Ron Teachworths Color Field Painting Essay Example | Topics and Well Written Essays - 500 words

Ron Teachworths Color Field Painting - Essay Example The essay "Ron Teachworth’s Color Field Painting" analyzes the paintings of Ron Teachworth. Teachworth continues to call himself a Detroit native and Detroit artist – many of his images began as bit of the urban landscape there. By the year 2000, however, these drawn or photographed subjects became abstractions. As an undergraduate student at Central Michigan University and during graduate work at Wayne State University, Teachworth favored the work of Kandinsky and the Abstract Expressionists (especially DeKooning and Diebenkorn). His work is, by his own description, a â€Å"mystery [of] space, light, color, and composition.† Any of these influences can be seen in his work, from Kandinsky’s play with form to DeKooning’s use of brushstroke to evoke movement to Diebenkorn’s structural fields of color. Earlier paintings had a surreal quality in which landscape elements were more realistic, but skies took on a major role. They dominated the lands cape in terms of size and color. A critic labeled them â€Å"sky fields,† a term which stuck with Teachworth as he continued to paint. From that point on the sky field was the most important space within the painting and took on brighter color and, finally, pattern. From there, the artist gradually removed any recognizable subject matter in favor of color and pattern, so that by the year 2000 his canvases became solely that. While developing this style, Teachworth had begun to add an impasto element to the patterning: small â€Å"sticks† of intensely colored paint laid down.

Victims’ Rights and Vengeance Essay Example for Free

Victims’ Rights and Vengeance Essay I believe that current state of victims’ right in America is better than it has been in the past thirty years. Thirty years ago, victims had few legal rights to be informed, present and heard within the criminal justice system. Victims did not have to be notified of court proceedings or of the arrest or release of the defendant, they had no right to attend the trial or other proceedings, and they had no right to make a statement to the court at sentencing or at other hearings. Moreover, victim assistance programs were virtually non-existent. Today, every state has an extensive body of basic rights and protections for victims of crime within its statutory code. Victims rights statutes have significantly influenced the manner in which victims are treated within the federal, state, and local criminal justice systems. 2004 Crime Victims’ Rights Act I believe that the 2004 Crimes Victims’ Rights Act has been effective to some extent. The CRVA helps victims assert and encourage enforcement of victims’ rights. It promotes compliance with victims’ rights laws. Funds grant programs and other activities to implement provisions. Provides an enforcement mechanism for rights delineated in the Act. The CRVA may legitimately consider to go too far and give victims undue rights at the expense of a fair trial. For instance, it allows them to â€Å"be heard at any proceedings related to the offence, regardless as to whether or not their input is relevant or appropriate. It is based on a very naive view of crime and criminal procedure; it assumes that all victims are innocent people attacked by dangerous criminals. However, a lot of crime victims dont fit  that category- many crimes have no clear victim, some victims are large corporations, and in a very large percentage of cases, the victims are criminals themselves. This amendment isnt necessarily appropriate for all cases and shouldnt be so. Vengeance Personally I do believe that vengeance does fix anything. Punishment should be a form of vengeance but a form of deterrence, detainment, and rehabilitation of the offender so that he or she will not cause any more harm to others. Vengeance does not bring the people that have been lost back. Fixing the issues can prevent more casualties from happening. The American tough on crime stance taken by elected officials from across the political spectrum has not halted the resurgence of crime in the last few years, nor has it helped prevent ex-inmates from once again ending up behind bars. The criminal justice system needs to spend more money in the parole, probation, and rehabilitation structure because clearly â€Å"punishment† alone isn’t working. Survivors Network of those Abused by Priests (SNAP) I agree with the actions of Survivors Network of those Abused by Priests because it is an organization that specializes in helping women and men wounded by religious authority figures such as priests, ministers, bishops, deacons, nuns and others. Before SNAP many sexual abused cases were not reported or taken to court. The SNAP organization helps the victims of a sexual abuse crime by a religious authority get the information, support, and psychological help that they need. Its claims have been validated, and a few though hardly all of its recommendations have been implemented by the church hierarchy. SNAP’s advocacy on the Catholic scandal also helped push the reality of sexual abuse into the public consciousness to the point that victims can regularly win in courts and get a hearing in the media, and they are much more likely to come forward to tell their stories, whether they were abused by clergy or by athletic coaches or Boy Scout leaders. References: Crime Victims Rights Act http://www.justice.gov/usao/eousa/vr/crime_victims.html Survivors Network of those Abused by Priests http://www.snapnetwork.org/resources Crime Victims’ Rights http://www.ovc.gov/rights/legislation.html Crime, Punishment and Vengeance in the Age of Mass Imprisonment http://www.alternet.org/story/50464/crime,_punishment_and_vengeance_in_the_age_of_mass_imprisonment

