Effective Learning Essay Example | Topics and Well Written Essays - 750 words

Effective Learning - Essay Example Students’ frustrations can be attributed to their lack of knowledge regarding the scope, limitations, and challenges of online learning along with the drawbacks of the learning program and curriculum.   Frustrations and Needs of Online Learners The number of online learning programs has dramatically increased over the last two decades. Subsequently, the cases of students’ frustrations also have increased to a great extent in a way that hinders their educational opportunities. As Hara and Kling (1999) point out, the paucity of prompt feedback is one of the potential causes of student frustration in web-based learning. Learners’ autonomy in this regard often turns to be an impediment to their own active interaction with the tutor when there is no specific login time for learning activities. Frustration is the outcome when there are no clearly stated instructions and guidelines. In that context, a fresh student, normally who is not a computer savvy gets disappoint ed of the unfamiliar learning system. Lack of technical expertise along with the complexity of the learning interface can intensify the frustration and stress. Strategies for Effective Online Learning First of all, as a learner you must understand that online classes, no matter whether synchronous or asynchronous, differ a lot from traditional classrooms and learning methods. Online learning normally is not bound to stipulations, and hence this in turn increases learners’ responsibility in meeting their own needs. As noted in the Illinois Online Network database (2010), the major problems with online learning usually fall into several categories including but not limited to technology, the facilitator, the online environment, the students, the administration and faculty, the curriculum etc. In order to get rid of the current stress, you must identify in which of the above areas your learning problem persists. If you find that lack of technical skill has limited your learning potential, it is advisable to get assistance from a third party. This can be a friend or a relative who would teach you the essential things in no time. As Brosche (2010, p. 70) reminds, if you find that the instructions are ambiguous, do not hesitate to request clarifications from the facilitators before you start doing things, because â€Å"well begun is half done†. Another thing you ought to do is to identify what type of a learner you are. People, based on their learning habits can be categorized into ‘dependent learners, independent learners, competitive learners, collaborative learners, participative learners, avoidant learners’ etc (Stavredes, 2011, p. 18). For instance, as Stavredes (2011) points out, if you are a competitive learner, you will be interested in attending tests and getting grades. In contrast, if you are a collaborative learner, you will like group works, interactions, and discussions. Participative learners are usually interested in class discussions and hence concerned about learning environment whereas avoidant learners are normally driven by strict deadlines and punishments for not meeting them (pp. 18-19). Obviously, you belong to one of these groups, and identifying your position would help you overcome the current frustration. To illustrate, if you believe that you are a competitive learner having great zeal in tests and results, other activities like collaborative programs may annoy you, for the outcome of your effort would be a bit disappointing one. However,

Roll of thunder, hear my cry Essay Example for Free

Roll of thunder, hear my cry Essay The first characters name to be mention in the whole story is Little Mans and that is because Cassie is addressing him as he is slowing down the group of people who are on their way to school in their best clothes on their first day of this term. My first impression of him which I got from the second paragraph was that he didnt like getting anything dirty at all, and tried his best to see it that way and that he was also looking forward to his first day of school, which was the opposite to the others. He gave me the impression of the direct opposite of a young boy, as I would have thought he wouldnt have wanted to go to school or stay clean. Mildred Taylor introduces Little Man in another different way because he is described while Cassie is observing him, as if she is writing down exactly what she is seeing at the time whereas Christopher-Johns description is more like an aside to what is happening. The portrait of Little Man is built up gradually as you read about his interactions with the other characters and this builds up layers of details to give the reader on big picture of him. The other character that is mentioned throughout the first chapter who you dont actually meet until the end is Mama, and even thought there is no description of her I immediately got the impression that she was in charge of the children and their lives as she was mentioned as a threat at first and then as a person to turn to when Cassie and Little Man have the episode about the books. The only real information that is given about Mama is just before she is encountered, and it is a description of her hair and nothing else which leaves the rest up to the readers imagination. Mildred Taylor also succeeds in accomplishing a little background to the story as she describes the history of the Logan land and the land around it which gives the story a setting. This is important as this establishes the basic facts about who owns what and how the local area operates and differentiates between black and white people. The author sets the story straight generally about how everyones lives interact with each others, including how people make money and how the children are educated. She also shows the importance of family life because the children are all interacting with each other and they are always mentioning Mama and I think these two facts will come into play greatly at the end of the story. Mildred Taylor also gives the reader information about the situation in history at the time including the Logan land but more importantly how black people and white people have got a long in the past which I think will give the reader some background about why certain people act in certain ways and why somethings have come to be. Mildred Taylor also slips in little pieces of information along the way about how each character reacts with each other and gives the author and overall feel of how they are now as if suggesting that they wont be like this later on in the story. The first chapter is written very cleverly because it combines character introductions, background information and little pieces of information to make this chapter and the rest of the story piece together and I think Mildred Taylor has made it very successful in getting all this information across to the reader. Show preview only The above preview is unformatted text This student written piece of work is one of many that can be found in our GCSE Mildred Taylor section.

