 m |0611 |: |0. 17 m | |1221 |: |1. 61 m |1827 |: |0. 21 m | 2. 2. 3 Height of tide at any given time The height of the tide at any given time of the day may be determined graphically by plotting the tide curve. This can be done if one needs to know the height of the tide at a certain time. The procedure is as follows: On a cross-section paper, plot the high (H) and the low (L) water points between which the given time lines (see Fig. 2). Join H and L by a straight line and divide it into four equal parts. Name the points as Q1, M and Q2 with M as the center point. Locate point P1 vertically above Q1 and P2 vertically below Q2 at a distance equal to one tenth of the range of the tide. Draw a sine curve through points H, P1, M, P2 and L. This curve closely approximates the actual tide curve, and heights for any time may be readily scaled from it. Figure 2 shows the curve on 23 Sept. 1979 for Iloilo. H is 1. 61 m at 12:21 hr and L is 0. 21 m at 18:27 hr. Since the range is 1. 40 m, P1 is located 0. 14 units above Q1 and P2 is located 0. 14 units below Q2. The height of the tide at 14:30 hr is given by point T to be 1. 22 m. [pic] Figure 2. Height of Tide at any Given Time for Iloilo on 23 Sept. 1979. 2. 3 Soil Properties Most of our fishponds are constructed on tidal lands consisting of alluvial soils which are adjacent to rivers or creeks near the coastal shores and estuaries at or near sea level elevation. If you pick up a handful of soil and examine it closely, you will find that it is made up of mineral and organic particles of varying sizes. The mineral particles are the clay, silt, and sand while the organic particles are plant and animal matter at various stages of decomposition. Soils are assigned with textural classes depending on their relative proportion of sand, silt and clay. Each textural class exhibits varying colors which are based on their chemical composition, amount of organic matter and the degree of decomposition. U. S. Department of Agriculture Classification System has classified soil as: |GENERAL TERMS | |Common Names |Texture |Basic Soil Textural Class Names | |1. |Sandy Soils |Coarse |Sandy | | | | |Sandy Loam | |2. Loamy Soils |Moderately Coarse |Sandy Loam | | | | |Fine sandy Loam | | | |Medium |Very fine Sandy Loam | | | |Moderately fine |Loam | | | | |Silty Loam | | | | |Silt | |3. |Clayey Soils |Fine |Sandy Clay |Clay Loam | | | | |Silty Clay |Sandy Clay Loam | | | | |Clay |Silty Clay Loam | Many properties of soil, which are related to its texture, determine how well suited it is for fishpond purposes. A sandy loam, for instance, is more porous than silty loam and the latter will hold more nutrients than the former. Clay or sandy clay may be the best for dike construction but not as good as clay loam or silty clay loam in terms of growing natural food. So, in general, finer textured soils are superior for fishpond purposes because of their good water retention properties. Each soil texture exhibits different workability as soil construction material. Studies conducted show that clayey soil is preferred for diking purposes. Suitability of a soil class as dike material decreases with decreasing percentage of clay present in the mixture (see Table 3). CLASS |RELATIVE CHARACTERISTIC |COMPACTION CHARACTERISTIC |SUITABILITY FOR DIKE | | | | |MATERIAL | | |PERMEABILITY |COMPRESSIBILITY | | | |Clay |impervious |medium |fair to good |excellent | |Sandy clay |impervious |low |good |good | |Loamy |semi-pervious |high |fair to very |fair | | |to | | | | | |impervious |high |poor | | |Silty |se mi-pervious to |medium to |good to very |poor | | |impervious |high |poor | | |Sandy |pervious |negligible |good |poor | |Peaty |- |- |- |very poor | Table 3. Relationship of Soil Classes and Suitability for dike material Sediments are a dominant and observable characteristic in lower areas of brackishwater swamplands. Field observations and laboratory analysis of soil samples taken reveal that the majority have a thick layer of loose organic sediments which make them unsuitable for fishpond development and other infrastructures. Engineering and other technical considerations indicate that areas having this type of soil are rather difficult to develop because it is directly related to future land development problems such as (1) subsidence and related flood hazards, (2) unavailability of stable and indigenous soil materials for diking, and (3) unavailability of land with adequate load bearing capacity for future infrastructures such as buildings for storage and production facilities. Areas dominated by organic and undecomposed sediments are expected to experience considerable subsidence which eventually result to loss in effective elevation of the land after development as a result of drainage or controlled water table. Since elevation of most tidal lands converted to brackishwater fishponds are generally one meter above MLLW, any future loss of elevation due to subsidence shall predispose the area to severe drainage and flooding problems due to blocking effect of seawater during high tides. Organic and undecomposed sediments are not a good foundation for dikes nor for diking material. Fishpond areas dominated by this type of soil will mean that there is an inadequacy of indigenous soil materials for diking or filling of lower areas. In the absence of good soil materials, the site under consideration will require importing of soils from the adjoining areas which will make the system of development a very expensive process, or considerable excavation for diking will cause (1) unnecessary exposure of acid organic layers, (2) difficulty in leveling, (3) high cost of dike maintenance and (4) technical problems on seepage losses which will cause difficulty in maintaining water levels in the pond. 2. 3. 