The Pioneers In Animation Animation Essay

The Pioneers In Animation Animation Essay Animation has its roots in traditional art. Its evolution over the years has been facilitated by not only artists but also visionaries and technically skilled experts. Presented below are the noteworthy pioneers and their creations that helped animation reach unprecedented heights as we see today. It was in 1895, three years after Emile Reynaud, inventor of the praxinoscope, an animation system using loops of 12 pictures, showed the first animated film in Theatre Optique system, devised by him, that two French brothers, Auguste and Louis Lumiere, presented the first authentic demonstration of what we now think of as cinema. Lumiere Brothers characters which were images of real people became a better alternative to the Emile Reynauds presentations of moving drawings. Georges Melies, a fantasy filmmaker- the maker of Voyage to the Moon (1902), was prided himself as stage-illusionist and used the medium of cinema as a natural extension of his magical arts with their transformations, and mysterious disappearances. Many of the visual tricks employed in his fantasy film Voyage to Moon were achieved by stopping the film, altering the image and photographing the new scene. This later became one of the basic techniques of 3-D animation films. Hence, arguably, George could be termed as the first filmmaker to use Stop Action {or Stop Motion}. Stuart Blackton, a Briton, is the pioneer in Chalk Animation. His work in Humorous Phases of Funny Faces, made in 1906, is based essentially on line animation. It is commonly known that the first animated work on standard picture film was Humorous Phases of Funny Faces (1906) by Blackton. It features a cartoonist drawing faces on a chalkboard, with the faces apparently coming to life. Blacktons process of drawing a picture, photographing it, rubbing a part of it out and then redrawing it was the most basic use of the stop-motion technique. Blackton, along with Albert E Smith, had employed stop motion photography to create wonderful effects in his 1907 live -action film The Haunted Hotel. He is credited with the making of the first stop motion puppet film The Humpty Dumpty. British film maker Arthur Melbourne Cooper also claimed having made the first ever puppet animated film. Cooper is also perhaps the maker of the worlds first animated commercial film using stop -motion photography in his film The Matches: An Appeal, a film of moving matchsticks produced way back in 1899. Coppers other notable creations were Cindrella (1912), Wooden Athletes (1912) and The Toymakers Dream (1913). Another pioneering effort in stop-motion techniques was that of Parisian caricaturist and film maker Emile Cohl who in his film Fantasmagorie, depicting the adventures of a little clown, drawn as a rudimentary stick figure, used some two thousand drawings which ran for under two minutes. Those animators who used the puppet model (the other method being clay model) as the basis of their 3D Animation were Giovanni Pastrone {The war and the Dream of Momi} and Wladyslaw Starewicz { The Magic Clock, Love in Black and White}. Starewicz had enormous passion for drawings and sculpture and was influenced by Emile Cohls 1908 film The Animated Matches. He later became known as Ladislas Starevich (after he moved over to Paris) and is till date acclaimed as the pioneering puppet animator because he created the first puppet-animated film -The Beautiful Lukanida (1912). His cast of insect characters appeared in a series of modern fables viz. The Cameramans Revenge, featuring tiny miracles as a grasshopper on a bicycle and a dragonfly ballet dancer. Other well known puppet films of Starevich were Town Rat, Country Rat and the Tale of Fox. Charlie Chaplin is one of the several Hollywood -inspired performers in Love in Black and White (1927) by Ladislas Starevich. The Mascot'(1934) sh owcased Starevichs live action story with toys. Quirino Cristiani from Argentina is the maker of possibly the first animated feature film -El Apà ³stol, in 1917. He also directed two other animated feature films, including 1931s Padeopilis the first to use synchronized sound. None of these, however, survive to the present day. German Lotte Reiniger and French/Hungarian Berthold Bartosch were the directors of the earliest-surviving animated feature, which used colour-tinted scenes, in their silhouette-animated Adventures of Prince Achmed (1926). Jan Svankmejer brought to the cinema the theatrical skills of masks and puppets through his first film The Last Trick (1964) -he was clearly inspired by Ladislas Starevichs The Mascot, made nearly three decades earlier. Svankmejers films often combined animation with live action, as in Alice and his other feature film Faust (1994). Svankmejer is regarded as an undisputed renegade of animation art because he had a penchant for pixillating live actors or manipulating china dolls. Some of his macabre creations were joints of uncooked meat or as in Dimensions of Dialogue (1982) in which he formed two lumps of deathly-grey clay which form themselves into heads and then eat and regurgitate another! The heritage of Svankmajers animation films was the motivating factor behind many of the earliest puppet movies. The Russian animator Alexander Ptushko was yet another trend setter in 1930s. The New Gulliver made by him in 1935 includes scenes filmed in camera (unlike the usual method of creating through optical techniques in processing,) incorporating a live actor and some 