Logistic and supply chain management. Need to aswer question 1 and 3 Case Study

Logistic and supply chain management. Need to aswer question 1 and 3 in - Case Study Example This information will be used to compute the annual cost for each customer type. Table 1 indicates that each of MoonChem’s 12 small customers uses chemical amounting to 12,000kg per annum. This means that they receive only one (1) shipment per annum. This stock will last them for three years and three months. It therefore means that a shipment is made once every three years. However, there are consignment costs and holding costs to be considered. Table 2 provides information on these costs. Table 2 indicates that the annual cost to MoonChem of sending full truck-loads to small customers is $604,800. $4,800 of this total relates to transportation, $120,000 to holding costs (calculated as 25% of consignment cost), and the largest portion of $480,000 relating to consignment costs. Table 1 indicates that there are six (6) medium sized customers, each of whom consumes 5,000kg of chemicals per month. The total usage for each of these customers is 30,000kg per annum. This indicates that only one shipment is required for each medium customer per annum. Table 3 provides a breakdown of the annual cost of sending full truck-loads to these customers. Table 3 indicates that two (2) truck-loads of inventory would be required for medium customers per annum. The transportation cost of sending these two (2) truck-loads of chemicals to medium-sized customers is $14,400 per annum, consignment cost $480,000 and holding cost $120,000 per annum. The table also indicates that the total cost of sending full truck-loads of chemicals to medium customers is $614,400. Information in the Table 1 indicates that there are two large customers, each of whom consumes 12,000kg of chemicals per month which suggests an annual consumption for each member of this customer group of 144,000kg of chemical per annum. It therefore means that a total of 288,000kg of chemicals is being consumed by this particular group of customers. Table 4 indicates that the total annual cost of sending full

English Lit Coursework Essay Example for Free

English Lit Coursework Essay Compare the ways in which the authors present contrasting worlds/ places and their thematic significance in Othello and two other texts. In all of the novels; Othello, Wuthering Heights and The Great Gatsby, the authors, Shakespeare, Bronte and Fitzgerald, demonstrate how contrasting worlds disrupt equilibrium, especially the harmony or even possibility of relationships. The ultimate disruption within all of these texts is the barrier of class. In Wuthering Heights, Bronte compares the two houses; Wuthering Heights and Thrushcross Grange, to highlight the distance class creates between Heathcliff and Cathy, by embodying the characters and their values in the imagery of the houses. Wuthering Heights essentially is a deteriorating farm house. Bronte represents Heathcliff with this house, its anaesthetically pleasing and neglected, described as a perfect misanthropists heaven, giving reclusive and desolate connotations, reflecting the way Heathcliff becomes remote from society and isolated. On the other hand, Bronte describes Thrushcross Grange grandly, carpeted with crimson, crimson covered chairs and tables, this choice of colour gives rich connotations, of a splendid place, The choice of lexis splendid giving an upper class tone . Nevertheless neither of Cathy or Heathcliff seems to prefer the luxurious Thrushcross Grange. Bronte does present Cathy to be superficial at times, but when Cathy tells Nelly about her dreams she explains that heaven did not seem to be my home and that she woke up sobbing for joy when she was flung into the middle of the heath on top of Wuthering Heights, Bronte uses this therefore to signify that Cathy sees Wuthering Heights and the moors as her heaven. Likewise she wants the window open when ill at Thrushcross Grange; here Bronte enforces the theme of imprisonment and entrapment, in a foreign world. Equally Thrushcross Grange has always been an alien and uncomfortable place to Heathcliff as we see when he chooses to grieve on the out skirting grounds of Thrushcross Grange in contrast with Edgar who stays inside. Nevertheless Bronte relates Cathy, a Linton to be, to Thrushcross Grange, a world of refinement and elegance, complimenting Cathys own descriptions as she grows into a lady Similarly to Wuthering Heights, Fitzgerald presents the comparison in class of two places, the buildings of East and West Egg in particular. West Egg is seen to be the less fashionable of the two, lacking in conventional aesthetics of refined and classy housing estates. This is shown by the fact Nicks bungalow is carelessly built in the space between two mansions, this paints a garish image of clashing buildings. Whereas East Egg is glittered with houses that are described as white palaces with well kept lawns, suggesting well kept, good quality people, over all setting a lavish and opulent scene. Never the less, the houses themselves are concentrated on more so in Wuthering Heights as they are the dominant symbol of the two separate worlds, whereas Gatsby concentrates on the society around East Egg and West Egg, in order to emphasize the difference of the world Daisy and Tom inhabit in comparison to Gatsbys world. Fitzgerald creates the symbolism of East and West Egg by choosing to rename Great Neck and Manhasset. West Egg is a place of newly rich settled opportunists, many like Gatsby who are seen to have acquired a fortune overnight and boast this through extravagant houses. West Egg has an overall vibrancy shown through spectroscopic gayety with this Fitzgerald suggests a bright, colourful and energetic lifestyle. East Egg however is a fashionable part of Long Island, where the wealthy descendants, of a previous money making generation, live. In contrast with the West, they seem to be more withdrawn from enjoying themselves and proud of their staid nobility, with the exception of a few lapses at Gatsbys parties. This lack of living for the moment comes across also in the way that they seem to want more in life in the East, but have no intentions of looking for it. Fitzgerald mocks the ambitionless simplicity of life that for example is demonstrated in Jordan and Daisys superficial conversation, We ought to plan something, All right Whatll we plan? What do people plan? Similarly people lack genuine qualities, everything is based on etiquette and image, a prime example of this is when Mrs Sloane invites Gatsby to supper out of politeness but doesnt expect him to actually come. Equally Shakespeare employs the theme of class, as a barrier between Othello and Desdemona, but unlike Bronte and Fitzgerald, he demonstrates the distinction through the discrimination drawn upon Othello. None the less, Shakespeare does use a comparison of two separate locations, Venice and Cypress. Shakespeare accomplishes a dramatic tone in the play Othello through the use of a variation of techniques, for example dramatic irony. Likewise Shakespeare uses contrasting worlds, for instance the contrast between Venice and Cyprus, Venice is portrayed to be a respected origin, it has a positive representation in the play, being the place in which Desdemona and Othello fell in love. Cypress on the other hand is surrounded in conflict, described as a war-like isle, a direct comparison to Venice; it is also the place where Othello and Desdemonas love suffers. The two countries are essential to Shakespeares comparison between the worlds of war and love and how Othello struggles to find a balance between the two. The warlike moor encounters the conflict between the roles of being an inexperienced loving husband and a hardened military soldier. Hes used to of course an all male environment, a soldiers life style, uneducated in the domestic world of females. He can deal with the flinty and steel couch of war yet is little blessd with the soft phrase of peace. Shakespeare devises Othellos dialogue to show how he is more comfortable with language from the semantic field of war than pet nick names, calling Desdemona My fair Warrior. Othello may be respected for his military efforts, after all this is all we see him praised for, no credit is given to the fact he is marrying Desdemona even their wedding celebration is shared with a military celebration. Considering this Shakespeare presents him very much as an outsider, the only black protagonist, he doesnt qualify as a gentleman, and is included in society purely as he is an acquaintance of Brabantio and Cassio.