1 Field method for identification of soil texture Sand – Soil has granular appearance. It is free-flowing when in a dry state. A handful of air-dry soil when pressed will fall apart when released. It will form a ball which will crumble when lightly touched. It cannot be ribboned between thumb and finger when moist. Sandy Loam – Essentially a granular soil with sufficient silt and clay to make it somewhat coherent. Sand characteristic predominate. It forms a ball which readily falls apart when lightly touch ed when air-dry. It forms a ball which bears careful handling without breaking. It cannot be ribboned. Loam – A uniform mixture of sand, silt, and clay. Grading of sand fraction is quite uniform from coarse to fine. It is soft and has somewhat gritty feel, yet is fairly smooth and slightly plastic. When squeezed in hand and pressure is released, it will form a ball which can be handled freely without breaking. It cannot be ribboned between thumb and finger when moist. Silty Loam – It contains a moderate amount of finer grades of sand and only a small amount of clay; over half of the particles are silt. When dry, it may appear quite cloddy; it can be readily broken and pulverized to a powder. When air-dry, it forms a ball which can be freely handled. When wet, soil runs together and puddles. It will not ribbon but has a broken appearance; it feels smooth and may be slightly plastic. Silt – It contains over 80% of silt particles with very little fine sand and clay. When dry, it may be cloddy; it is readily pulverized to powder with a soft flour-like feel. When air-dry, it forms a ball which can be handled without breaking. When moist, it forms a cast which can freely be handled. When wet, it readily puddles. It has a tendency to ribbon with a broken appearance; it feels smooth. Clay Loam – Fine texture soils break into lumps when dry. It contains more clay than silt loam. It resembles clay in a dry condition. Identification is made on physical behaviour of moist soil. When air-dry, it forms a ball which can be freely handled without breaking. It can be worked into a dense mass. It forms a thin ribbon which readily breaks. Clay – Fine texture soils break into very hard lumps when dry. It is difficult to pulverize into a soft flour-like powder when dry. Identification is based on cohesive properties of the moist soil. When air-dry, it forms long thin flexible ribbons. It can be worked into a dense compact mass. It has considerable plasticity, and can be moulded. Organic Soil – Identification is based on its high organic content. Much consists of thoroughly decomposed organic materials with considerable amount of mineral soil finely divided with some fibrous remains. When considerable fibrous material is present, it may be classified as peat. Soil color ranges from brown to black. It has high shrinkage upon drying. 2. 4 Studies of Watershed and Flood Hazard 2. 4. 1 Watershed A watershed is a ridge of high land draining into a river, river system or body of water. It is the region facing or sloping towards the lower lands and is the source of run-off water. The bigger the area of the watershed, the greater the volume of run-off water that will drain to the rivers, creeks, swamps, lakes or ocean. Precipitation from a watershed does not totally drain down as run-off water. A portion of the total rainfall moving down the watershed's surface is used by the vegetation and becomes a part of the deep ground water supply or seeps slowly to a stream and to the sea. The factor affecting the run-off may be divided into factors associated with the watershed. Precipitation factors include rainfall duration, intensity and distribution of rainfall in the area. Watershed factors affecting run-off include size and shape of watershed, retention of the watershed, topography and geology of the watershed. The volume of run-off from a watershed may be expressed as the average depth of water that would cover the entire watershed. The depth is usually expressed in centimeters. One day or 24-hours rainfall depth is used for estimating peak discharge rate, thus: Volume of Flood Run-off (Q) [pic]+ S1 Engineering Field Manual For Conservation Practices, 1969, pp 2–5 to 2–6 |where |Q |= |accumulated volume of run-off in centimeters depth over the drainage area | | |P |= |accumulated rainfall in cm depth over the drainage area | | |Ia |= |initial obstruction including surface storage, interception by vegetation and | | | | |infiltration prior to run-off in cm depth over the drainage area | | |s |= |potential maximum retention of water by the soil equivalent in cm depth over the | | | | |drainage area | 2. 4. 2 Flood hazard Floods are common in the Philippines due to overflowing of rivers triggered by typhoons and the southwest monsoon rain prevailing over the islands during the rainy season. Overflow of the rivers is largely attributable to the bad channel characteristic such as steep slopes as well as meandering at the lower reach of the river. The network of the tidal streams in some delta areas has been rendered ineffective in conveying the flood-water to the sea due to fishpond construction. Flooding is common in this country and is considered the most destructive enemy of the fishpond industry. The floods of 1972 and 1974 greatly affected the fishpond industry in Central Luzon causing damage amounting to millions of pesos. Because of the floods, fishponds became idle during the time necessary for operators to make repairs and improvements. Floods cannot be controlled, but what is important is to know how a fishpond can be free to some extent from flood hazard. In order to prevent frequent flooding, it is necessary to know the weather conditions in the area where the fishpond project is located. The highest flood occuring in an area can be determined by proper gathering of information. In big rivers, the Ministry of Public Works (MPW) records the height of flood waters during rainy seasons. However, in areas where the MPW has no record, the best way is by gathering information from the people who have stayed in the area for many years. The size of the creek, river and drainage canal should also be determined to find out whether it can accommodate the run-off water or flood water that drains in the area once the fishpond project is developed. Records of the highest flood in the site, especially during high tide, is very important. It will be the basis in providing allowance for the drainage of flood water coming from the watershed. 