Data preparation and network analysis Literature review

Data preparation and network analysis - Literature review Example Finding meaningful data about people’s access to urban green spaces with regard to the people’s reasons for using such spaces and when and how they use them is considerably weighed down by the fact that survey data from local authorities is rather inconsistent. Various methods have been developed to help in data collection on local green space needs. Methods such as Best Value processes are viable in realising green space needs for populations in areas such as the Madinah region of UAE. The benchmark questions used in the Best Value User Satisfaction Survey are relatively basic meaning that more viable information should be sourced from the literature review of past surveys, as well as the analysis of other similar areas around the world (Cope 2009, 174). Telephone surveys with the public can be used to find out or estimate the number of urban green space users for every green space located in their vicinity. This module of data preparation is perhaps best for the quant ification of urban dwellers’ access to green spaces and the estimation of future green space needs and the capacity of current green spaces to meet these needs. In England, for example, a telephone survey showed that 2.25 million people make a minimum of 184 visits to the nearest urban space annually (Knigge and Cope  2006, 2031). ... This is crucial in network analysis as it allows for the identification of peak times when green spaces are mostly used, as well as the documentation of whether or not the green spaces have the capacity to hold populations during peak visits (Neimeier 1997, 381). Afternoons, weekends and holiday times, are notably the key times for green space use. Other people have seasonal green space use patterns, which are largely influenced by prevailing weather patterns. Notably, men are slightly higher users if green spaces than their female counterparts. However, most local authority surveys do not give an indication on whether ethnic minority groups or disabled persons are equitably represented among green space users. This is perhaps the greatest limitation of using local authority surveys in data collection and network analysis of urban green spaces (Forman 2005, 203). As earlier cited, data preparation can take several formats. Thematic data generation is one such method. This entails the generation of area maps and conduct of an analysis of the region’s remote sensing data. Here, urban green spaces are digitised and categorised using visual interpretation methodology like Cartosat II and LISS-IV merge product in Arc GIS Ver.9.3 (Van Herzele 2003, 119). Under this module, urban green spaces are categorised as among others railway green, playgrounds, open green, water bodies, industrial green, built ups, parks and roadside green (Barbosa, Tratalos, et al, 2007, 189). Using the â€Å"selection by attribute† query within Arc GIS, the different categories of urban green spaces are separated and exported into different categories of either public and green spaces. All types of green spaces are then assigned different

Critique of a play to be watched Essay Example | Topics and Well Written Essays - 1000 words

Critique of a play to be watched - Essay Example In this version a variety of critical interpretations are advanced, with the interpretation most centrally being that Greek theatrical productions remain important aspects of the literary and cultural landscape not through being reimagined and reinterpreted but through the preservation of their core structural dimensions. In viewing Peter Hall’s production of the Eumenides one of the first aspects one notices is it preservation of traditional Greek structural dimensions. In the opening scene the speaker is masked (indeed, this is thematic throughout all the characters) indicative of a traditional Greek production. In these regards, Hall himself stated that, â€Å"Greek plays are impossible without the mask... its very mystery solved not only the problem of expressing unbearable feeling, but also how to make the unending laments of the chorus understandable to a modern audience". In these regards, the mask clouds the identity of the characters such that audiences throughout hu manity can cast their own insights and emotions onto the characters. In addition to these authentic elements, the play includes an orchestra that accompanies the production much like one would imagine the Greek stage of antiquity. It’s indicative of Hall’s intentions in the production of keeping the play true to authentic form as the music does not function in the background as is the case with film, television, or indeed a great many stage productions, but is intermingled with the stage action seamlessly. This demonstrates Hall’s vision as the viewer shares the same presence as would a viewer listening to the orchestra during a performance of the Eumenides in antiquity. This element also demonstrates the everlasting nature of Hall’s perspective when one considers that in great part this structural format – the melding of music and on-stage narrative – has persisted even into the mainstream contemporary social environment in terms of the mus ic video; all the more remarkable considering that this production occurred the same year as the emergence of MTV. The stage dimensions of this opening scene are also indicative of what one envisions the Greek stage place to be as, with the speaker subtly cognizant of the expansive nature of the audience. The physical dimensions of the stage space are also directly reminiscent of the ancient Greek stage with round stage platform with a backdrop outlining the screen. If there is any room to critique Hall’s production it would be in his firm reliance on this element of the Greek stage, but as the play advances one witnesses the implementation of modern methods of shot selection and editing that are melded into this otherwise authentic production. In these regards, Hall’s version of the Eumenides is not as entirely authentic in the classic Greek sense as he would have the audience believe, yet is perhaps more powerful for it, as his subtle re-workings emerge in aspects th at open the play to broader contextual meaning and purpose. In great part the screen space is outlined in black and white. While it is a filmed stage production and one can argue that this is simply an aspect of its reproduction onto the screen space, it nevertheless takes on aesthetic meaning in the context of analysis. Without delving too far into literary critique the black and white simply functions as a means of bringing out the color that has possible symbolic implications; however this critique does not delve into these literary elements but rather considers how director Hall