Weak Gravitational Lensing

Weak Gravitational Lensing Introduction Gravitational lensing is a very resourceful phenomenon that widely used in astronomy measurement. It contains many aspects of which the strong, weak, and microlensing are well established by observable evidence. The weak gravitational lensing is an active area. Weak gravitational lensing that we can observe is usually caused by large-scale cosmic bodies such as clusters and voids. Generally, gravitational lensing has the advantage of directly measuring or comparing the mass of the object. This is an advantage comparing with the conventional method such as dynamical methods and the diffuse X-ray emission. Those methods require strong assumptions of either dynamical state or composition (Bartelmann Schneider 2001). Thus, weak gravitational lensing has the prospect of leading us to understand more about the voids and clusters that other regular measurement could not achieve, which can further lead to verifying the existence and possible composition of dark matter. Method (How to measure calculate) Gravitational Lensing Effect Gravitational lensing is the phenomenon that the light bundles bent when traveling by massive cosmic bodies due to the effect of gravitational force. In astrophysics photos, strong gravitational lensing would result in prominent arc or arclets (smaller arcs). However, weak gravitational lensing is relatively less noticeable since that the phenomenon only slightly distort the background galaxies. This distortion can be divided into two: convergence and shear. The convergence would result in magnification of the background while the shear would change the ellipticity of the background galaxies we observe. We show a simplistic example for weak gravitational lensing as Fig.1 shows. One thing to mention is that we used thin lens approximation for the example. This means that we assume the lensing effect take place in a surface, which is usually a good approximation because the distance from the background to the foreground lens and from foreground lens to observer are much long comparing the size of a cluster or void. Considering a deflection caused by a point mass M. When a bundle of light pass through the weak gravitational field near it. The deflection angle predicted by general relativity is twice the amount of Newtonian prediction where impact factor (Schwarzschild radius), since the gravitational field is relatively small. Now considering that in Fig.1,, which is valid for most weak gravitational lensing application, it can be proven that Fig.1 An illustration of a typical gravitational lensing with S the source, O the observer and L the massive object The above can be defined as scaled deflection angle, which can also be represented by surface density where the denotes convergence and can be represented by surface mass density and critical surface density : with where the distance is angular diameter distance. The critical surface density depends on the redshift of source and lens (Bartelmann Schneider 2001), the convergence () represents the strength of the lensing. Generally, represents weak lensing. Eq. (3) indicates that the deflection angle can also be written as the gradient of the deflection potential As, it can be prove that The gravitational lensing doesnt change the frequency of the photons, the deflection angles are all the same for any frequency (i.e. no dispersion). Considering that no photon has been emitted or absorbed and omit the change of gravitational potential over time, Liouvilles theorem Since the lens map can be linearized in weak gravitational field, the distortion of images is then described by the Jacobian matrix where we need to introduced the shear components Magnification factor in respect to fluxes can be represented by In case of application, the reduced gravitational shear is more commonly used (Bartelmann Schneider 2001) Weak Lensing by Voids In Fig.1, if we assume L is the centre of a void, instead, then the figure can illustrate the example for weak lensing in a void. Note that weak lensing caused by clusters act like a convex lens, where it converge the light coming through, while those caused by voids are like concave lens, where the light is diverged. Though technically, they do not work the same as classical lensing since they do not have foci. This is because that the voids are and underdense and it is actually the mass outside the void that bend the light. Considering the fact that voids are also relatively large, the change of gravity potential along radius would not be as fast as in massive