2. 5 Climatic Conditions Climate has been described in terms of distribution of rainfall recorded in a locality during the different months of the year. In the Philippines, it is classified into four climatic zones preferably called weather types, namely: |Type I |- |Two pronounced seasons; dry from November to April and wet uring the rest of the year. | |Type II |- |No dry season with very pronounced maximum rainfall from November to January. | |Type III |- |Season not very pronounced; relatively dry from November to April and wet during the | | | |rest of the year. | |Type IV |- |Rainfa ll more or less evenly distributed throughout the year. | The elements that make up the climate of a region are the same as those that make up the weather, the distinction being one mainly of time. But the elements that concern most fishpond operators are the rainfall, temperature and the prevailing wind direction because they greatly affect fish production directly or indirectly. Data on rainfall and wind direction are very necessary in planning the layout and design of pond system. Knowing past rainfall records, you can more or less decide whether it will be necessary to include a drainage canal in the layout, and how large it will be when constructed. Knowing past rainfall records will also be necessary in computing the height of the secondary and tertiary dikes. Wind on the other hand, plays a role in fishpond design. Strong wind generates wave actions that destroy sides of the dike. This causes great expense in the construction and maintenance. However, this problem can be minimized with proper planning and design. For instance, longer pond dimension should be positioned somewhat parallel to the direction of the prevailing wind (see Fig. 3). This will lessen the side length of the dike exposed to wave action. This orientation of pond compartments will also have some advantageous effects in the management aspect. [pic] Figure 3. Layout of Pond Compartments Oriented to the Prevailing Wind Direction Nearly every location is subject to what is called the prevailing wind, or the wind blowing in one direction for a major portion of the year. Monsoons are prevailing winds which are seasonal, blowing from one direction over part of the year and from the opposite direction over the remaining part of the year. Trade winds, which generally come from the east, prevail during the rest of the year when the monsoons are weak. [pic] Figure 4. Wind Directions Wave action in ponds is caused by wind blowing across the surface. One cannot totally control wave action in ponds although it can be minimized. In typhoon belt areas or in areas where a strong wind blows predominantly, it is better to include wind breakers in planning the layout of ponds. 2. 6 Type and Density of Vegetation Mangrove swamps occur in abundance on tidal zones along the coasts of the Philippines which are being converted into fishponds for fish production, but not all mangrove swamps are suitable for fishpond purposes. Some are elevated and are not economically feasible for development; others have too low an elevation to develop. The distribution of mangrove species in tropical estuaries depend primarily on the land elevation, soil types, water salinity and current. It has been observed that â€Å"api-api† and â€Å"pagat-pat† trees (Avicennia) abound in elevated areas while â€Å"bakawan† trees (Rhizophora) are mostly found in low areas. It has also been observed that nipa and high tannin trees have a long-lasting low pH effect on newly constructed ponds. Presence of certain shrubs and ferns indicate the elevation and frequency of tide water overrunning the area. Certain aquatic plants such as water lily, eel grass and chara sp. indicate low water salinities. The type and density of vegetation, the size, wood density and root system of individual trees greatly affect the method of clearing, procedure of farm development and construction cost. Thickly vegetated areas, for instance, will take a long time to clear of stumps. Density of vegetation is classified according to kind, size and quantity per unit area. This is done to determine the cost of land clearing and uprooting of stumps. One method used is by random sampling. The process requires at least five or more samples taken at random, regardless of size, and vegetation is classified according to kind, size and number. Then the findings are tabulated and the average of the samples is determined. However, vegetation of less than 3 cm in diameter is not included. The total vegetation of the area is determined as follows: [pic] |Station |NIPA |BAKAWAN |API-API |LIPATA |BIRIBID | |(20? 20) | | | | | | | |No|Av|No. | | |. |e. | | | | |Si| | | | |ze| | | |b |= |line GD | | |h |= |height or distance | The total area of the irregular figure is equal to the sum of A1, A2, A3, A4 and A5. Example: Find the area of an irregular figure shown in Figure 13 using the triangulation method. Solution: [pic] [pic] b. Trapezoidal Rule [pic] Figure 14. Area Determination Using the Trapezoidal Rule If a field is bounded on one side by a straight line and on the other by a curved boundary, the area may be computed by the use of the trapezoidal rule. Along a straight line AB, Fig. 14, perpendicular offsets are drawn and measured at regular intervals. The area is then computed using the following formula: [pic] Where: |ho, hn |= |length of end offsets | |Sh |= |sum of offsets (except end offsets) | |d |= |distance between offsets | Example: In Fig. 4, if the offsets from a straight line AB to the curved boundary DC are 35, 25, 30, 40, and 10, and are at equal distance of 30, what is the included area between the curved boundary and the straight line? Solution: |Area ABCD |= |[pic] | | |= | | | |= |117. 