Significance of Realistic Physics in Simulation Games

Significance of Realistic Physics in Simulation Games This dissertation is on the significance of realistic physics in simulation games. Physics in games has changed a lot over the years from arcade games having no physics to Need for Speed: Shift having world class physics. As the years have progressed so has the technology giving ways to make the game more realistic to a point which makes them almost as real as in real life. The question here is that do we need such good physics in games cause in the end the players need have a good time playing the game while having a realistic experience, pushing the realism a bit further can cause problems with the game being excessively difficult the daily gamer. Introduction The oldest form of racing games would be arcade games where there was no physics but the games were still fun to play for the casual gamer. They can be called the classic example for physics-less fun games like outrun, Virtua Racing by SEGA. With time games like The need for speed came out with realistic acceleration top sped etc. they built up on car personalities with different cars having different type of grip, speed etc. with more advanced Physics processing units came better physics with destructible models, actual car damage and very realistic handling etc. as seen in Need for Speed: Shift and Need for Speed: Pro-street these games reached the benchmark for physics at their time but were not as popular as the Need for speed: Most Wanted and similar Titles with intermediate use of physics. But the physics in games now days have totally changed the driving experience in games. My thesis is on how this can be improved and what type of physics should be added and what type to be controlled so as not to make the game extremely difficult but also improve the gameplay and give a better feel of realism. C.1 The Statement of Problem The statement of problem in my dissertation is the fun factor in racing games with realistic physics. Racing games are played for fun and are not viewed as some physics prototype so a game with exceptionally good game does not have to be an exceptionally good game and vice versa. There has to be a balance between fun and physics in game. A game with very realistic handling will make an immature player crash a lot which is not very impressive to the player, whereas in a game without friction or skidding, the player will not have the feel of physics or realism in a game making it boring again. How to get this balance in a game is my main objective. In a racing game there should be balanced handling and to make it more realistic new improved effects for drag can be added. Better collision and realistic damage which effects the players driving can help make the game look more realistic. Things like this are very important nowadays as the competition between games is rising and most of the games are coming out with good physics so it becomes a common ground between most games. New type of physics including centre of gravity, collisions effecting the player, g-forces on the player causing loosing handling, blurred vision can be a thing of the future also player fatigue while driving can be added in the games in the future to make them stand out. C.2 Purpose This study is aimed at accomplishing to implement new type of physics in the game, making them more realistic while still being fun to play. The purpose of this study is that when we are adding new type of physics in a game, it should not be so much that it looks more like a physics prototype than a game. Methodology This chapter explains how the research for this dissertation is done. This dissertation is based on experimenting on different type of games arcade and realistic alike and also based on articles related to this subject. D.1 Study of Existing Information Existing information was collected over the internet mainly from www.google.com and www.gamespot.com. Different type of physics used in current games was searched and also about arcade games. The information was used to understand the working of present day physics realistic games. Information and ideas for different type of physics were also gathered from different forums and articles. To better understand how physics actually works in a game different reference articles which explain how physics is implemented in games with code were studied go get a better understanding about the subject. D.2 Experementation Experimentation was done by testing different racing games from arcade games to realistic games to understand the difference in physics and to understand what type of physics is implemented in present day games. Case study in done in Need for Speed: Undercover, Burnout paradise Dirt, Need for Speed: Shift and Virtua racer to understand the physics in those games and to understand weather they were successful or not and why. Different types of physics modules were studied in each game, understanding what game used what and to how much realism and how it affected the outcome of the sales of the game which tell which was more popular. Literature Review This chapter will discuss the articles significant for this research and what use it has in my dissertation. This chapter is in two parts, one discussing the physics aspect behind making a game and the other one discussing about different games, their popularity and what type of physics they used. E.1 Physics Review Reference: [Title Motion along a straight line by author Michael Tanczos  http://www.gamedev.net/reference/articles/article434.asp ] This page is about basic motion along a straight line which is required to make a game about any moving body. This helps with the basic physics that require programming of moving objects. Reference: [Title The physics of racing by author Brian Beckman http://www.gamedev.net/reference/articles/article1610.asp ] This is a comprehensive guide about how to make racing games. This helps with understanding of present day physics and how they are actually implemented in a game. This also helps me to formulate my own ideas to how to add new physics to the game. Reference: [http://www.mathworks.com/products/simulink/demos.html?file=/products/demos/shipping/simulink/sldemo_absbrake.html] This page helped me understand about braking systems in cars. Reference: [Title Motor Sports Setup by author Carroll Smith http://needlesslyobscure.wordpress.com/motorsports-setup/] This is a series of tutorials of how to setup a car. I used this to make compute my own vehicle simulations. Reference: [http://auto.howstuffworks.com/four-wheel-drive1.htm] This article gave me a better insight of how slip works on a car. E.2 Game Review Reference: [http://en.wikipedia.org/wiki/Racing_video_game#1970s Title Racing Video Game by Wikipedia] This is where I started researching about history of video games and looking into what types of racing are there and how they developed over time. Reference: [http://www.taito.com/arc/] I visited this website which had old arcade racing which I played and also read about them to get a better understanding of how racing games were back then. Reference: [http://forums.atari.com/] This is a forum where i read about Atari arcade games. Case Study In order to understand the exact nature of physics of present day game sand games from the past, I tested out a few games to understand what different types of physics were applied to them and how they are different from one another. This also helped me to understand how the physics evolved from the past to until now. Another aspect of this study was to understand how the popularity of the game was related to the physics it. F.1 Virtua Racing Virtua Racing was released in 1992 by Sega. This game had excellent and clean 3D graphics for its time. It was based on F1 racing and was one of the best arcade racing game of all time. This set the base for racing games that came after this. It had features like minimap track, speedometer etc. basically it had a fully functional HUD for its time. It had 2 views, one third person and the other was first person inside the car. It had time chase and also the player could race against the AI cars in the single player mode. In the multiplayer mode, two players could race against each other. It had also implemented different cars so the player could choose between them. They were not just artistically different but also were also different in the way they handled. This was a change from the old racing games before this which had only artistic differences between different cars. This game had simulated physic s, there was not an actual simulation engine deciding what the car would do. It w as just programmed to skid if the player was taking a turn over a certain speed. It gave a very good feeling of realism. F.2 Need for Speed Need for Speed for first released in 1994 by Electronic Arts. This game went on to be the most famous game series of all times. Need for Speed was based on street racing. It had good load out of cars which performed very differently from each other. The players had to race in the street with oncoming traffic and against AI player; it also had a multiplayer mode which 2 player could play simultaneously. It had a very smooth camera system which allowed the player to play in a third person view or a first person view with the player sitting inside the car. This game had implemented gearing system which the player could manually change or set it to automatic where the computer would take care of it. This game had very good physics simulations which was quite different from its predecessors. Need for speed has impressive graphics getting better than anyone before them. They had open seamless outdoor worlds. These worlds gave an effect of a 3D world unlike the past games. The cars were also very detailed, which ranged from Lamborghini, dodge viper to Mustangs. They were replica of real life cars with all the details in them that could be put at that point of time. The race tracks also had a lot of variance in them which were set in a realistic environment. This game also had weather effects which added more realism to the environment. The sounds implemented were also awesome. They were very accurate and added to the realism of driving a vehicle as a driver depends on sounds a lot when driving a vehicle. For a game to achieve this, the sounds had to be very accurate which EA achieved with NFS. The simulation engine for this game was also very nice, it gave a clean difference felt in power, speed and handling when driving different cars. Different cars had different statistics and performed better on different tracks. F.1 Need for Speed: Shift This game of the NFS series was a circuit based game and had more advanced physics to its predecessors. Physic-wise, Need for Speed Shift starts to sound really promising. If done right, the 3 different physic models can really make the game enjoyable both for the usual Need for Speed crowd as well as simulation enthusiasts. At first, the driving physics in Shift take some getting used to. You cant go into a corner, hit the apex, and then pump 100% throttle on the way out. Without a doubt, youll inevitably end up facing the wrong direction, or planted into a wall. Throttle control is absolutely mandatory in Need for Speed Shift. Theres no way around this and if you havent got a racing wheel handy, the controller does little to favour irresponsible throttle application or violent steering input. A lot of importance is given to the throttle of the car making it one the most tweaked feature which takes some time getting used to. Due to the high end physics in this game it made it quite difficult to play for the casual gamer so the game had features like 10% extra grip for the newcomers etc. The car could be customised in a lot of ways to make it affect the physics of the car, this helped out the professional players a lot, but in this game doing anything wrong to the customizations without knowing what the person is doing would make the car difficult to handle making it again unfriendly to the casual gamer. One glitch that you often encounter later on in the game when dealing with high performance cars or extensively modified tuned cars. Due to the lowering of body work, additional front splitters, under body modifications and different wheel/tyre combinations, cars seem to run far too low, removing ground clearance and effectively making a car bottom out over even the tiniest of bumps. This results in a ridiculous and uncontrollable glitch where a car will continue down a straight path. This game boosted of great physics giving realism to the circuit/professional racing and tried to make the game real but they failed in a way. The professional player didnt like the game so much because of the physics not being to real life like with some glitches here and there. Also the car would sometimes out or under manoeuvre in an awkward manner as not expected by the user. As for the casual gamer this is not the game for them, this game is very intense and requires decent amount of racing knowledge of knowing when and how to turn/corner at high speeds, tune the car properly according to your personal needs. So in all it was not a great hit either ways. F.2 Need For Speed: Undercover This game does not have realistic physics but it has type of physics which helps the player a lot. The game is made in such a way to make the physics work in the way of the driver to give him/her an awesome driving experience this does not have to be entirely as in the real world. This game allows you to pull of the craziest of stuns with easy, this game is built only to give the driver awesome driving experience with computer guidance to accomplish stunts which would not be possible in the real world giving an adrenalin rush to the player. Key to Undercover is what EA is calling the heroic driving experience. In Undercover this physics system has been given an injection of cool. Think of all the best car chase scenes in movies from the last ten years and youll get an idea of what to expect. EA want you to feel like a skilled stunt driver, and it works. By using a combination of the gas pedal, brake, e-break and gear stick youre able to pull off stunning looking manoeuvres like reverse 180 degree turns. Its like you are Jason Statham from the Transporter movies. While we were quite looking forward some potentially funny moments, it seems EA has gone down a more serious route and it works very well indeed. Your goal in the game is to take down the various captains before taking down the whole operation, which is obviously done while driving at insanely high speeds. The game involves high speed chases over the highway, battling enemy cars, the good old cop chases etc. According to EA the traffic in Undercover is modelled realistically and reacts to your actions. While you can simply push a car over into the way of your target, you could choose to spook a driver of a bus, causing him to jack-knife in the middle of a dual carriageway. Racing at high speed, weaving in and out of traffic appears to offer the kind of thrills that were severely lacking in the more down to earth and structured ProStreet. As EA repeatedly pointed out during the publishers Games Convention 2008 demonstration, Undercover is all about heroic driving, and theres no better reason to drive like a stuntman than trying to outrun a swarm of angry police cars. Police chases thankfully return to Need for Speed in Undercover and these guys