3000 puppets. The other feature films made by Ptushko combining animation and live action were The Fisherman and the Little Fan (1937) and The Little Golden Key (1939). Yet another well known name in stop -motion animation was Hungarian born animator George Pal, maker of a classy film, The Ship of the Ether featuring the voyage of a ship made from blown glass. Pal worked in the biggest puppet -animation studio in Europe and created a series on fairy tale subjects and also produced short entertainment films for commercial sponsors such as Philips Radio, Unilever, and Horlicks. He is the creator of the theatrical shorts called Puppetoons from his studio in America. One of the most popular characters of Pal was a little black boy named Jasper who appeared in nearly twenty films such as Jasper Goes Fishing'(1943), Jasper and Beanstalk'(1945) and Jasper in a Jam'(1946).Those who followed Pal and made successful careers in puppet films were Joop Geesink and Ray Harryhausen. Some of the notable films made by them were Little Red Riding Hood, Hansel and Gretel, The Story of Rapunzel, and The Story of King Midas. Jiri Trnka, the Czech animator, was an illustrator beyond comparison who created what is known as Disneyfied characters in such folk tale films as Grandpa Planted a Beet'(1945) and The Animals and the Brigands'(1946). He later became the maker and operator of marionettes- animating the puppets. Arguably, The Emperors Nightingale was a masterpiece film made by Trnka based on Hans Anderson fairy tale. Trnks last film The Hand (1965) featured the central character with a typical impassive face and dressed to look like a pierrot. With an outsized head, a beaky nose and two large soulful eyes, he is clearly the comic tragedian. Trnkas creative heirs were Brestilav Pojar (Lion and Song) and the Japanese animator Kihachiro Kawamoto (Demon, A Poets Life, House of Flame). In recent times, the puppet animation scaled greater heights through the films made by BBC and the British and American television companies with makers like Jim Henson {Seasame Street and The Muppet Show}. Garry Anderson who made The Adventures of Twizzle and Torchy the Battery Boy is rated as a pioneer in puppet films on the television. Other successful puppet films of Anderson were Supercat (1961), Stingray (1964) and Thunderbirds (1965). There were many artists who advanced animation such as the brilliant American cartoonist Winsor McCay whose comic newspaper strip Little Nemo in Slumberland became an animated picture in 1911. Winsor was the man behind the creation of the interactive GERTIE, The Trained Dinosaur. Raoul Barre, whose film series The Animated Grouch Chasers featured a caricature album that came to life, was credited with several significant developments such as registration holes in animation paper, to stop the drawings from wobbling when filmed etc. J R Bray (creator of the comic character Colonel Heeza Liar) pioneered the technique of drawing the backgrounds on sheets of celluloid and placing them on top pf the animation drawings. This process was later refined by Earl Hurd (maker of Bobby Bump) by animating characters on celluloid sheets that were positioned over painted backgrounds. Some of the talents/ artists who dominated the early years of animation were as follows: Pat Sullivan (creator of Felix the Cat), his collaborator Otto Mesmer; Dave Fleischer (who made the series Out of the Inkwell) Paul Terry, the creator of Aesops Fables Walter Lantz- who made first Dinky Doodle and later Woody Woodpecker It is widely believed that Walt Disney, the genius who created Mickey Mouse, took animation to an entirely new level altogether. In 1928, with the premiere of Steamboat Willie, he became the first animator to add sound to his movie cartoons. Another milestone in Walt Disneys life was the first full length animated feature film, named Snow White and the Seven Dwarfs produced in 1937. Walt Disney, till date, is the synonym for the cartoon film. Flowers and Trees (1932) made by Disney Studios which won an academy award for this work was the first animation to use the full, three-color Technicolor method. Lou Benin made a version of Alice in Wonderland in 1948 using live and puppet players. Tim Burton is another pioneer in a negative sense, because he made the first ever horror animation film for children- Vincent. He also made the macabre film Frankenweenie in 1984 and became a Hollywood legend creating the new dark breed of Batman movies. Burtons A Nightmare Before Christmas (1993) was the first stop motion feature film to receive worldwide distribution. BBC and the Moscow based group of animators, Christmas Films have been known, in recent times, for producing finest puppet animation series. Jim Hensons glove-puppets achieved international fame with Sesame Street and The Muppet Show. Garry Anderson is considered yet another pioneer with his fantastic puppet animation shows on the television such as The Adventures of Twizzle, Torchy the Battery Boy, Super Cat Fireball XL5, Stingray and last but not the least Thunderbirds. Cosgrove Hall has the distinction of having achieved live movements animating his rubber moulded heads. His 3-D recreation of Toyland home of Enid Blytons Noddy and Okie Dokie is well known. American Willis O Brien is credited with pioneering work in clay animation. He made pre historic comedies through claymation such as Curious Pets of our Ancestors The Birth of Flivver'( both 1917) which featured dinosaur characters. He also created the special effects for Merian