5 ? 30 | | |= |3,525 sq. m. | 3. 2. 3 Laying out right angles and parallel lin es a. Laying out right angles. For instance it is required to lay out the center line of dike B (see Fig. 15) perpendicular to that of dike A using a tape. A simple corollary on the right triangle states that a triangle whose sides are in proportion of 3, 4, and 5 is a right triangle, the longest side being the hypotenuse. In the figure, point C is the intersection of the two dike centerlines. One man holds the zero end of the tape at C and 30 m is measured towards B. Again from C, measure 40 m distance towards A and then from A' measure a distance of 50 meters towards B'. Line CB' should intersect line A' B'. Therefore, line CB is formed perpendicular to line CA. It is always desirable to check the distances to be sure that no mistake has been made. [pic] Figure 15. Laying Out Right Angles b. Laying out parallel lines. In Figure 16, CD is to be run parallel to AB. From line AB erect perpendicular lines EF and GH in the same manner described in the previous discussion. Measure equal distances of EF and GH from line AB and the line formed through points C' and D' is the required parallel. [pic] Figure 16. Laying Out Parallel Lines 3. 3 Topographic Survey 3. 3. 1 Explanation of common terms a. Bench Mark (BM). A bench mark is a point of known elevation of a permanent nature. A bench mark may be established on wooden stakes set near a construction project or by nails driven on trees or stumps of trees. Nails set on trees should be near the ground line where they will remain on the stump if the tree will be cut and removed. Procedure on setting up a bench mark is attached as Annex 4. It is a good idea to mark the nail with paint and ring the tree above and below also in case a chain saw is used to cut down the tree. The Philippines Bureau of Coast and Geodetic Survey has established bench marks in nearly all cities and at scattered points. They are generally bronze caps securely set on stones or in concrete with elevations referenced to mean sea level (MSL). The purpose of these bench marks is to provide control points for topographic mapping. b. Turning Point (TP). A turning point is a point where the elevation is determined for the purpose of traverse, but which is no longer needed after necessary readings have been taken. A turning point should be located on a firm object whose elevation will not change during the process of moving the instrument set up. A small stone, fence post, temporary stake driven into the ground is good enough for this purpose. c. Backsight (BS). Backsight is a rod reading taken on a point of known elevation. It is the first reading taken on a bench mark or turning point immediately after the initial or new set-up. d. Foresight (FS). Foresight is a rod reading taken on any point on which an elevation is to be determined. Only one backsight is taken during each set-up; all other rod readings are foresights. e. Height of Instrument (HI). Height of instrument is the elevation of the line of sight above the reference datum plane (MLLW). It is determined by adding the backsight rod reading to the known elevation of the point on which the backsight was taken. 3. 3. 2 Transit-stadia method of topographic survey The following describes the procedure of determining ground elevations using the engineer's level with a horizontal circle and stadia rod. A transit may be substituted for the level if care is exercised in leveling the telescope. It is assumed that a bench mark with known elevation has been established. a. Establish your position from a point of known location on the map. In Figure 17, point B is â€Å"tied† to a point of known location on the map, such as corner monument C of the area. This is done by sighting the instrument at C and noting down the azimuth and distance of line BC. The distance of B from C is determined by the stadia-method discussed under area survey. [pic] Figure 17. Establishing Position from a Point of Known Location on the Map b. Take a rod reading on the nearest bench mark (BM), as shown in Figure 18, previously installed for such purpose. This reading is called the backsight (BS), the rod being on a point of known elevation. The height of the instrument (HI) is then found by adding the elevation of the bench mark (Elev. ) and backsight (BS), thus: H. I. = Elev. + B. S. [pic] Figure 18. Transit-stadia Method of Topographic Survey c. The telescope is sighted to point D, or any other points desired, and take the rod reading. The reading is called the foresight (F. S. ), the rod being on a point of known elevation. Ground elevation of point D is then determined by subtracting the foresight (F. S. ), from the height of the instrument (H. I. ), thus: Elevation = H. I. – F. S. d. Similar procedure is used in determining the ground elevation of several points which are within sight from the instrument at point B. The azimuth and distance of all the points sighted from point B are read and recorded in the sample field notes such as shown in Figure 19. |Sta. |Sta. |B. S. | |Occ. |Obs. | |HAT |= |Highest Astronomical Tide | |GS |= |Elevation of the ground Surface | |MF |= |Maximum Flood level | |FB |= |Allowance for Free Board | |%S |= |Percent Shrinkage and settlement | 1. The design height of a secondary dike is calculated using the following formula: [pic] Where: Hs |= |Height of the secondary dike | |HST |= |Highest Spring Tide | |GS |= |Elevation of the ground Surface | |MR |= |Maximum Rainfall within 24 hours | |FB |= |Allowance for Freeboard | |%S |= |Percent Shrinkage and settlement | 2. The design height of a tertiary dike is calculated using the following formula: [pic] Where: Ht |= |Height of the tertiary dike | |DWL |= |Desired Water Level | |GS |= |Elevation of the ground Surface | |MR |= |Maximum Rainfall within 24 hours | |FB |= |Allowance for Freeboard | |%S |= |Percent Shrinkage and settlement | [pic] Figure 28. Design of Different Dikes 4. 