are aggressive, very aggressive. To begin with theyre not pushovers, but as you progress through the story and increase your level; your notoriety amongst the police also increases. Before too long theyll spot you on the streets and go after you, hunting you as a pack. If they get you which seems like itll be a regular occurrence for less skilful drivers youll have a strike against your car and itll be impounded. Being able to take pictures of the game during gameplay situations is becoming increasingly common, and with the amount of action on display in Undercover its no surprise to find such a feature here. We didnt see it in action but EA says that the snaps taken have been dubbed Movie Poster Action Cinematic sounds good to us. Undercover still has some way to go in development (its not out until late November) but its already looking very impressive. Car models are incredibly detailed and procedurally deform based on collisions. The areas of the city demonstrated to us were bathed in a gorgeous yellow light that gives the game a highly stylised appearance, and the camera often uncouples from the rear of the car in order to give a better, more cinematic view of the action. With months of development left there were obviously a few technical issues, but on the whole we cant wait to see how the final game looks. As in previous Need for Speed titles the audio is often dominated by the sound of police chatter. We only saw one police chase so cant say how itll sound hours into the game, but they said all the right things to convince us they were on our case. To sum it up, the game is made for the player to have a free stunt filled game which could be easily be pulled of which was not like by the old NFS users. The game wasnt such a big success like the old NFS Most Wanted due the reason that it lacked realist9ic physics but it had player friendly physics which made the game very to finish which much challenge. F.3 Burnout Paradise This game was made for its stunts. It had some realistic physics with a lot of importance given to the car damage. The game was a stunt mania. Though it is not correct to say It had realistic physics but it had good amount of it and put to use in the correct places, the made a game for stunts and it was good for it. The car damage actually affected the car performance. Though it did not have really good physics for driving, it had awesome crash physics. Burnout 5s speedsters will atomise stupendously during crashes, with more than six times as many breakable pieces in each car compared to Burnout Revenge. This will mean you can tear your car in half, rip the roof off or achieve other satisfying shunt stunts. The biggest change introduced in Burnout Paradise is the move to an open world, the streets of Paradise city. The entire city is open at the start of the game, with the idea being that you can do whatever you want, whenever you want. Not all of the events are present at the start, mind you, and youll have to put in a lot of time to unlock the games roughly 75 cars, but youre never limited in the options before you. The main downtown area of Paradise City is very reminiscent of the downtown tracks in the last couple games, while the western section of the city harkens back to the long, winding, countryside courses of past games as well. A couple of highways will put you dead in the middle of traffic and give you plenty of roads to get up to speed on. In all the game was a success and was loved by crash maniacs but was hated by the driving fanatics. It stood to what it was designed for and achieved excellence in stunts and crash driving. F.4 Dirt Dirt 2 as Dirt is an off-road racing game. I chose this for my case study because this game is somewhat like my project. The game had a lot of focus on suspension and grip, any wrong move by the player could make the car skid off the road, in general the game physics were not player friendly but realistic to give the feel of an off-road racing game with the difficulties involved in an off-road racing game. The physics in Dirt 2 are impeccable. When a truck tumbles after taking a hard landing off a jump, it looks and behaves exactly as it should, which is critical if youre behind the truck anticipating its motion across your driving line. The physics are so realistic that the vibration from my idling engine would shake the skirt on my dash-mounted hula doll. Physics also come into play in the water hazards that now dot many of the courses. Driving through water will slow you down (though this can be advantageous if used strategically), and if youre driving from the cockpit view, my preferred perspective, it will obscure your vision for a few crucial seconds. Dirt 2 also features night-time races, confined to Rally Cross events, which add a whole new dimension to the game. You will have to avoid smashing your headlights on those tight corners if you want to see, and decide if you want to overtake the leader and risk underestimating a dark turn or let him show you the best line through th e corners. Dirt 2 takes the series in a new, quite risky, direction, by taking a more Arcady, fun feel. Although this may have upset some of the hard-core fans of the series, it still kept enough difficulty to please all, even the most casual gamers. It blends the realism of off road racing with the enjoyment of a street racing game and it works perfectly, making one of the best racing games To summarise the game is on the best off-road racing game, like burnout paradise they concentrated on the particular type of physics needed for an off-road racing game. History of Racing Game The old 2D racing games like Speed Race 1974 where generally black and white and were simple arcade games rather than proper simulations. In this era some basic concepts for racing game were developed like collision detection, HUD displays like Tachometer, speedometer etc. were developed. They were all vertical scrolling games and the player had to race with other AI cars or setting a high score. This was the base in the 70s for racing games and racing games evolved from this slowly over the course of years. In 1974 Atari released Gran Trak 10 which was the first racing game to implement ROM (Read Only Memory). This was a black and white game with an overhead view where the player raced against the clock which made the game non-competitive. The next concept came up was a sort of multiplayer where the player played against each other turn wise by competing against each others scores. This slowly evolved to a proper two player multiplayer where the players were able to play with each other simultaneously in a split screen view. In 1976 Crashing race was released which was a multiplayer capable arcade game where the players had to crash into other players to gain score. In this game the collision in racing game was reworked but this was still not a simulation game. The same year Moto-Cross was released which introduced Third-person perspective view into racing games. It achieved this by scrolling the track forward as the player moved and the scene closer to the player kept scaling so that it gave an illusion of perspective. Another game released this year called Fonz introduced feedback in controllers. The next game called Night Driver introduced the first person perspective in racing games. By this time the games were in colour rather than black and white. From 1970 to 1980 the games generally improved in graphics a little bit. In 1980 Namco released Rally-X which was the first racing game to have background music. The game also had a feature to Scroll the screen to either direction giving actual control over the players view. Then in 1982 Namco released Pole position which was the first game to have a track based on an actual circuit. The game had high resolution colour graphics for its time. The game was designed in such a way so that the player had to brake and use controls to manage turns; this is where some kind of simulation started in racing games. The player had to race against AI drivers and also had to race against time which made the game interesting. The game also featured collisions with boundaries and other cars which caused crashes which were first time implemented in a racing game. The game was the first of its kind to implement simulation at the most basic level which is where racing game simulation started from. The games after this adapted this concept and the racing game simulation start ed increasing giving a more sense of realism. The players had to manually shift gears and use brakes on turns to get turns correctly. Pole position 2 in particular had 3 screen display of the game giving a sense of 3D. In 1980s the this was the general trend in racing games and the simple car simulation were upgraded slowly as new hardware came, with this the graphics of the games also improved In 1984 Geoff Crammond developed a racing game simulator RVES for its time on BBC Micro Computer platform. This was the first step in game to really simulating driving. Though this is primitive from present standards but for that time this was huge step in racing simulations. In 1985 HangOn was released which was the first game to use 16 bit graphics and also had an improved simulation and AI system compared to the other games out there at that time. In this time more concern was given on improving graphics rather that the simulations. In 1986, Red Racer was the first stereoscopic 3D game. In 1989 Atari released Hard Drivin; this was the first game to use 3D polygons in a game. In 1990 Papyrus Design Group made the first actual 3D racing game simulator and they actually concentrated more on the simulations rather than the graphics. This simulator simulated realistic physics and telemeter. In 1992 Formula one Grand Prix became a hit racing simulation game which had all the drivers from the actual Grand Prix. From 1993 onwards polygons were highly used to make games and each and every game that was coming out had better graphics than the last one. In 1992 the other game which made big news was virtua racing which was not the first 3D racing game but it had the cleanest 3D graphics for the time. It did not have a pixelated look, rather all the textures were very neat and clean for the time. In 1993 Sega came up with Daytona USA which was the first racing game to feature filtered texture-mapped polygons. In 1994 Electronic Arts came up with Need for Speed which became the most popular racing game series of all time. This game had the most realistic audio for its time, detailing sounds of engines, gearshifts and tyre squeals to perfection. It also featured vehicle traffic in races. This game had both multiplayer and single player capability. In 1997 Gran Turismo was released for play station and was the best game at that time for its simulation and graphics. This was considered to be the most realistic game of its time. In 1999 Midtown Madness changed the face of racing game with free roam in games. After this racing games improved generally on the course of time with better and better graphics and simulations. The latest racing game that is supposed to come out in 2011 called Need for Speed: Shift 2 uses data from actual cars by attaching computers to it and computing every minute detail of the car and driver and have gone so far that they start to bridge the game between real life physics and simulated physics. Racing physics H.1 Basics The very basic idea behind moving a car or any object is F=ma, where F is the force applied, m is the mass of the object and a is the acceleration generated. For a car, the force comes from the engine and the mass of the car is a constant, therefore rewriting it we would get a=F/m. This would give us the acceleration. This is the base idea which would be used over all in the game. For example, even when the car takes a turn, would be a force applied in a direction from the centre of mass of the car. H.2 forces applied in Linear Motion Torque: To keep it simple at starting lets consider the car to be going just in a straight line and see what all we would require for the car to run. Now the car engine generates a force which is from spinning motion of the engine shaft through the gearbox, to the axle and finally to the wheels which would drive the car. This gives an understanding that there is a torque applied as a form of force. F=ma: This tells us that the acceleration on the car depends on the mass of the car directly considering the force is constant. Equations of linear motion: V=U+at v=Final velocity of the car u=Initial velocity of the car a= acceleration The force generated will give us acceleration of the car and thus the speed of the car can be calculated from this. t=time taken S=ut+1/2(a*t^2) This equation will be useful to get the position of the car in X, Y, Z direction in 3D space based on the velocity and direction of the car. S= Distance travelled V^2=u^2 +2aS This equation calculates values independent of time. For all the above equation the time will be considered as Άt, which is a small change in time. All our calculations will be based on these getting small points on a graph thus getting the whole motion. Friction: Considering the car stops Appling force on the tyres, by newtons second law it would still be in motion as no negative force is applied to it. But in the real world this is not true; the car decelerates if there is no force from the engine. This is due to the frictional forces present which act in the opposite direction of the car thus acting as negative forces. This can be categorised in 3 parts in general for a car in order of how strong they are. Internal Friction à ¢Ã¢â€š ¬Ã¢â‚¬Å" This friction comes from the moving parts of the vehicle and is very minimal compared to the other two. Ground Friction à ¢Ã¢â€š ¬Ã¢â‚¬Å" This friction comes from the friction between the tyres of the car and the ground. It depends on a few things, the larger the tyre of the car the more friction it will have. Also this is also related to the smoothness of the ground and tyres, the smoother tyres give less friction but it to be kept in mind that higher friction tyres have higher grip. Air Friction à ¢Ã¢â€š ¬Ã¢â‚¬Å" This is the strongest frictional force of the 3 and exponentially the in depth calculations based on this would come later, for now it is this is just to get an understanding of what all basic forces are applied on a car. h.3 Drag This is the air friction experienced by the car when its driving. The drag is a force value acting opposite the direction the car is travelling. This is the force required by the car to overcome to be in motion. =Drag Force =Density of Fluid =Drag Coefficient A=Surface Area After going through a lot of Drag Coefficients, that value for our car fit to be 0.50 Value 0.60 Truck 0.57 Hummer 0.46 Ford Mustang 1976 0.45 Dodge Viper *List from Wikipedia.org Air density which is fluid density here is 1.29kg/m^3 at sea level, which will be our density. The frontal area of cross section for our car came out to be 2.5m^2 which is our area of reference. Putting the values in the equation of drag This equals All the calculation is are done in metric system. Table for Drag force for our car in Newtons Speed M/s Speed Km/Hr 81.25 10 36 325 20 72 731.25 30 108 1300 40 144 2031 50 180 This shows that as the velocity increases drag force exponentially which increases the force required to overcome it. H.4 Centre of Mass The centre of mass (COM) of an object is the mean location of all the masses in the