clusters. The weak lensing caused by voids are quite hard to detect (Amendola et al. 1999). Another essential thing is to have a general model for voids. Due to the mass distribution of void, we shall assume it is a uniform spherical underdensity surrounded by overdense shell. While this is mere an ideal assumption, this model can still capture the main features for the voids (Amendola et al. 1999). Implications Clowe (2006) has put a convincing result with the help of weak gravitational lensing to indicate the existence of dark matter. During the collision of two clusters, they compare the mass of the plasma and of the whole clusters. The plasma was the dominant baryonic component. However, when they compared plasma distribution in X-ray and the cluster gravitational potential by weak lensing, the ratio of plasma/whole cluster fitted better in the cluster model with the dark matter. More recent research have shown thatà ¢Ã¢â€š ¬Ã‚ ¦ As we have mentioned that void is harder to detect due to its size and underdensity. In practice, the size measurement of an individual void in galaxy redshift surveys will be very noisy due to sparse sampling in the underdense region. That is one of the reasons why we need to get the void stacked to determine the weak lensing. Theoretical calculations by Krause et al. (2012) and numerical simulations by Higuchi, Oguri Hamana (2013) suggest that stacking many voids will increase the signal-to-noise ratio (S/N) of the lensing observables, which may result in the detection of the effect with high significance, the lensing signals measured by stacking large numbers of voids with similar sizes will also constrain the radial profile of voids. It is worthwhile to mention that the stacked method was first used in detection of weak lensing caused by clusters. However, with the improvement of astronomical imaging, the weak lensing for an individual cluster is much easier to detect. Melchior et al. (2014) used the method to stack 901 voids detected in Sloan Digital Sky Survey (SSDS) DR7. They combined the voids with the coordinate, where is the radius of individual void. Their research indicates that voids are generally self-similar and that large voids may does not fit compensated void model as smaller voids do. This means that the density around large void, even for a sufficient large radius beyond, may still be lower than the average density. Clampitt Jain (2015) further extend the stacking method. They used a special method to identify the voids and then filter to remain the ones with good quality. They estimated S/N to be 7, which is a relatively high rate for void lensing. They gave a model-independent statement of void properties. Limitations One intrinsic problem for weak lensing is ellipticity noise. It denotes the fact that each background galaxy has its own ellipticity and orientation. The ellipticity noise is often of the same level of the distortion or even larger (Bartelmann Schneider 2001). Another key limitation of the gravitational lensing methodology could be that it only produces a two-dimensional map of k and hence raises the possibility that structures seen in the map are caused by physically unrelated masses along the line of sight (Clowe et al. 2006). Reference Amendola, L., Frieman, J. A., Waga, I. (1999). Weak gravitational lensing by voids. Monthly Notices of the Royal Astronomical Society, 309(2), 465-473. Bartelmann, M., Schneider, P. (2001). Weak gravitational lensing. Physics Reports, 340(4), 291-472. Clampitt, J., Jain, B. (2015). Lensing measurements of the mass distribution in SDSS voids. Monthly Notices of the Royal Astronomical Society, 454(4), 3357-3365. Clowe, D., BradaÄ , M., Gonzalez, A. H., Markevitch, M., Randall, S. W., Jones, C., Zaritsky, D. (2006). A direct empirical proof of the existence of dark matter. The Astrophysical Journal Letters, 648(2), L109. Higuchi, Y., Oguri, M., Hamana, T. (2013). Measuring the mass distribution of voids with stacked weak lensing. Monthly Notices of the Royal Astronomical Society, 432(2), 1021-1031. Kaiser, N., Squires, G. (1993). Mapping the dark matter with weak gravitational lensing. The Astrophysical Journal, 404, 441-450. Krause, E., Chang, T. C., Dorà ©, O., Umetsu, K. (2012). The weight of emptiness: the gravitational lensing signal of stacked voids. The Astrophysical Journal Letters, 762(2), L20. Melchior, P., Sutter, P. M., Sheldon, E. S., Krause, E., Wandelt, B. D. (2014). First measurement of gravitational lensing by cosmic voids in SDSS. Monthly Notices of the Royal Astronomical Society, 440(4), 2922-2927.      