3. 3 Canals. About one to two percent of the total farm area is used in the canal system. The main water supply canal starts from the main gate and usually traverses the central portion of the fishfarm. The canal bed should not be lower than, but rather sloping towards, the floor elevation of the main gate. Generally, the canal bed is given a slope of 1/1500 or one meter difference in elevation for a horizontal distance of 1,500 m. A one meter opening main gate will have a canal bed at least 3. m. wide. This width is enough to supply a 10–15 hectares fishpond system considering that the canal dikes have a ratio of 1:1 slope. Secondary water supply canals are constructed in portions of the farm which cannot be reached by the main canal. It starts from the main canal and traverses the inner portion of the fishpond. It is usually constructed in large fishpond areas and smaller than the main canal. Generally, secondary supply canal has a bed width of 2. 0 m. A tertiary canal is usually constructed to supply water in the nursery and transition ponds. Because of the small size, it is sometimes said to be a part of the nursery pond system. Some fish culturists modify the tertiary canal as a catching pond. This usually happens when the designed tertiary canal is short, Generally, a tertiary canal has a bed width of 1. 0–1. 5 m. A diversion canal, when necessary, is also constructed to protect the farm from being flooded with run-off water coming from the watershed. It must be strategically located so that run-off will empty on an established disposal area, natural outlets or prepared individual outlets. It should have the capacity to carry at least the peak run-off from the contributing watershed for a 10-year frequency storm. The slope of the diversion canal should be in such a way that water flows towards the drainage area. A drainage canal is constructed when there is a need to have a separate canal for draining rearing ponds. This is to improve water management in the pond system. It is usually located at the other side of the pond, parallel to the supply canal. A drainage canal is recommended in intensive culture, especially of shrimps. [pic] Figure 29. Design of Different Canals 5. PROJECT COST AND PROGRAMMING The worst error a prospective fishfarm operator can make is to develop an area without project cost estimates and a programme of development. Development money is wasted, and management of the area may be difficult or impossible. Poor planning is the major cause of project failure and even leads to personal bankruptcy. It is very necessary that preparation of the project cost estimates as well as programme of development be done before any construction is started. It is important to know approximately how much will be spent to finish the whole project. It is better that one knows how and when the project will be constructed and completed. The importance of the project cost estimates and programme of development should not be underestimated. 5. 1 Project Cost EStimates The cost of development can be estimated based on the 1) data gathered in the area, 2) proposed layout plan, and 3) design and specification of the physical structures and other facilities. 5. 1. 1 Pre-development estimates a. For the preparation of Feasibility Study. Whether the fishpond operator will apply for a loan in the Bank or he will use his own money to finance the development of a fishpond project, a feasibility study of the area is needed. The feasibility study will be his guide in the development and management of the project. All activities such as the development, management and economic aspects are embodied in the feasibility study. It is a specialized work by engineers, aquaculturist and an economist having special knowledge in fishfarming industry. Usually, for the preparation of the feasibility study, the group charges about 2% to 10% of the total estimated cost of development. b. For the Survey of the Area. An area survey includes a topographic survey, and re-location survey. Whether the area is owned by a private individual or by the government, an area survey by a licensed Geodetic Engineer is very important for the proper location and boundary of the land. It is one of the requirements in the application for a 25-year Fishpond Lease Agreement in the BFAR and also in the application for a loan in the Bank. It must be duly approved by the Bureau of Lands. A topographic survey is necessary in the planning and development of the project. A re-location survey must be conducted to check the validity of the approved plan as well as to avoid conflict in the future. An area and topographic survey done by a Geodetic Engineer will cost about [pic]400. 00 for the first hectare or a fraction thereof and [pic]50. 00 per hectare for the succeeding hectarages. Re-location survey is cheaper than the area and topographic survey. c. For the Construction of a Temporary Shelter. Experienced fishpond laborers generally do not live in the locality. To be more effective they need to have a place to stay during the construction activities. For the construction of a shelter house made of light material, assume a cost of [pic]300. 00/sq. m. of shelter. This includes materials and labor costs. d. For the Construction of Transport Facilities. Flatboats will be needed in the transport of mudblocks. A banca may be used in going to the site. Cost of construction varies from locality to locality. A flatboat with dimensions of 8†² ? 4†² ? 14†³ will cost around [pic]500. 00. A small banca will cost around [pic]600. 00. e. For Representation and Transportation Expenses. This item is not included in the cost of development of a fishpond project. However, it appears that a big amount is being incurred in representation and transportation expenses before the project is started. Example of expenditures are follow-ups of survey plan of the area, FLA application and bank loan. Other expenses are incurred in canvassing of supplies and materials, survey of manpower requirement and equipment needed in the development of a project. Representation and transportation expenses cover about 10–20 percent of pre-development cost. 5. 