body. Significance of Realistic Physics in Simulation Games Significance of Realistic Physics in Simulation Games This dissertation is on the significance of realistic physics in simulation games. Physics in games has changed a lot over the years from arcade games having no physics to Need for Speed: Shift having world class physics. As the years have progressed so has the technology giving ways to make the game more realistic to a point which makes them almost as real as in real life. The question here is that do we need such good physics in games cause in the end the players need have a good time playing the game while having a realistic experience, pushing the realism a bit further can cause problems with the game being excessively difficult the daily gamer. Introduction The oldest form of racing games would be arcade games where there was no physics but the games were still fun to play for the casual gamer. They can be called the classic example for physics-less fun games like outrun, Virtua Racing by SEGA. With time games like The need for speed came out with realistic acceleration top sped etc. they built up on car personalities with different cars having different type of grip, speed etc. with more advanced Physics processing units came better physics with destructible models, actual car damage and very realistic handling etc. as seen in Need for Speed: Shift and Need for Speed: Pro-street these games reached the benchmark for physics at their time but were not as popular as the Need for speed: Most Wanted and similar Titles with intermediate use of physics. But the physics in games now days have totally changed the driving experience in games. My thesis is on how this can be improved and what type of physics should be added and what type to be controlled so as not to make the game extremely difficult but also improve the gameplay and give a better feel of realism. C.1 The Statement of Problem The statement of problem in my dissertation is the fun factor in racing games with realistic physics. Racing games are played for fun and are not viewed as some physics prototype so a game with exceptionally good game does not have to be an exceptionally good game and vice versa. There has to be a balance between fun and physics in game. A game with very realistic handling will make an immature player crash a lot which is not very impressive to the player, whereas in a game without friction or skidding, the player will not have the feel of physics or realism in a game making it boring again. How to get this balance in a game is my main objective. In a racing game there should be balanced handling and to make it more realistic new improved effects for drag can be added. Better collision and realistic damage which effects the players driving can help make the game look more realistic. Things like this are very important nowadays as the competition between games is rising and most of the games are coming out with good physics so it becomes a common ground between most games. New type of physics including centre of gravity, collisions effecting the player, g-forces on the player causing loosing handling, blurred vision can be a thing of the future also player fatigue while driving can be added in the games in the future to make them stand out. C.2 Purpose This study is aimed at accomplishing to implement new type of physics in the game, making them more realistic while still being fun to play. The purpose of this study is that when we are adding new type of physics in a game, it should not be so much that it looks more like a physics prototype than a game. Methodology This chapter explains how the research for this dissertation is done. This dissertation is based on experimenting on different type of games arcade and realistic alike and also based on articles related to this subject. D.1 Study of Existing Information Existing information was collected over the internet mainly from www.google.com and www.gamespot.com. Different type of physics used in current games was searched and also about arcade games. The information was used to understand the working of present day physics realistic games. Information and ideas for different type of physics were also gathered from different forums and articles. To better understand how physics actually works in a game different reference articles which explain how physics is implemented in games with code were studied go get a better understanding about the subject. D.2 Experementation Experimentation was done by testing different racing games from arcade games to realistic games to understand the difference in physics and to understand what type of physics is implemented in present day games. Case study in done in Need for Speed: Undercover, Burnout paradise Dirt, Need for Speed: Shift and Virtua racer to understand the physics in those games and to understand weather they were successful or not and why. Different types of physics modules were studied in each game, understanding what game used what and to how much realism and how it affected the outcome of the sales of the game which tell which was more popular. Literature Review This chapter will discuss the articles significant for this research and what use it has in my dissertation. This chapter is in two parts, one discussing the physics aspect behind making a game and the other one discussing about different games, their popularity and what type of physics they used. E.1 Physics Review Reference: [Title Motion along a straight line by author Michael Tanczos  http://www.gamedev.net/reference/articles/article434.asp ] This page is about basic motion along a straight line which is required to make a game about any moving body. This helps with the basic physics that require programming of moving objects. Reference: [Title The physics of racing by author Brian Beckman http://www.gamedev.net/reference/articles/article1610.asp ] This is a comprehensive guide about how to make racing games. This helps with understanding of present day physics and how they are actually implemented in a game. This also helps me to formulate my own ideas to how to add new physics to the game. Reference: [http://www.mathworks.com/products/simulink/demos.html?file=/products/demos/shipping/simulink/sldemo_absbrake.html] This page helped me understand about braking systems in cars. Reference: [Title Motor Sports Setup by author Carroll Smith http://needlesslyobscure.wordpress.com/motorsports-setup/] This is a series of tutorials of how to setup a car. I used this to make compute my own vehicle simulations. Reference: [http://auto.howstuffworks.com/four-wheel-drive1.htm] This article gave me a better insight of how slip works on a car. E.2 Game Review Reference: [http://en.wikipedia.org/wiki/Racing_video_game#1970s Title Racing Video Game by Wikipedia] This is where I started researching about history of video games and looking into what types of racing are there and how they developed over time. Reference: [http://www.taito.com/arc/] I visited this website which had old arcade racing which I played and also read about them to get a better understanding of how racing games were back then. Reference: [http://forums.atari.com/] This is a forum where i read about Atari arcade games. Case Study In order to understand the exact nature of physics of present day game sand games from the past, I tested out a few games to understand what different types of physics were applied to them and how they are different from one another. This also helped me to understand how the physics evolved from the past to until now. Another aspect of this study was to understand how the popularity of the game was related to the physics it. F.1 Virtua Racing Virtua Racing was released in 1992 by Sega. This game had excellent and clean 3D graphics for its time. It was based on F1 racing and was one of the best arcade racing game of all time. This set the base for racing games that came after this. It had features like minimap track, speedometer etc. basically it had a fully functional HUD for its time. It had 2 views, one third person and the other was first person inside the car. It had time chase and also the player could race against the AI cars in the single player mode. In the multiplayer mode, two players could race against each other. It had also implemented different cars so the player could choose between them. They were not just artistically different but also were also different in the way they handled. This was a change from the old racing games before this which had only artistic differences between different cars. This game had simulated physic s, there was not an actual simulation engine deciding what the car would do. It w as just programmed to skid if the player was taking a turn over a certain speed. It gave a very good feeling of realism. F.2 Need for Speed Need for Speed for first released in 1994 by Electronic Arts. This game went on to be the most famous game series of all times. Need for Speed was based on street racing. It had good load out of cars which performed very differently from each other. The players had to race in the street with oncoming traffic and against AI player; it also had a multiplayer mode which 2 player could play simultaneously. It had a very smooth camera system which allowed the player to play in a third person view or a first person view with the player sitting inside the car. This game had implemented gearing system which the player could manually change or set it to automatic where the computer would take care of it. This game had very good physics simulations which was quite different from its predecessors. Need for speed has impressive graphics getting better than anyone before them. They had open seamless outdoor worlds. These worlds gave an effect of a 3D world unlike the past games. The cars were also very detailed, which ranged from Lamborghini, dodge viper to Mustangs. They were replica of real life cars with all the details in them that could be put at that point of time. The race tracks also had a lot of variance in them which were set in a realistic environment. This game also had weather effects which added more realism to the environment. The sounds implemented were also awesome. They were very accurate and added to the realism of driving a vehicle as a driver depends on sounds a lot when driving a vehicle. For a game to achieve this, the sounds had to be very accurate which EA achieved with NFS. The simulation engine for this game was also very nice, it gave a clean difference felt in power, speed and handling when driving different cars. Different cars had different statistics and performed better on different tracks. F.1 Need for Speed: Shift This game of the NFS series was a circuit based game and had more advanced physics to its predecessors. Physic-wise, Need for Speed Shift starts to sound really promising. If done right, the 3 different physic models can really make the game enjoyable both for the usual Need for Speed crowd as well as simulation enthusiasts. At first, the driving physics in Shift take some getting used to. You cant go into a corner, hit the apex, and then pump 100% throttle on the way out. Without a doubt, youll inevitably end up facing the wrong direction, or planted into a wall. Throttle control is absolutely mandatory in Need for Speed Shift. Theres no way around this and if you havent got a racing wheel handy, the controller does little to favour irresponsible throttle application or violent steering input. A lot of importance is given to the throttle of the car making it one the most tweaked feature which takes some time getting used to. Due to the high end physics in this game it made it quite difficult to play for the casual gamer so the game had features like 10% extra grip for the newcomers etc. The car could be customised in a lot of ways to make it affect the physics of the car, this helped out the professional players a lot, but in this game doing anything wrong to the customizations without knowing what the person is doing would make the car difficult to handle making it again unfriendly to the casual gamer. One glitch that you often encounter later on in the game when dealing with high performance cars or extensively modified tuned cars. Due to the lowering of body work, additional front splitters, under body modifications and different wheel/tyre combinations, cars seem to run far too low, removing ground clearance and effectively making a car bottom out over even the tiniest of bumps. This results in a ridiculous and uncontrollable glitch where a car will continue down a straight path. This game boosted of great physics giving realism to the circuit/professional racing and tried to make the game real but they failed in a way. The professional player didnt like the game so much because of the physics not being to real life like with some glitches here and there. Also the car would sometimes out or under manoeuvre in an awkward manner as not expected by the user. As for the casual gamer this is not the game for them, this game is very intense and requires decent amount of racing knowledge of knowing when and how to turn/corner at high speeds, tune the car properly according to your personal needs. So in all it was not a great hit either ways. F.2 Need For Speed: Undercover This game does not have realistic physics but it has type of physics which helps the player a lot. The game is made in such a way to make the physics work in the way of the driver to give him/her an awesome driving experience this does not have to be entirely as in the real world. This game allows you to pull of the craziest of stuns with easy, this game is built only to give the driver awesome driving experience with computer guidance to accomplish stunts which would not be possible in the real world giving an adrenalin rush to the player. Key to Undercover is what EA is calling the heroic driving experience. In Undercover this physics system has been given an injection of cool. Think of all the best car chase scenes in movies from the last ten years and youll get an idea of what to expect. EA want you to feel like a skilled stunt driver, and it works. By using a combination of the gas pedal, brake, e-break and gear stick youre able to pull off stunning looking manoeuvres like reverse 180 degree turns. Its like you are Jason Statham from the Transporter movies. While we were quite looking forward some potentially funny moments, it seems EA has gone down a more serious route and it works very well indeed. Your goal in the game is to take down the various captains before taking down the whole operation, which is obviously done while driving at insanely high speeds. The game involves high speed chases over the highway, battling enemy cars, the good old cop chases etc. According to EA the traffic in Undercover is modelled realistically and reacts to your actions. While you can simply push a car over into the way of your target, you could choose to spook a driver of a bus, causing him to jack-knife in the middle of a dual carriageway. Racing at high speed, weaving in and out of traffic appears to offer the kind of thrills that were severely lacking in the more down to earth and structured ProStreet. As EA repeatedly pointed out during the publishers Games Convention 2008 demonstration, Undercover is all about heroic driving, and theres no better reason to drive like a stuntman than trying to outrun a swarm of angry police cars. Police chases thankfully return to Need for Speed in Undercover and these guys