C Coopers classic fantasy King Kong-till date a powerful film for stunning animation sequences. OBriens work has been the inspiration for many, notably his protà ©gà © Ray Harryhousen who even surpassed his master in animation techniques. Might Joe Young (1949), The Animal World'(1956), The Beast 20,000 Fathoms'(1953), It Came from Beneath the Sea (1955) boast of RayS memorable characters. Max Fleischer and his collaborator Roland Crandall are known for moving away from claymation and using cel-animation. Perhaps, it was Art Clokey who revived claymation with an innovative film based on stop-motion clay animation through his film Gumby (1955). The term Claymation was coined by Will Vinton who made Academy Award winning movies like Closed Mondays followed by Leo Tolstoys Martin the Cobbler, Washington Irwings Rip Van Winkle and Little Prince . Joan Gatz, who worked with Vinton and made claymation films A Claymation Christmas Celebration and the Academy Award winning film Mona Lisa Descending a Staircase'( 1992). Will Vintons classic creations included The Adventures of Mark Twain and Return of Oz. Vinton excelled himself through his advertising films in America which helped claymation to reach new heights of invention and sophistication. The renaissance in clay animation is due to the works of an animator from the age of 13, Peter Lord who has the reputation of having made his first animated film as a school boy. He has thus been involved with animation for more than three decades. Peter is credited with pioneering clay character- MORPH, a simple clay character developed by him when working with BBC that became a well known claymation character on television. It was a simple model yet displaying a personality and charm, a hallmark of Peters characters. Peter Lord and Sproxton focused on plasticine / clay animation, a medium rarely used in Europe. Peter along with Mr. David Sproxton, another pioneer in animation, founded Aardman Animations in 1976, named after a character in an early film of Peter. Peter and David were classmates in Working Grammer School for Boys. Over the years Peter and David, the cofounder of Aardman Studios, have produced many commercials, pop videos, childrens series and short films. Two of Peters own short films- Adam Wats Pig- have been nominated for Academy Awards. The other ground breaking films from Arrdman were Animated Conversations, Conversation Pieces, Confessions of a Foyer Girl and On Probation. The studio also specialised in giving human form to a variety of edible products such as singing sausage man, a fruit-and-vegetable man etc. Aardman have produced remarkable commercials using animation techniques -its characters like Douglas the Butterman for LURPAK are memorable. Peter has been working on a full length feature film with fellow Aardman animator, Nick Pick, son of a professional photographer and the most famous of the filmmakers who joined Aardman Studios. Nick Park completed A Grand Day Out for Aardman in 1989 featuring Wallace and Gromit which was nominated for Academy award-its sequel was The Wrong Tousers followed by A Close Shave which won Oscar and helped clay animation to scale unprecedented heights. Nick Park won his first Academy award for his fifth film in this series- Creature Comforts in 1990. Nick Park and Peter Lord produced the most ambitious project of Aardman Studios- Chicken Run in 2000. Chicken Run was perhaps the earliest of films that made significant use of computer animation techniques. Thanks to the pioneering efforts of Peter, Aardman Animations has become the preferred destination to many talents in animation. Peter Peake who produced Pib and Pog, Richard Goleszowski who made Indent (Rex the Hunt series), Dinosaur and Dreams and Steve Box are the notable animators from Aardman. Peter Lord, along with Mr. Brian Sibley, has authored the much sought after book titled Cracking Animation- a book which is supposed to have opened up the vistas to the World of 3D Animation. Nick Park, in his forward to this book, has commended that Peter and David were the first animators he met with expert knowledge and technique in animation and this book is a pioneering publication to impart detailed information and insights into computer animation. Brian Sibley, as a writer and broadcaster, pioneered in publishing numerous books and programmes in arts and animation. His books include Shadowlands: The Story of C.S. Lewis and Joy Davidman and The Disney Story. One of the pioneers in using computers and computer related technology in animation was an MIT student Ivan Sutherland who in 1951 created a computer drawing program, Sketchpad, further giving a boost to animation. Tron made in 1982 was a pioneering effort in computer animation. The rapid transition in the field of computer animation have seen innovative creators like Phil Tippet (Star Wars, Empire Strikes Back, Jurassic Park), Peter Jackson (The Lord of the Rings). Pixar Animation Studios has the distinction of having produced the first full length feature film animated totally on computers. While Pixar made marvels of computer animation like Toy Story (1995), followed by A Bugs Life and the super hit Finding Nemo, the rival Studio Dreamworks created Shrek series. Aardman also pioneered Pixillation, the modern technique of computer animation through their films Angry Kid. Certainly, the days ahead are going to witness breathtaking visuals and special effects as more and more technological innovations are pioneered by the large studios across the world.