Child Development Case Study Essay -- Child Development Theory

From the video observation, the two three-year old children, Thomas and Riley set off on a bus journey along with their childminder; it is observed that both the children speak about their journey, in which they are able to identify various features, which include the passengers; various buildings and different types of buses. Both children observe many of the features by taking photographs to highlight what they have observed on their journey. From observation, the video looks at the way the childminder plans the experience from a child-initiated stance, which directs the children’s learning in addition with assisting them with role-play and symbolic play, which is shown towards the end of the video. Thus, this essay will focus on the importance of early physical development within the Early Years framework, as well as the influence of the family with reference to the children along with the childminder. I shall link theory to practice from observation, by recounting both the boy’s bus journey, using a number of hypothetical methods, as well as emphasising the social and emotional development equally with cognitive development. However in particular, I will address the cognitive development, by doing so, a whole approach is required regarding both the children’s development, as children are seen as individuals and that each area of their development cannot be divided into different sections. So in order to accentuate the whole approach, it is imperative that the two boy’s development is seen from a holistic perspective. Furthermore, not only does the children’s development depend on their own developmental process, additionally the family, as well as the child minder will have an influential effect on the relationship of both ch... ...Early Childhood. 2nd ed. London: SAGE Publications. Bruner, J. (1986) Actual Minds, Possible Worlds. USA: Harvard University Press. Department of Education (Dcfs) (2010) it’s child’s play Early Years Foundation Stage [online]. [Assessed 7 December 2010]. Available at: . Keenan, T. and Evans, S. (2009) An Introduction to Child Development. 2nd ed. London: SAGE publications. Malim, T. and Birch, A. (1998) Introductory Psychology. London: MACMILLAN Press. Penn, H. (2008) Understanding early childhood. 2nd ed. Berkshire: Open University Press. Piaget, J. and Inhelder, B. (1969) The Psychology of the Child. London: Routledge. Smidt, S. (2007) A Guide to Early Years Practice. 3rd ed. Oxon: Routledge. Woodhead, M and Oates, J. (eds). (2007) Attachment Relationships. Milton Keynes: The Open University.

Global Warming :: Greenhouse Gases Climate Change

For decades and decades, human factories and cars have discharged billions of tons of artificial greenhouse gases into the atmosphere, and the climate has begun to show many signs of global warming. On the other hand, some people want you to believe that global warming does not exist. There are many people who are only out for personal gain and are outright liars. According to a scientist at NASA "Global warming is the single largest threat to our planet"(Weier 2002). Over the past two hundred years we have seen significant changes in the effects on our environment, primarily due to humans and both their lack of awareness, or their total disregard for the effects that their actions have on the environment. Global warming is one of our toughest environmental challenges. It threatens the health of people, wildlife and economies around the world. The problem is carbon dioxide and other heat-trapping pollution. This pollution mainly comes from cars, power plants and other industrial sources that burn gasoline, coal and other fossil fuels. This matter collects like a blanket in our atmosphere. As a result, the planet gets warmer. We can say that the amount of radiation from the sun that reaches the earth each year has been fairly consistent from year to year and century to century until recently. Thirty percent of the total solar energy that strikes the earth is reflected back into space by clouds, atmospheric aerosols, reflective ground surfaces, and even ocean surf. Seventy percent of the solar energy is absorbed by the land, air and oceans.  ¡Ã‚ °The absorbed light is mostly in the form ultraviolet and near infrared solar radiation ¡Ã‚ ±(Weier 2002). Absorption of this solar energy makes life on this planet possible. The energy does not stay bound up forever. If it did our planet would wind up being hotter than the sun. Instead, when the rocks, air, and sea heat up, they give off thermal radiation, which escapes into space and allows it to cool down. This radiation is invisible to our eyes, but our hands can feel it radiating from a fire or a car engine. What we should be worried about now is that over the past 250 years, we have been artificially raising the concentration of greenhouse gases in our atmosphere. Factories, power plants, and cars, burn coal and gasoline and spit out a seemingly endless stream of carbon dioxide. Power plants are the largest contributors to global warming.