are aggressive, very aggressive. To begin with theyre not pushovers, but as you progress through the story and increase your level; your notoriety amongst the police also increases. Before too long theyll spot you on the streets and go after you, hunting you as a pack. If they get you which seems like itll be a regular occurrence for less skilful drivers youll have a strike against your car and itll be impounded. Being able to take pictures of the game during gameplay situations is becoming increasingly common, and with the amount of action on display in Undercover its no surprise to find such a feature here. We didnt see it in action but EA says that the snaps taken have been dubbed Movie Poster Action Cinematic sounds good to us. Undercover still has some way to go in development (its not out until late November) but its already looking very impressive. Car models are incredibly detailed and procedurally deform based on collisions. The areas of the city demonstrated to us were bathed in a gorgeous yellow light that gives the game a highly stylised appearance, and the camera often uncouples from the rear of the car in order to give a better, more cinematic view of the action. With months of development left there were obviously a few technical issues, but on the whole we cant wait to see how the final game looks. As in previous Need for Speed titles the audio is often dominated by the sound of police chatter. We only saw one police chase so cant say how itll sound hours into the game, but they said all the right things to convince us they were on our case. To sum it up, the game is made for the player to have a free stunt filled game which could be easily be pulled of which was not like by the old NFS users. The game wasnt such a big success like the old NFS Most Wanted due the reason that it lacked realist9ic physics but it had player friendly physics which made the game very to finish which much challenge. F.3 Burnout Paradise This game was made for its stunts. It had some realistic physics with a lot of importance given to the car damage. The game was a stunt mania. Though it is not correct to say It had realistic physics but it had good amount of it and put to use in the correct places, the made a game for stunts and it was good for it. The car damage actually affected the car performance. Though it did not have really good physics for driving, it had awesome crash physics. Burnout 5s speedsters will atomise stupendously during crashes, with more than six times as many breakable pieces in each car compared to Burnout Revenge. This will mean you can tear your car in half, rip the roof off or achieve other satisfying shunt stunts. The biggest change introduced in Burnout Paradise is the move to an open world, the streets of Paradise city. The entire city is open at the start of the game, with the idea being that you can do whatever you want, whenever you want. Not all of the events are present at the start, mind you, and youll have to put in a lot of time to unlock the games roughly 75 cars, but youre never limited in the options before you. The main downtown area of Paradise City is very reminiscent of the downtown tracks in the last couple games, while the western section of the city harkens back to the long, winding, countryside courses of past games as well. A couple of highways will put you dead in the middle of traffic and give you plenty of roads to get up to speed on. In all the game was a success and was loved by crash maniacs but was hated by the driving fanatics. It stood to what it was designed for and achieved excellence in stunts and crash driving. F.4 Dirt Dirt 2 as Dirt is an off-road racing game. I chose this for my case study because this game is somewhat like my project. The game had a lot of focus on suspension and grip, any wrong move by the player could make the car skid off the road, in general the game physics were not player friendly but realistic to give the feel of an off-road racing game with the difficulties involved in an off-road racing game. The physics in Dirt 2 are impeccable. When a truck tumbles after taking a hard landing off a jump, it looks and behaves exactly as it should, which is critical if youre behind the truck anticipating its motion across your driving line. The physics are so realistic that the vibration from my idling engine would shake the skirt on my dash-mounted hula doll. Physics also come into play in the water hazards that now dot many of the courses. Driving through water will slow you down (though this can be advantageous if used strategically), and if youre driving from the cockpit view, my preferred perspective, it will obscure your vision for a few crucial seconds. Dirt 2 also features night-time races, confined to Rally Cross events, which add a whole new dimension to the game. You will have to avoid smashing your headlights on those tight corners if you want to see, and decide if you want to overtake the leader and risk underestimating a dark turn or let him show you the best line through th e corners. Dirt 2 takes the series in a new, quite risky, direction, by taking a more Arcady, fun feel. Although this may have upset some of the hard-core fans of the series, it still kept enough difficulty to please all, even the most casual gamers. It blends the realism of off road racing with the enjoyment of a street racing game and it works perfectly, making one of the best racing games To summarise the game is on the best off-road racing game, like burnout paradise they concentrated on the particular type of physics needed for an off-road racing game. History of Racing Game The old 2D racing games like Speed Race 1974 where generally black and white and were simple arcade games rather than proper simulations. In this era some basic concepts for racing game were developed like collision detection, HUD displays like Tachometer, speedometer etc. were developed. They were all vertical scrolling games and the player had to race with other AI cars or setting a high score. This was the base in the 70s for racing games and racing games evolved from this slowly over the course of years. In 1974 Atari released Gran Trak 10 which was the first racing game to implement ROM (Read Only Memory). This was a black and white game with an overhead view where the player raced against the clock which made the game non-competitive. The next concept came up was a sort of multiplayer where the player played against each other turn wise by competing against each others scores. This slowly evolved to a proper two player multiplayer where the players were able to play with each other simultaneously in a split screen view. In 1976 Crashing race was released which was a multiplayer capable arcade game where the players had to crash into other players to gain score. In this game the collision in racing game was reworked but this was still not a simulation game. The same year Moto-Cross was released which introduced Third-person perspective view into racing games. It achieved this by scrolling the track forward as the player moved and the scene closer to the player kept scaling so that it gave an illusion of perspective. Another game released this year called Fonz introduced feedback in controllers. The next game called Night Driver introduced the first person perspective in racing games. By this time the games were in colour rather than black and white. From 1970 to 1980 the games generally improved in graphics a little bit. In 1980 Namco released Rally-X which was the first racing game to have background music. The game also had a feature to Scroll the screen to either direction giving actual control over the players view. Then in 1982 Namco released Pole position which was the first game to have a track based on an actual circuit. The game had high resolution colour graphics for its time. The game was designed in such a way so that the player had to brake and use controls to manage turns; this is where some kind of simulation started in racing games. The player had to race against AI drivers and also had to race against time which made the game interesting. The game also featured collisions with boundaries and other cars which caused crashes which were first time implemented in a racing game. The game was the first of its kind to implement simulation at the most basic level which is where racing game simulation started from. The games after this adapted this concept and the racing game simulation start ed increasing giving a more sense of realism. The players had to manually shift gears and use brakes on turns to get turns correctly. Pole position 2 in particular had 3 screen display of the game giving a sense of 3D. In 1980s the this was the general trend in racing games and the simple car simulation were upgraded slowly as new hardware came, with this the graphics of the games also improved In 1984 Geoff Crammond developed a racing game simulator RVES for its time on BBC Micro Computer platform. This was the first step in game to really simulating driving. Though this is primitive from present standards but for that time this was huge step in racing simulations. In 1985 HangOn was released which was the first game to use 16 bit graphics and also had an improved simulation and AI system compared to the other games out there at that time. In this time more concern was given on improving graphics rather that the simulations. In 1986, Red Racer was the first stereoscopic 3D game. In 1989 Atari released Hard Drivin; this was the first game to use 3D polygons in a game. In 1990 Papyrus Design Group made the first actual 3D racing game simulator and they actually concentrated more on the simulations rather than the graphics. This simulator simulated realistic physics and telemeter. In 1992 Formula one Grand Prix became a hit racing simulation game which had all the drivers from the actual Grand Prix. From 1993 onwards polygons were highly used to make games and each and every game that was coming out had better graphics than the last one. In 1992 the other game which made big news was virtua racing which was not the first 3D racing game but it had the cleanest 3D graphics for the time. It did not have a pixelated look, rather all the textures were very neat and clean for the time. In 1993 Sega came up with Daytona USA which was the first racing game to feature filtered texture-mapped polygons. In 1994 Electronic Arts came up with Need for Speed which became the most popular racing game series of all time. This game had the most realistic audio for its time, detailing sounds of engines, gearshifts and tyre squeals to perfection. It also featured vehicle traffic in races. This game had both multiplayer and single player capability. In 1997 Gran Turismo was released for play station and was the best game at that time for its simulation and graphics. This was considered to be the most realistic game of its time. In 1999 Midtown Madness changed the face of racing game with free roam in games. After this racing games improved generally on the course of time with better and better graphics and simulations. The latest racing game that is supposed to come out in 2011 called Need for Speed: Shift 2 uses data from actual cars by attaching computers to it and computing every minute detail of the car and driver and have gone so far that they start to bridge the game between real life physics and simulated physics. Racing physics H.1 Basics The very basic idea behind moving a car or any object is F=ma, where F is the force applied, m is the mass of the object and a is the acceleration generated. For a car, the force comes from the engine and the mass of the car is a constant, therefore rewriting it we would get a=F/m. This would give us the acceleration. This is the base idea which would be used over all in the game. For example, even when the car takes a turn, would be a force applied in a direction from the centre of mass of the car. H.2 forces applied in Linear Motion Torque: To keep it simple at starting lets consider the car to be going just in a straight line and see what all we would require for the car to run. Now the car engine generates a force which is from spinning motion of the engine shaft through the gearbox, to the axle and finally to the wheels which would drive the car. This gives an understanding that there is a torque applied as a form of force. F=ma: This tells us that the acceleration on the car depends on the mass of the car directly considering the force is constant. Equations of linear motion: V=U+at v=Final velocity of the car u=Initial velocity of the car a= acceleration The force generated will give us acceleration of the car and thus the speed of the car can be calculated from this. t=time taken S=ut+1/2(a*t^2) This equation will be useful to get the position of the car in X, Y, Z direction in 3D space based on the velocity and direction of the car. S= Distance travelled V^2=u^2 +2aS This equation calculates values independent of time. For all the above equation the time will be considered as Άt, which is a small change in time. All our calculations will be based on these getting small points on a graph thus getting the whole motion. Friction: Considering the car stops Appling force on the tyres, by newtons second law it would still be in motion as no negative force is applied to it. But in the real world this is not true; the car decelerates if there is no force from the engine. This is due to the frictional forces present which act in the opposite direction of the car thus acting as negative forces. This can be categorised in 3 parts in general for a car in order of how strong they are. Internal Friction à ¢Ã¢â€š ¬Ã¢â‚¬Å" This friction comes from the moving parts of the vehicle and is very minimal compared to the other two. Ground Friction à ¢Ã¢â€š ¬Ã¢â‚¬Å" This friction comes from the friction between the tyres of the car and the ground. It depends on a few things, the larger the tyre of the car the more friction it will have. Also this is also related to the smoothness of the ground and tyres, the smoother tyres give less friction but it to be kept in mind that higher friction tyres have higher grip. Air Friction à ¢Ã¢â€š ¬Ã¢â‚¬Å" This is the strongest frictional force of the 3 and exponentially the in depth calculations based on this would come later, for now it is this is just to get an understanding of what all basic forces are applied on a car. h.3 Drag This is the air friction experienced by the car when its driving. The drag is a force value acting opposite the direction the car is travelling. This is the force required by the car to overcome to be in motion. =Drag Force =Density of Fluid =Drag Coefficient A=Surface Area After going through a lot of Drag Coefficients, that value for our car fit to be 0.50 Value 0.60 Truck 0.57 Hummer 0.46 Ford Mustang 1976 0.45 Dodge Viper *List from Wikipedia.org Air density which is fluid density here is 1.29kg/m^3 at sea level, which will be our density. The frontal area of cross section for our car came out to be 2.5m^2 which is our area of reference. Putting the values in the equation of drag This equals All the calculation is are done in metric system. Table for Drag force for our car in Newtons Speed M/s Speed Km/Hr 81.25 10 36 325 20 72 731.25 30 108 1300 40 144 2031 50 180 This shows that as the velocity increases drag force exponentially which increases the force required to overcome it. H.4 Centre of Mass The centre of mass (COM) of an object is the mean location of all the masses in the body.