1. 2 Development Proper. a. For the Clearing of the Whole Area. Clearing the area of vegetation can be divided into three categories, namely: 1) cutting and chopping, 2) Falling and burning, and 3) uprooting and removal of stumps and logs. Generally, cutting and chopping costs about [pic]500. 00 per hectare; piling and burning costs about [pic]300. 00 per hectare; and for the uprooting of stumps and removal of logs, costs depend on their size and number per unit area. A hectare pond, for instance, having 200 stumps of size below 15 cm. in diameter will cost about [pic]800. 00. Stumps numbering 50 pieces with diameter over than 15 cm. will cost about [pic]1,000. 00 per hectare. Cost for the clearing depends upon the prevailing price in the locality. b. For the Construction and Installation of Gates. Cost of construction and installation of a gate can be calculated based on its design and specification proposed in the area. The two kinds of gate commonly constructed in fishponds ( concrete and wood) will be discussed separately. 1. Estimating the cost of construction and installation of a concrete gate: a. Based on the plan of a concrete gate, determine the area and volume of the walls, wings, floor, bridges, toes, aprons and cut walls and compute for the total volume using the following formula: A = L ? W V = A ? t VT = V = V1 + V2 + V3 + †¦ Where: A |= |Area |L |= |Length | |V |= |Volume |W |= |Width | |VT |= |Total volume |t |= |thickness | Determine the number of bags of cement, and the volume of gravel and sand by multiplying the total volume with the factors precomputed for a Class A mixture plus 10% allowance for wastage, thus: |No. of bag cemen t |= |(VT ? 7. 85) + 10% | |Volume of Gravel |= |(VT ? 0. 88) + 10% | |Volume of Sand |= |(VT ? 0. 44) + 10% | Class A mixture has a proportion of 1:2:4, that is one part of cement for every two parts of fine aggregate (sand) and four parts of coarse aggregate (gravel). b. Every square meter of a concrete gate uses 6. 0 m. long of reinforcement bar placed at an interval of 0. 25 m. both ways on center. This is equivalent to 1 ? bars at a standard length of 20 feet per bar. The floor and toes use the same size of bar, thus: No. of reinforcement bar = (Af + 4t) ? 1. 5 Where: Af = Area of the floor At = Area of the toes The walls, wings, etc. use two different sizes of reinforcement bar, thus: [pic] Where: Aw = Area of the walls Ax = Area of the wings An = other areas c. Find the total area of a concrete gate by adding all the areas mentioned in (a). Calculate the weight of tie wire no. 6 by multiplying the total area with a standard value per sq. m. of concrete, thus: Weight (kg) = AT ? 0. 3 Kg/sq. m. d. Calculate the volume of boulders needed by multiplying the area of the flooring with the th ickness of fill. e. Form lumber can be calculated by multiplying the area of walls, wings and bridges by 2. Plywood can also be used as form. Since lumber measurement is still in feet it should be converted into meter, (see conversion table). Use 2†³ ? 3†³ wood for form support. f. Bamboo puno could be calculated from the area of the flooring. A square meter of flooring will require more or less 20 puno staked at an interval of 0. 5 m. both ways on center. This, however, depends upon the hardness of the floor foundation. g. Screens and slabs are calculated based on the design of the concrete gate. h. Assorted nails are calculated based on the thickness of the form lumber used. i. Labor cost is 35–40% of total material cost. However, close estimates can be computed by determining the cost of labor for the construction and removal of temporary earth dike, excavation of the foundation, staking of bamboo puno, placing of boulders and gravel, construction of forms, concr eting of the gate and others. 2. Estimating the cost of construction and installation of a wooden gate. a. Based on the plan of a wooden gate, determine the size and number of lumber for the sidings and flooring. Compute for the total board feet using the following formula: [pic] Where: |L |= |Length of lumber in inches | |W |= |Width of lumber in inches | |t |= |thickness of lumber in inches | b. Based on the design and specification of the pillars and braces, compute for the total board feet using again the above formula. c. Determine the size and number of lumber needed for slabs and screen frames and compute the total board feet. d. Calculate the assorted nails (bronze) based on the lumber used. e. Calculate the coal tar requirement in gallons. f. Calculate the cost of nylon and bamboo screens. g. Calculate the labor cost at 30–40% of the material cost or calculate in detail according to the labor requirement. Calculation includes the construction, painting and installation of the wooden gate and excavation of the floor foundation. c. For the Construction of the Proposed Dikes. Dikes constructed in fishponds vary in sizes. Bigger dikes are, of course, more costly to construct than smaller dikes. In other words, the perimeter or main dike will expend more than the secondary or tertiary dikes. The cost of construction is calculated based on the volume of soil filled and generally it costs [pic]6. 00 per cubic meter. Labor cost, however, depends on the prevailing price in the locality. Transport distance of soil material to the dike is also considered in calculating the cost of construction. Long transport distance decreases individual output per day and thus will increase construction cost. Working eight hours a day, one skilled worker can finish diking, using one flat boat, based on the following distances: |10 – 100 meter distance |6 – 7 cu. m. /day | |101 – 300 meter distance |5 – 6 cu. m. day | |301 – 500 meter distance |4 – 5 cu. m. /day | d. For the Excavation and Leveling of Ponds. Cost for excavation depends upon the volume of soil left inside the pond after the dikes have been constructed. Considering that some soils have been excavated for diking purposes, only about 60% is left for excavation. Generally, escavation co sts about [pic]2. 