Analytical study of the artwork by Anupam Sud Essay

The art of printmaking, as we know it today, is an artistic method appreciated for its unique technical qualities and its immense vocabulary as a specialized field of fine art. Printmaking is the process with which a wide range of materials and diversity of techniques are associated, which offers the artist varied possibilities for experimentation. Anupam Sud was born in 1944 at Hoshiarpur in Punjab. She passed her Diploma in Fine Art from the College of Art, Delhi and an advanced course in printmaking from the Slade School of Art in London on a British Council scholarship. She headed the printmaking department at the Delhi College of Art for several years. She has been a teacher and a mentor to many young artists of today. She is also known for her fine drawings and paintings. Her work breathes a unique freshness- with traces of sculptural contours in some and hints of warmth of oils in others. Though her work features both men and women and often in the nude, her sympathies are fem inist and the oeuvre introspective and somewhat brooding or haunting, concerning itself with common human predicaments of ambiguity and hypocrisy. As an educationist and founding member of the printmakers guild and subsequently the mini prints exhibition that she had curated which toured several Indian cities, she has been able to win for graphics a place within the folds of recognized art forms. Anupam works at her home-studio in village Mandi, isolated by verdure and green fields, several miles away from the churning of Delhi’s streets. When we compare the work of Anupam sud with the great printmaker of the past, like Albert Durer, Daumier, Kathe kollowitz who used print-making for its monochromatic power of statement, Anupam, on the contrary, uses its language of metaphor. Sud’s art consolidates her humanistic leanings over her feminist ones, reflecting upon the nature of humanity in all its forms. She works, one might say, with a social and political consciousness that may not be radical, but affects a subtle intervention by speculation rather than statement. Her deep knowledge of past artistic traditions, of the cultural dynamics that prevail in the Indian context and topical events is the trigger that ignites her imagination. The sweet bitter taste of life that occurs in the wider world of everyday experience engages this artist. The themes of manipulation, the relationship of power to predicament, of powerlessness and temptation, human fallibility and trappings, the masked existence of urban people, the inertia of government structures, are some of the recurrent themes that engage Anupam’s thought process. When encountering Anupam’s work, what strikes one immediately is her ‘sensuality of seeing’. Whether humans or objects, they are represented in their full-bodied corporeality- their skin and flesh, texture and volume captured most effectively by well-delineated contours and in the black and white (light and dark) ambiance of etching. It is her eye, and an acute sense of the ‘optic’ that guides her hand in shaping the physical reality of things. Anupam remains a committed realist, even to the extent of sometimes being photographic. This sense of realism is not reduced to a sterile function of flawless copying, but refined by an intuitive vision of the perceived object in the pictorial construction. The narrative itself is packed with telling details which provide important clues to the social satire, the wit and the clever ridicule infused in the infinite oddities of human situations. Anupam, I think intentionally confounds both the subjective and objective worlds, where the obscure is sighted, the uncanny revealed and the incomprehensible called to account. Sud operates outside the narrow boundaries of ‘art for art’s sake’. The dual nature of reality fascinates her and is seen in her interest in polarized situations. Disqualifying traditional iconography as unsuitable to her expressive goals, she frequently attempts to divest the human form of all cultural markers -caste, creed, clothing and nationality, to represent a universal symbol. Reflecting her own personal nature, her figures dismiss confrontation and direct retaliation. In self-absorption, they are ‘set apart’ from the familiar daily environment to fully allow the effects of emotional and aesthetic experience. Anupam uses humorous ways of representing otherwise serious concerns. Perhaps in view of the disharmony of gender relations, Anupam