Computer Crime :: essays research papers

Computer technology has brought us into an era that is no longer run by man but instead is dependent on computers due to their incredible capabilities. Mankind has progressed further in the last fifty years than any other period of history. This reason is due to the introduction of computers. Everyone’s daily activities are affected, in some way or the other by computers. With the computer things that were impossible have now been easily accomplished. The computer allows us to store large volumes of data into a much more reduced high-density form. This allows a lot less space to be used than the classic way of paper files. It has allowed an increase in speed which improves the production of business or any other activity you may be doing. Calculations can be done in milliseconds and even worldwide connectivity and communication. With the introduction of the computer a new form of crime was born. These crimes referred to as computer crimes are varied and some are a lot more serious than others. Computer crime can involve criminal activities such as theft, fraud, forgery and mischief, all which are easily defined and subject to criminal sanctions. The computer has also brought along with it a host of potentially new misuses or abuses that may, or should be criminal as well.   Ã‚  Ã‚  Ã‚  Ã‚  The problem with today’s computer crimes are that the criminal justice systems have not been able to keep up with the technological change. Only a few countries have adequate laws to address the problem, and of these, not one has addressed all the legal, enforcement and prevention problems. The problem with the legal system is that it has always been a system with limits. The system mainly deals with physical items as its central core. But with the new understanding of the value of data, the system came up with “intellectual property'; as a means to cover these intangibles. Some people want to use this information in ways which would horrify us. We have called don the legal system to settle the matter but no one really knows what the rules are. Technology is growing much to fast for the legal system to keep pace with. In an effort to manage these crimes federal and state governments have passed laws criminalizing “unauthorized access'; and data transmission. Many groups have called for laws, regulations, and constitutions to regulate the electronic field. These efforts are ineffective.   Ã‚  Ã‚  Ã‚  Ã‚  There is a huge confusion on the value of data and information.