00 per cu. m. depending upon the prevailing labor cost in the locality. After excavation, leveling of the pond bottoms follows. This involves the cut-and-fill method (excavation and dumping to low portions). Generally, leveling costs about [pic]2,000. 00 per hectare. e. For the Construction of Facilities. Facilities include the caretaker's house, working shed, bodega, chilling tanks, etc. For proper estimates there should be a simple plan of the facilities. However, rough estimates can be made based on the floor area of a house to be constructed. For a house made of light materials, assume a cost of [pic]400. 00 per sq. m. floor area; and for concrete structures, assume [pic]1,000. 00 per sq. m. All assumed costs include materials and labor based on 1979 price of materials. f. For the Purchase of Equipment. A fishpond project cannot be operated without equipment. Examples are fish nets, digging blades, shovels, scoop nets, bolos, etc. These items should be included as part of the total development cost. Such equipment should be listed and calculated. g. Contingencies. There should be a contingency fund for unforeseen expenditures, increase of prices and other materials not included in the above calculations. Assume 10% of the above costs for contingencies. 5. 1. 3 Cost estimate For the purpose of determining the cost of developing a new brackishwater fishfarm project, a typical example of a 50-hectare fishpond project applied to the Bureau of Fisheries and Aquatic Resources for a 25-year Fishpond Lease Agreement is presented below. |I. Pre-Development |   | | |1. |For the preparation of feasibility study |[pic]1,000. 00 | | |2. |Re-location of boundaries |2,000. 00 | | |3. |For the construction of temporary shelter for laborers (light materials) |4,000. 00 | | |4. |For the construction of flatboats, 5 units at [pic]500. 00/unit |2,500. 00 | | |5. |For the purchase of small banca, 1 unit at [pic]600. 00 |600. 00 | | |6. For representation and transportation expenses |3,000. 00 | | |Sub-total |[pic]13,100. 00 | |II. |Development Proper |   | | |1. |Clearing of the area at [pic]600. 00/ha. (cutting, chopping, burning & removal of logs |[pic]30,000. 00 | | |2. |Construction of dikes (filling, compacting and shaping by manual labor) |   | | | |a. |Main dike along bay and river 1,920 linear meters, 6. 0 m base, 2. 0 m crown and 2. 25 m|103,680. 00 | | | | |height or a total of 17,280 cum. at [pic]6. 00/cu. | | | | |b. |Main dike along upland, 840 linear meters, 5. 5 m base, 2. 0 m crown, and 2. 0 m height |37,800. 00 | | | | |or a total of 6,300 cu. m at [pic]6. 00/cu. m | | | | |c. |Main canal dike, 980 linear meters, 5. 0 m base, 2. 0 m crown, and 1. 8 m height, or a |33,957. 00 | | | | |total of 6,174 cu. m. at [pic]5. 50/cu. m | | | | |d. |Secondary dike, 2,540 linear meters, 4. 0 m base, 1. 0 m crown & 1. 5 m heig ht or a |52,387. 50 | | | | |total of 9,525 cu. at [pic]5. 50 per cu. m | | | | |e. |Secondary canal dike, 400 linear meters, 4. 0 m base, 1. 5 m crown and 1. 4 m height, or|8,470. 00 | | | | |a total of 1,540 cu. m at [pic]5. 50 per cu. m | | | | |f. |Tertiary canal dike, 240 linear meters, 3. 5 m base, 1. 5 m crown and 1. 2 m height or a|3,600. 00 | | | | |total of 720 cu. m at [pic]5. 00 per cu. m | | | | |g. |Tertiary dike, 700 linear meters, 3. 0 m base, 1. 0 m crown and 1. m height or a total|7,000. 00 | | | | |of 1,400 cu. m at [pic]5. 00 per cu. m | | | |3. |Construction and installation of gates |   | | | |a. |Main double opening concrete gate, 2 units at [pic]20,000/unit including labor cost |40,000. 00 | | | |b. |Construction and installation of 10 units secondary wooden gates at [pic]3,000. 00 per|30,000. 00 | | | | |unit | | | | |c. Construction and installation of 15 units tertiary wooden gates at [pic]1,500/unit |22,500. 00 | | |4. |Excavation and levelling of pond bottoms (cut-and-fill) |   | | | |a. |Nursery Pond, 1. 5 ha at [pic]2,000/hectare |3,000. 00 | | | |b. |Transition Pond, 4. 0 ha at [pic]2,000/ha |8,000. 00 | | | |c. |Formation Pond, 8. 0 ha at [pic]2,000/ha |16,000. 00 | | | |d. |Rearing Pond, 32. 0 ha at [pic]2,000/ha |64,000. 00 | | |5. Uprooting and removal of stumps at [pic]600/ha |30,000. 00 | | |6. |For the construction of facilities |   | | | |a. |Caretaker's Hut made of light materials, 2 units at [pic]6,000/unit |12,000. 00 | | | |b. |Bodega, made of light materials for inputs and equipment, 1 unit |5,000. 00 | | | |c. |Chilling tank with shed, made of light materials |3,000. 00 | | |7. |For the purchase of equipment |   | | | |a. Nets for harvesting |3,000. 00 | | | |b. |Digging blades and carpentry tools |1,000. 00 | | | |c. |Containers |2,000. 00 | | |8. |Contingencies (10% of cost) |52,350. 05 | | |Sub-total |[pic]562,750. 55 | | |T O T A L |[pic]575,850. 55 | ESTIMATED COST FOR ONE UNIT DOUBLE OPENING MAIN CONCRETE GATE |I. Cost of Materials | | |   | |Quantity |Unit Price |Amount | | |1. |Cement |140 bags |[pic]24. 00/bag |[pic]3,360. 00 | | |2. |Sand |10 cu. m. |60. 00/cu. m |600. 00 | | |3. |Gravel |20 cu. m |80. 00/cu. m |1,600. 00 | | |4. |Boulders |8 cu. m |50. 00/cu. m |400. 00 | | |5. Reinforcement Bar | | | |a) ? ? ? 20†² |80 pcs |22. 00/pc |1,760. 00 | | | |b) ? 3/8 ? 20†² |35 pcs |12. 00/pc |420. 00 | | |6. |Plywood form |49 pcs |48. 00/pc |2,352. 00 | | | |(? ? 4†² ? 8†³) | | | | | |7. |Lumber (S4S) | | | |a) 2†³ ? 2†³ ? 12†² |30 pcs |3. 0/bd. ft |360. 00 | | | |b) 2†³ ? 3†³ ? 12†² |16 pcs |3. 00/bd. ft |288. 00 | | | |c) 1†³ ? 2†³ ? 12†² |10 pcs |3. 00/bd. ft |60. 00 | | | |d) 1†³ ? 12†³ ? 12†² |6 pcs |3. 00/bd. ft |216. 00 | | |8. |Assorted Nails |10 kgs |7. 50/kg |75. 00 | | |9. |G. I. Wire #16 |20 kgs |8. 00/kg |160. 00 | | |10. Bamboo Puno |400 pcs |4. 00/pc |1,600. 00 | | |Sub-tot al |[pic]13,251. 00 | |II. |Labor (40% of material cost) |5,300. 00 | |III. |Contingencies (10% of material cost) |1,325. 00 | | |T O T A L |[pic]19,876. 00 | | |say |[pic]20,000. 00 | ESTIMATED COST FOR ONE UNIT SECONDARY WOODEN GATE |I. Cost of Materials | | |   |   |Description |Quantity |Unit Price |Amount | | |1. |Ply Board |1†³? 10†³? 14†² |34 pcs. |[pic]3. 00/bd. ft|[pic]1,190. 00| | | | | | |. | | | | | |1†³? 10†³? 8†² |3 pcs. |3. 00/bd. ft. |60. 00 | | |2. |Slabs |1†³? 12†³? 14†² |2 pcs. |3. 00/bd. ft. |84. 00 | | |3. |Pillars and   Braces |2†³? 3†³? 10†² |4 pcs. 3. 00/bd. ft. |60. 00 | | | | |2†³? 3†³? 8†² |7 pcs. |3. 00/bd. ft. |84. 00 | | | | |2†³? 3†³? 14†² |2 pcs. |3. 00/bd. ft. |42. 00 | | | | |3†³? 4†³? 10†² |12 pcs. |3. 00/bd. ft. |360. 00 | | |4. |Screen Frames |2†³? 3†³? 16†² |2 pcs. |3. 00/bd. ft. |48. 00