juxtaposes the fragmented images of female foeticide and highlights an alternate biological choice with erotic forms and men applying lipstick, suggestive of a possible future homosexual world. In the work ‘Dialogue’, one version has two men in communion, characterized more by their gentle touching than speech. While the men are located in an open, public space, the dialogue between two women in another version takes place in a dark, domestic and private space. As it happens in life all the time, there is suspicion also when persons of the same sex become companions. Anupam expects the viewer to read or misread the relationships in multiple ways, validating their power to make meanings. In her work Anupam Sud regularly uses the strategy of literal solidness where object makes the content familiar. Her work ‘Don’t Touch My Halo’ has the overwhelming centrality of a heroic male figure in a ri gid statuesque pose, holding the fruits of his success, and the dancing apsaras with their sensual body rhythms, as glories of his life. In contrast to the powerful handsome exterior (his temporary facade), the skull under the seat is a metaphor for his hidden inner self and hollow structure. . ‘The Shifting Halo’ is antithetical to this, where with the abrupt collapse of power the halo has already shifted from the dead man towards the virility and power of youth. The cold, ice-slab architectural space, the hard rendering of the face, the cropped body and the exact nature of its placement, the strong sense of shadows and silence make for a harsh visualization of the theme. There are other works dosed with concerns for pollution, hazards of industrialization, barrack-like structures, erratic electricity nuisance- all familiar stories, but invested with personal and collective meaning. ‘Dining with the Ego’ holds mystery in spite of a material sumptuousness. A sharp contrast in image is visible, with the man hogging merrily and the woman with an empty plate. The irreconciled situation creates a kind of visual discomfort in spite of the table with its luring spread. Similarly, some of the other works represent a feminine concern, where empathy and a pained compassion pervade the imagery. Women seem to be framed, however obliquely, in a man-centered world of marriage, physical violation and invasive medical techniques. ‘The Ceremony of Unmasking(1990)’ problematizes the predicament of human relationship. There is an ambiguity about the act, whether the woman is being unmasked or masked again. Overpowered by the two men with their terrifying masks, the woman, still uncertain about her feelings flings her hands up in reflexive stance. While central panel introduces the dog as a symbol of loyalty. Locating the work in a mysterious space Anupam secludes the ritual and the characters involved, to live with the secret of the act. ‘Wee Hour’ shows a woman in a crouched position, shaped almost in human shell form that sym bolizes protection, yet she is vulnerable, not guarded from her dreams and latent desires. The incompatibility of the mind and the body is sensitively etched out in many of Anupam’s work. Her recent prints quite regularly feature the intentional visual demarcation of mental and material reality; the body and the accessories are separately juxtaposed with meanings implicit in circumstantial relationships. As an artist and as a person, Anupam is critically discerning, with a self-analytic ego secure in its self doubt. She is a thinking artist who never works with a set pattern but invites fresh challenges and seeks new discoveries with each work. Her print collages, for instance, are abstracted bits from several of her prints that make up a pictorial pseudo script. She enjoys the variety of blacks that emerge as a result of different papers used in her prints. One observes that in a rigorous medium like etching, Anupam has shown courageous preference for large formats. In fact, her zinc plates are getting larger and larger. She explains, â€Å"With drawing, the journ ey of the mind begins and webs stories around the theme that demand space to accommodate the monumental scale of the characters.