Habeas Corpus and the War on Terror Essay

The law of Habeas Corpus was created to permit the guilty to present their case in court and to be tried fairly. In today’s war on terror, the amount of such enemy combatants who were detained indefinitely without any trial has raised. The courts are split up on following the law by the letter or to practically change it according to the situation’s needs. I feel it’s necessary to follow these laws in the same context in which they were written, and the pragmatic approach leaves room for reckless changes. To deny an enemy combatant his or her day in court cannot be justified as taking the pragmatic approach in dealing with war criminals. This paper is an attempt to present the state of law today towards war criminals and the implications of denying the basic right of Habeas Corpus to suspected terrorists. Ever since the onset of civilization, arguments have routinely erupted between various members, families, factions, and groups within civilizations and between civilizations. In ancient times, arguments would be resolved by crude means, means not limited to the powerful person using brute force to show he was in the right. The stronger person would always have, say for example, the first right to food, to agricultural produce, cattle and to wealth etc. The weak wouldn’t dare pick an argument over the stronger person in fear for their life. But as civilizations grew and advanced over time, a code of ethics and laws began to form. Societies began to incorporate and adapt these laws in their daily functioning. Drawing inspiration from religion, past civilization practices and their mistakes, it was only natural that basic human rights were thought about and codified. The rights were guaranteed to all human beings, irrespective of who was physically stronger. The American Revolution has beyond doubt shaped the basic structure of human rights for the entire world to follow. Among many undeniable rights to citizens, the writ of Habeas Corpus was identified and established very early on in the Revolution. In Europe, the writ of Habeas Corpus was first traced to be used around the 12th and 13th centuries during the medieval period. Habeas Corpus translates from Latin to mean â€Å"you may have the body† or you may examine the body. It is essentially a writ that requires any person detained by law enforcers to be tried in a court of law and have his detention validated (Bbc. com, 2005). The writ doesn’t decide whether the accused is guilty or not, it merely stipulates that the accused be tried and detained if only found guilty of the crime being accused for. The US inherited this law from the English and codified it in the constitution in Article 1, section 9. The UN later incorporated it in their international human rights in 1952. The point of contention with the habeas corpus right is to whom it applies. The law stipulates that this right be never be suspended or denied except in cases of rebellion, invasion or when perceived as a threat to public safety. Surprisingly, this writ has been previously suspended twice in the past for seemingly similar reasons. President Lincoln suspended the writ in 1861 to prosecute the war prisoners captured during the American Civil war. His argument was that the confederates were a threat to the union and hence issued the order (Dueholm, 2008). This law was later restored after the war ended in 1866. President Bush in 2006 issued a similar suspension of the habeas corpus writ to detain enemy combatants captured in the global war against terror. It deemed these accused terrorists as a threat to national security and denied them the right to be presented and tried in court. This paper will focus on the consequences faced by the accused and the validity of enforcing such a suspension. Just suspending the writ wouldn’t seem very harmful when looked at by itself. But consider for a moment who the government arrests. American policy makers routinely count any military age males as enemy combatants. Drone strikes assume anyone in the vicinity of a drone strike of military age to be a enemy combatant first and then when sufficient intelligence is available to the contrary, they are posthumously declared civilians (Balko, 2012). In a likewise fashion, arrests were also made based on the very broad physical description of an age group, or depending on where they are and who they interact with, were picked up after being accused of terrorism. Next, consider the location of their detention. Accused terrorists were detained at prison, run by US military personnel backed by US administration; set up in a foreign land i. . Guantanamo Bay, Cuba. The single reason for maintaining such an institution away from US soil was to escape the jurisdiction of laws that govern detainees which would apply if held on US soil. Laws of detention stipulate not only the kind of treatment but also the punishment meted out to convicted terrorists. The captors were free to torture their captives in any way they saw fit to gather any amount of relevant information, regardless of whether the person accused is an actual terrorist holding any real information to share. Terms such as enhanced interrogation techniques had to be invented to pass them as legal and humane methods in congress. Add to this polarized scenario, the suspension of the one single law that could serve as the difference between life and death of an innocent civilian – the suspension of the writ of habeas corpus. The suspension took away with it the only chance an innocent civilian had to prove his innocence. In short, simply standing at the wrong place at the wrong time can get you to serve a lifetime of torture with not even a hint of a fair trial. Naturally, concern about the handling of such detainees grew and petitions filed by family and friends of detainees finally began to reach the courts. The Supreme Court finally in a landmark case of Boumediene v. Bush ruled against the suspension of habeas corpus for the detainees with a 5-4 majority. It declared that the suspension of the writ was indeed unconstitutional. Justice Kennedy who ruled with the majority supported his stand with examples from the history of the writ back in the 12th century and its recent applicability in territories outside the border of US but still falling in its control, such as Chanel Islands. His summary also compared the legality of this writ in Scotland, which is a sovereign nation and yet still under English laws. Once US jurisdiction was proved, Justice Scoter, Ginsburg and Bryer pointed out that it would have to be one that was based on the constitution or no jurisdiction at all. Justice Scalia argued that the habeas corpus law was in fact protected by the Detainee Treatment Act, and refuted the entire judicial intervention. He was supported by Chief Justice Roberts and Justices Alito and Thomas. The Justices did a fine job of evaluating the suspension of the writ. From establishing jurisdiction and what kind of jurisdiction, to an alternate mechanism to protect the habeas corpus in spirit, all avenues were thoroughly investigated. The courts also recognized the extremely difficult nature of assessing an individual in a warzone to be a combatant or a civilian in a foreign location. And yet, the writ cannot be suspended out of fear of failure in acquiring adequate proof against the detainee. Personally, I feel strongly that the writ of habeas corpus is a right so basic that it cannot be suspended in any scenario. The very least an accuser can do is to offer a fair trial to the accused. I feel that the President was wrong to remove the last ray of hope of an innocent civilian that might have been unfairly detained. The case also established the judicial soundness of our nation even at times of war, and the entire exercise in judiciary coming in between the functioning of Congress was an example to the world. Denying such a basic right makes us no different than the terrorists who accuse and punish others that broadly fit their own enemy description. Living as a part of a civilized nation for over 200 years, we owe it to ourselves to act in a dignified manner, even with our captives.

Shakespeare and Robert Browning

Intro Shakespeare and Browning both present the theme of desire through their central characters. Lady Macbeth (and Macbeth) is motivated by the desire for ambition and authority in ‘Macbeth’ whilst in the Browning monologues; the monologists are driven by the desire of power and control in ‘Porphyria’s Lover’ and revenge in ‘The laboratory’. All of which seem to have fatal conclusions as a result of each of their desires.As the texts were produced over 400years ago, audiences may have found the works of Shakespeare and Browning highly thought-provoking and entertaining whilst contemporary audiences finding the different aspects of desire relatable to modern situations. Lady Macbeth’s need for authority in her famous soliloquy ‘unsex me here’ reflects on the feelings of many women at that time longing for power.Likewise, audiences of the ‘the Laboratory’ are able to empathise with the protagonist’s desire for revenge upon their adulterous lover. In ‘Porphyria’s Lover’, Browning reveals an obsessive and controlling persona who can only satisfy his absolute love for his lover by strangling her, presenting his desire for control over others. Section 1: How do the writers introduce the central characters? LADY MACBETH Lady Macbeth’s introduction to the audience in Act 1, Scene 5 immediately makes it clear of her intentions. ‘Come, you spirits that tend on mortal thoughts, unsex me here, and fill me, from the crown to the toe, top-full of direst cruelty’. As this is a soliloquy, it invites the audience in to see her inner thoughts and feeling and her true desire for power. * Her use of imperative verbs, ‘come’ and ‘fill me’ not only notifies the audience of her desire for power, but the lengths she is willing go to achieve it. Lady Macbeths mention of the supernatural shows how desperate she is for her desire as she craves to posses characteristics of a man by calling upon the ‘spirits’ and this possibly confirms the dark affiliation she has to the witches prophecy as she uses commanding language ‘come’ followed by supernatural references ‘spirits’ and only calls upon them. * She says ‘come to me woman’s breast and take my milk for gall’. Stating the physical differences of males and females not only shows the limitations of her desire (she is a woman), but reflects on the position of women at the time because she is pleading to have all her feminine traits emoved to attain her desire. * Likewise, when she says ‘that tend on moral thoughts’ unsex me here’ she is asking the spirits to de-feminise and undo her natural order her as she wants to be emotionless and not feel guilty as she recognises that her desire goes against the moral order thus emphasising her strong feeling of desire and how far she will go. It could also be argued that the fact that women had to act in certain ways in the 16th century, for instance being completely against violence of any sorts, may have spurred on lady Macbeth to rebel and achieve her desire. Also, the reference to ‘direst cruelty; make thick my blood’ further supports her portrayal to the audience as an evil and corrupted character. The use of the semi-colon emphasises the use of the word ‘cruelty’ which is a trait seen to be masculine not feminine * This may have been shocking yet entertaining to the Elizabethan audiences as women at that time weren’t expected to act and think in such a way. * The fact that when we meet her when Macbeth is not present (or any one else) shows her desire for power as she is telling us what she wants THE LABORATORY Similarly, in Robert Browning’s monologue of ‘The laboratory’ the audience are made fully aware of the narrators intentions from the beginning. ‘May gaze thr o’ these faint smokes curling whitely’. The personae describes deadly arsenic fumes as something beautiful which suggests to the reader that she is somewhere where chemical reactions take place- hence the title. * The fact that we are introduced to her in this setting brings a dark atmosphere similar to intro of lady Macbeth * This may portray signs of insanity which questionable throughout the poem. Reference to the ‘devils smithy’ further enhances her desire for revenge as she knows she is doing something bad by going to a devils smithy * ‘Poison to poison her’- reinforces the narrative to kill and the first glimpse to who the revenge is on (‘her) and doesn’t mention the name * It shows how deranged the protagonist's nature has become, who goes so far as to poison her rival in love The use of rhyming quickens the pace of the poem, adding to the woman's increasing excitement as the apothecary grinds up the mixture.Many of Brownin g's poems were written about people with an unusual nature. At first glance, the poem appears to be written as if she were talking to the apothecary, but reading into it shows that she may be thinking to herself as at the start of the poem she tells the man to take his time, but as she thinks about the possibilities and power the poison will bring her she begins to hurry him. Her careless attitude towards her future crime suggests that she may have previously killed and does not care about being found out as she is proud of what she will have done. PORPHYRIA’S LOVER ‘ the rain set early tonight’- tonight is a time indicator and possibly foreshadows something that will happen tonight * Use of pathetic fallacy- weather mirrors feeling felt by the narrator * Irregular rhyme pattern- may show narrators instabilltiy * No stanzas –reflective of the narrators mental state/personality * When obsessed can’t stop talking about something * Build up of tension at the beginning to get to the climax COMPARRISON OF ALL * All start in a sinister gloomy way * Section 2: How do the writers show that desire motivates and drives these characters?LADY MACBETH * Act 1, Scene 7- ‘When you durst do it; then you were a man’ shows Lady Macbeths play on masculinity as she uses the perfect tense ‘were’ highlighting the difference now and before which provokes Macbeth and in turn manipulates him to go through with the execution of Macbeth with will get allow her to attain her desire for power (again shows how far she is willing to go to achieve happiness) * * Strong imagery and emotive lang-passionate * Blank verse instead of prose * Shakespeare uses a metaphor and contrast to show that Lady Macbeth is ruthless.In Act I scene 7, when Macbeth wants to back out of killing Duncan, she tells Macbeth â€Å"I have given suck, and know / How tender 'tis to love the babe that milks me: / I would, while it was smiling in my face, / Have pluck'd my nipple from his boneless gums, / And dash'd the brains out, had I so sworn as you†. * First, Lady Macbeth uses feminine language, showing she knows what it means to be tender and nurturing with words like â€Å"tender love† and â€Å"milk†. But then, she shocks the audience by using violent language such as â€Å"dashed the brains out†.This is an upsetting image; it makes the audience understand that Lady Macbeth would put a promise before the life of her own child. * Lady Macbeth seems to have no problem with violence of the cruelest kind: violence against a child. What makes Lady Macbeth sound even more ruthless are words like as â€Å"boneless† and â€Å"smiling† because the baby sounds defenseless, yet Lady Macbeth won’t show it mercy. * By having Lady Macbeth talk about committing infanticide, Shakespeare makes her a villain in the eyes of the audience, because in the 1600s, women were seen as soft and nurturing.Behavin g this way would be seen as unnatural and would have shocked Shakespeare’s audience. * This shows how her she is driven by desire because for Lady Macbeth (who portrays a strong personae) to talk about how she knows what I’s like to be a ‘woman’ and be nurturing, which doesn’t happen very often in the play, as a way to control her husband into getting into power shows how driven she is and again how far she’ll go. THE LAB * Browning also presents the reader with a character who is completely ruthless when it comes to fulfilling her desires.Although Lady Macbeth desires power whereas the speaker in â€Å"The Laboratory† desires revenge, they share the same determination to get what they want regardless of the consequence. When talking to the chemist about her plans for revenge the speaker says â€Å"and Elize, with her head, and her breast, and her hands should drop dead! †. Just like the presentation of Lady Macbeth, Browning al so paints a vivid image of death and murder. Worryingly for the reader, Browning strongly suggests the speaker’s enjoyment of the idea of her rival’s death.By repeating the word â€Å"and† it suggests that she is relishing the idea of revenge and also that she has thought about it just as much. Section 3: How do the writers show how desire affects relationships in the text? Section 4: How do the writers show the results/consequences of desire? LADY MACBETH * In the final stages of the play the result of Lady Macbeth’s desire for power becomes clear when she loses her mental stability and starts to re-live the murder she and her husband committed. Whilst in her room she utters the phrase: * ‘Out damned spot! * Out I say! *   The use of the command here clearly shows the fact that Lady Macbeth – a once powerful and desire driven woman – is becoming increasingly unstable. Shakespeare’s use of the repetition of the word out shows how desperate she has become, how she has lost control. The repeated use of the exclamation marks highlights the intensity of her need for her hands to ‘be clean’. The ‘spot’ to which she is referring to is that of the blood of King Duncan, however in this instance the blood is a metaphorical manifestation of her guilt, and one that will never go away.Her need for power has destroyed her; she can no longer escape the consequences of what she has done. In this dialogue Lady Macbeth also alludes to the fact that she herself has been ‘damned’, just like she may never get the spot of blood off of her skin she will never be able to clean her own soul, she will never be able to escape what she has done. Through the use of the word ‘damn’ Shakespeare successfully suggests the idea of hell, one which was key in Lady Macbeth’s initial soliloquy.In this scene many may feel a sense of sympathy for Lady Macbeth, as she is going through a traumatic experience, and yet there is no sign of Macbeth, once again taken over by desire he has abandoned his wife in her time of need. However, this scene may be considered to be appropriate by Shakespearean audiences as Lady Macbeth losing her mental stability is seen as a result of her dealing with aspects of life that are deemed to be ‘not feminine’. Conclusion: present your own ideas about the varying successes of the different writers, evaluating which of the treatments you prefer and why – exemplar to follow * Whilst Shakespeare presents highly compelling characters in the shape of Macbeth and Lady Macbeth, both of whom are driven to self-destruction by their strong feelings of desire, it is Browning’s monologist in ‘The Laboratory’ that conjures this desire most convincingly. Grind away, moisten and mash up thy paste,/Pound at thy powder, — I am not in haste! ’ Both the language and the form compel the reader to reluc tantly empathise with the persona. We feel drawn into the conspiracy she has arranged with her apothecary, driven by the imperative commands she expresses through the use of alliteration, exclamations and commanding verbs. Moreover, the use of bilabial plosives ‘ paste†¦ pound†¦ owder’ attracts the reader, caught up in the excitement she feels as she anticipates the deadly outcomes of the concoction being created. Of course, she is [in haste]. What is interesting is that all three texts make desire enticing (even though we know that moral boundaries are being challenged and broken). Browning not only shows the corruption that strong feelings of desire can bring but also succeeds in corrupting the reader as we ‘warm’ to her intentions †¦