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Evaluate a Complex Decision - Essay Example I called the friend who had caused the problems at the work site into my office. I reeled into him, yelling at him for being so stupid and costing the company a very important sales contract. He had previously in the week told me how good the job was going, and perhaps if he had earlier mentioned to me the problems I could have solved them. I told him because of his neglect he was to be fired and that there was no discussing this matter, as I then had to go and try to patch things up with the company and hope to regain our contract. I then called the company and begged for the contract back. They told me that due to the efforts of that one person, they had already given the contract to somebody else. There were giving me the same treatment I had just given my employee, and were not further discussing the matter. Now looking back at the decision, I see that there were several other ways I could have gone about it. Looking at the formal methods of decision making addressed in this class, I now see that there were many other ways I could have better addressed the situation and come to possibly a better outcome. After my call with the company I realized that I was being just as rash as they were, and that I possibly should have at least listened to my friend’s side of the story before firing him. I was not sure if he would come back to work at the company after how I had treated him, but I at least wanted to given him the fair chance to tell me what had happened. However, I never got to find out, as he still won’t return any of my calls, and I have heard rumors that he has a new job elsewhere. To make matters even worse, I received a call from the company today, stating that the complaints against my worker were dropped, and were actually deemed to be their fault. They issued an apology and renewed our contract, and I felt horrible for how I had treated

Different Color, Different Treatment (Research Paper) Research Paper

Different Color, Different Treatment ( ) - Research Paper Example Many of these spheres are defined by stereotypes. Those stereotypes determine the nature of the space that is inhabited. How someone reacts to the others around them must be understood through the culturally developed stereotypes that define the potential of the experience that someone has in coming into contact with others on the street. The experience of the American street is a place where visceral prejudices come alive. Where in social gatherings prejudices can be dampened, set aside in order to create relationships that cross boundaries and develop into meaningful interactions, when one encounters an unknown person on a street, the only framework in which to define the potential of that experience is through culturally developed ‘types’. The unfortunate consequence of these types is that the nature of some are automatically considered to have a negative connotation. The concept of the young African American male brings forth a sense of fear, the nature of his repres entation in culture being angry and violent. The media represents the young African American male through concepts that have developed through stereotyping that occurs on television, through music videos, and through past prejudices that created the concept of the militant angry young African American youth. ... This, of course, is not limited to the African American male. There are many stereotypes that become prominent in public spaces when encounters are not framed through introductions. Part of the problem is the high level of population condensed into cities in which most of the people have no interconnections to one another. Because the nature of modern life has created smaller and more intimate conditions of community, there are far more strangers in the world than were once part of American life. In addition, with some of the more prominent crime sprees that have happened, including terrorist acts, more people are now considered ‘enemies’ which creates a type of anxiety that ends in a hyper vigilance that performs as a barrier between people. Being open to interactions with strangers leaves one open and vulnerable to ‘dangers’ that are perceived through the many communications that have framed ‘types’ for their ‘inclinations’ toward s creating chaos. Prejudice In 1954, Gordon Allport wrote a seminal book on the nature of prejudice and how it affects human relationships. He states as he begins to define the concept of prejudice that â€Å"No corner of the world is free from group scorn†, which is an appropriate way in looking at the nature of prejudice. Society groups people into categories in order to impose order upon the integration of multiple cultural backgrounds that ends in differences that can be visually seen in ethnic qualities. The way in which language is used to define groups, by suggesting that someone is African American, Native American, or Asian American, suggests that when someone has ethnic markers, this places them in a different social groups. However, it is important