Adam Smith :: Biography

Adam Smith The accumulation of capital and the division of labor are what Adam Smith believed to be the driving forces of economic growth in any nation. Smith found that when the division of labor had broken down the production of almost any commodity into a series of simple operations it was more natural for tools and machinery to be invented that replace hand labor and expedite the entire production process, thereby increasing worker productivity. This increased productivity combines with the growing capital stock to increse national output which enables society enjoy higher levels of consumption, constituting a genuine rise in the wealth of the nation according to Smith. Smith’s theory of economic growth can be formulated in a simple algerbraic equation. Where G equals the growth rate, K equals the ratio of productive to unproductive labor, P equals the productivity rate and W equals the real wage: G= KPW From this equation it becomes clear that for growth to occur, the product of the ratio of productive to unproductive labor and the productivity rate must increase more than the real wage. It would seem obvious that an easy way to do this would be to avoid any increase in the real wage, and indeed this view was accepted by many later classical economists who assumed that the nation had nothing to gain from an increase in wages. This was not Smith’s view at all. If an increase in capital enlarges the wages fund from which workers workers are paid, and if this increase is greater than the increase in the number of laborers, than it is only natural for the real wage to increase. On top of that Smith was a believer in what modern economists call the efficiency wage theories which hold that higher wages both enhance the vitality of the workers and reduce employee slacking and labor turnover, the latter two of which lower productivity and profitability. In the equation above it the product of K and P that is responsible for economic growth. It would appear then that K, the ratio of productive to unproductive labor, and P, the productivity rate are equally important factors in this determinance. However, Smith says that this is not so. The ratio of productive to unproductive labor does not change much over time, says Smith.