Describe and Discuss the Multistore Model of Memory Essays

Describe and Discuss the Multistore Model of Memory Essays Describe and Discuss the Multistore Model of Memory Essay Describe and Discuss the Multistore Model of Memory Essay Describe and Discuss the Multistore Model of Memory The multi-store model of memory was the idea of Atkinson and Shiffrin. Atkinson and Shiffrin suggested that memory was compromised of three separate stores the Sensory Memory store, the Short-term Memory (STM) store, and the Long-term Memory (LTM) store. They presented a diagram to show this. The multi-store model of memory is a theoretical explanation of how memory processes work. It was the first extensively accepted model of how memory works, it is however not the definitive explanation of memory. Information is said to pass through each stage in a fixed sequence. There are limitations of capacity and duration at each separate stage. Information can easily be lost from either of the stages. The first stage of the model is the sensory memory. The name derives from the fact that the information received is sensual, i. e. visual or auditory. In the sensory memory there is a limited ability to store information from the environment in a moderately unprocessed way for less than a second. Information received will either decay or be passed forward to the short term store. In the Short-term store, memory is sorted. Its capacity is 18-30 seconds, and is 7 items on average. Things that need to be remembered for longer than this time pass into the rehearsal loop. In here, memory is rehearsed over and over in the mind, which enables it to be passed into long-term memory store. The Long-term memory store has an infinite capacity and is the main store of memory. It is encoded semantically, which means emotions and feelings of meaning are attached to memories. The multistore model shows this as the third section along the fixed sequence. After passing into the Long-term memory store, memories can be recalled. The psychological community accepted this model in the majority, however the main problem with this model is that it is too simple. Short-term memory and Long-term memory are not stored in one place as this memory sugest, but rather spread out in different parts of the brain. For example, Badderly’s working memory model shows us there are many different sections of Short-term memory, but does not take into account the Sensory memory or Long-term memory aspects of memory. Overall, the multistore memory model is a simplified way of introducing memory to new psychologists. Using models such as Badderly’s to introduce memory would be too complex. So the multistore model is used. It makes it easy for us to learn about memory from no prior knowledge, and sums up in an easy way how memory works. Peter Griffith 20:42 – 28/11/10

Definition and Types of Illocutionary Force

Definition and Types of Illocutionary Force In speech-act theory, illocutionary force  refers to a speakers intention in delivering an utterance  or to the kind of illocutionary act the speaker is performing. Also known as an illocutionary function  or illocutionary point. In Syntax: Structure, Meaning, and Function (1997), Van Vallin and LaPolla state that illocutionary force refers to whether an utterance is an assertion, a question, a command or an expression of a wish. These are different types of illocutionary force, which means that we can talk about interrogative illocutionary force, imperative illocutionary force, optative illocutionary force, and declarative illocutionary force. The terms illocutionary act and illocutionary force were introduced by British linguistic philosopher John L. Austin in How to Do Things With Words (1962). Examples and Observations Illocutionary Act and Illocutionary Force [A]n illocutionary act refers to the type of function a speaker intends to accomplish in the course of producing an utterance. It is an act accomplished in speaking and defined within a system of social conventions. Thus, if John says to Mary Pass me the glasses, please, he performs the illocutionary act of requesting or ordering Mary to hand the glasses over to him. The functions or actions just mentioned are also referred to as the illocutionary force or illocutionary point of the speech act. The illocutionary force of a speech act is the effect a speech act is intended to have by a speaker. Indeed, the term speech act in its narrow sense is often taken to refer specifically to illocutionary act.(Yan Huang, The Oxford Dictionary of Pragmatics. Oxford University Press, 2012) Illocutionary Force Indicating Devices There are different devices used to indicate how an illocutionary force must be interpreted. For example, Open the door and Could you open the door have the same propositional content (open the door), but they represent different illocutionary acts- an order and a request respectively. These devices that aid the hearer in identifying the illocutionary force of the utterance are referred to as the illocutionary force indicating devices or IFIDs [also called illocutionary force markers]. Performative verbs, mood, word order, intonation, stress are examples of IFIDs.(Elizabeth Flores Salgado,  The Pragmatics of Requests and Apologies. John Benjamins, 2011) I may indicate the kind of illocutionary act I am performing by beginning the sentence with I apologize, I warn, I state, etc. Often, in actual speech situations, the context will make it clear what the illocutionary force of the utterance is, without its being necessary to invoke the appropriate explicit illocutionary force indicator.(John R. Searle,  Speech Acts: An Essay in the Philosophy of Language. Cambridge University Press, 1969) I Was Just Saying That Kenneth Parcell: Im sorry, Mr. Jordan. Im just overworked. With my page duties and being Mr. Donaghys assistant, theres not enough hours in the day.Tracy Jordan: Im sorry about that. But just let me know if theres any way I can help.Kenneth: Actually, there is one thing...Tracy: No! I was just saying that! Why cant you read human facial cues (Jack McBrayer and Tracy Morgan, Cutbacks. 30 Rock, April 9, 2009) Pragmatic Competence Achieving pragmatic competence involves the ability to understand the illocutionary force of an utterance, that is, what a speaker intends by making it. This is particularly important in cross-cultural encounters since the same form (e.g. When are you leaving?) can vary in its illocutionary force depending on the context in which it is made (e.g. May I have a ride with you? or Dont you think it is time for you to go?).(Sandra Lee McKay, Teaching English as an International Language. Oxford University Press, 2002) What I Really Mean When I say how are you to a co-worker, I really mean hello. Although I know what I mean by how are you, it is possible that the receiver does not know that I mean hello and actually proceeds to give me a fifteen-minute discourse on his various maladies.(George Ritzer, Sociology: A Multiple Paradigm Science. Allyn Bacon, 1980)