† Overcoming all repressive barriers, she comfortably etches the male and female body in its stark nakedness. Technically, her attraction for the unbroken line and contour heavily compounds with her perceived human form. While shaping her narratives on the zinc plate, she indulges spiritedly in the aquatint process, often darkening the entire field and then reclaiming the whites in a most painstaking (and challenging) way. Anupam’s final print makes a ‘gradual emergence’ after a sequence of improvisations and remedial measures perceived by the artist while pausing amidst the spaced acts of executing prints. Working with the reverse image and visualizing its ‘positive’ side requires special insight. Also, drawing and scraping need the plate to be positioned flat on the table but at intervals the plate needs to be placed on the board to register distortions and incongruous working. Her hand, that transfers human touch and energy, varying in pressure, forc e and feeling, remains undoubtedly her most important tool of working, fine tuned with her entire being. If we compare the art work of Anupam Sud with her female contemporaries, like Nilima sheikh, Anjelina Ela Menon, Gogi Saroj Pal, her style is uniquely prosaic, even masculine. Her recent work. ‘All Paths Lead to Me’ was done before the passing of her father, as if etching a premonition. There are men standing visibly in memorial stones with the mythological reference to words of Lord Krishna inscribed on the stones. The lower area, a separate plate, depicts a man in (eternal) repose on the wooden cot that carries him on his final journey. Again the contradiction in Anupam, wherein the man in the centre above, though captured in a posture of certainty, expresses uncertainty – not knowing where to go (or perhaps where any of us will go). Her earlier work ‘Of Walls’ is based on recollections of childhood memories – the walls of the ancestral ‘kothi’,(home in Hoshiyarpur, now sold) covered with graffiti, that were so difficult to jump over in childhood and now seem to have shrunk. The faceless presence of time is personified in the woman’s image while the recumbent male figure, legs folded on one another, is reminiscent of the very familiar sight of her grandfather resting. More than anything, it is the mystery of time, its being there and yet not there, this loss of patrimony is most acutely felt by the women of the family who are not a legatee of this former haven of childhood pleasure. ‘In Search of Two Years from the Past through First and Second Class Mail’ is a break from Anupam’s easily recognizable works. These are large colourful silk-screens in the magnified format of a posted envelope while at the Slade. They carry the spontaneous handwritten imprint of names and addresses by many of her teachers and colleagues. The monochrome human images are symbolic of people walking through time, in some subtle way their anatomies distinguish them from one another. To her credit, without adequate infrastructure and an advanced equipped environment for printmaking, an artist like Anupam Sud has made a mark both at the national and the international level. She proudly believes this to be a unique Indian trait – â€Å"†¦to be able to strive so hard with so little in hand.† As printmakers update and go all electronic, Anupam Sud in many ways is an old-fashioned, slow but steady mover who after four decades is passionately continuing to refine her skills at etching. The long tedious hours of physical labour, studio confinement amidst chemicals, machine presses, heavy rollers, metal plates, burners and innumerable tools have become a way of life for her – with no substitute. â€Å"She believes nothing worthy can emerge in the absence of perseverance†. She is firm on her lifetime commitment to printmaking, especially etching. As a single woman who has given her life a purpose, Anupam indulges in art, sourcing it through her contact with life and its innumerable shades. She acknowledges people who influenced her on the way – her parents: her father who loved body building, read detective stories and loved Punjabi theatre; her mother who adored classical music and read the Upanishads; her mentor and teacher, Jagmohan Chopra who reinforced her strengths and determination as an artist; and the presence of Somnath Hore in Delhi, whose work she closely related to. Anupam Suds’ work has been exhibited widely with over a dozen solo shows and many more group exhibitions in various Indian cities and elsewhere including the USA, UK, Italy, Korea and Switzerland. She has won numerous national and international awards for her printmaking and conducted workshops in Canada and Japan. Her work is held in many private and public collections including NGMA Delhi. It was the subject of a major publication and a retrospective organized recently. She lives and works in Delhi.