Modern: Technology and Social Networking Essay

â€Å"It has become appallingly obvious that our technology has exceeded our humanity.† – Albert Einstein  © 3.1. INTRODUCTION How are we to obtain the measure of the distance between basic research and the essential technologies of the modern age? Are we in the process of building the bridge that will unite the two domains or is the gulf between them growing wider by the day? Reconciling the interested parties in any definitive way remains difficult as each side can furnish multiple examples to support their perspective on the matter. Perhaps the best illumination can be provided through a retrospective approach that highlights numerous pertinent discoveries and in doing so clear up some of the fog that surrounds the debate. 3.2. BACKGROUND CONDITIONS Modern Technologies have made us complete slaves to machines. There is no work which cannot be done without the assistance of machines and there is not a single area of human activity where machines don’t have to be used. No one can deny the fact that gadgets have not only simplified our lives but also made them more comfortable and luxurious. But on the contrary man’s dependence on them has increased so much that we just cannot do without them at all. If cabs go off the road we cannot reach our destinations. No cooking without LPG cylinder or cooking flame. No, we can’t do even simple calculations, what to talk of washing without washing machine or electricity. If electricity fails, life for each one of us comes to a standstill as all gadgets are operated with it be it AC, TV, computer, a telephone, or any other modern appliance. Perhaps there were times when every work was done with hands be it grinding or travelling far off places. People were tough who could walk for miles and work ceaselessly. In modern times we can’t ascend the stairs without feeling a burden over our stamina. Modern gadgets have completely transformed the human life and health to a great extent. It a fact that machines have become like servants without which life comes to a standstill. Thus we can say that our dependence on modern gadgets has made us complete slaves to machines and that we have lost our spirit to work and vitality, vigor and stamina and therefore no more good health and cheerfulness and endurance prevails. This dependence on machines has transformed the very human psychology. â€Å"All the biggest technological inventions created by man-the airplane, the automobile, the computer- says little with his intelligence, but speaks volume about his laziness† A warm greetings of peace and love ladies and gentlemen We have come to an era where everything inconceivable for the past 50 years has been made possible and actual. Once a dream, now a commodity. Once a prospect, now outdated. Once a thing of imagination, now an item of sensation. We can say that everything, I mean, everything, is now made available and accessible. Modernization takes a great part in the life of people. Effects that these products brought affects every aspect of human life. The effects of these technologies can be bothh positive and negative. Technologies are designed to make man’s life more easier. Technology makes communication more faster and easier. With the modern and improved equipments in our hospitals and other medical facilities, it saves more innocent lives. Transportation is also improved and more faster. Modern technologies are also used for security purposes. Crimes and other cases are easily solved with the help of these gadgets. But did we ever think that it could also destroy and degrades our very own life? Benfits also has its price, while it makes our lives and works easier to deal with, it can also have disturbing impacts to our lives. While some technologies are used in security purposes, some are also used to destroy security and peacefulness in the society. Let’s talk about social networking now. Social networking is rampant these days. I am too have my own facebook account. Social networking helps communication more fasters, but are we aware of news regarding social networking? Man use social networkings to find prospective victims of their selfish desires. I had read news about these in the web. Security of users are not assured and privacy is being invaded. Women are more prone to this kind of schemes. Man is the only living specie with boundless needs, but thankfully, with immeasurable capacity to invent things and satisfy his insatiability. Technology accommodates every human and inhuman want – pampers every fancy of human fiber. Look around. People manipulate the environment to achieve practical goals – goals that respond to their physiological drive. Technology is always about satisfaction, gratification and indulgence; technology is about excess, as in excessive entertainment of human needs. While new technology can provide advances for humanity, it can also have disturbing impacts. Our youth is the most vulnerable to any unfavorable bearing technology may bring. With the flood of modern equipment, gadgets and devices, we are deprived of the basics and fundamentals and essentials of things; we are estranged by sound judgment to determine what is right or wrong, what is appropriate or not, what is effective and not so. With the advent of PlayStation and the likes, who would prefer to gather around grandmother’s cradle and listen to her old-age stories? Who would have the thought of grabbing a book and have the religious habit of reading when internet is inviting? Who would flip pages of encyclopedia if they can just surf at Wikipedia and other educational portals? Gone are the days for serenades – cellular phones radically take over the courtship activity; say goodbye to airmail – electronic mails revolutionize the mailing system.

Greek Mythology: Artemis Essay

Greek mythology is a religion filled with myths and legends used to tell stories that explain how some things came to be or to teach lessons. In Greek mythology, Artemis is a very popular goddess with many traits and attitudes therefore there are many myths regarding her in particular. Artemis is the goddess of the hunt, wilderness, wild animals, female fertility, childbirth, and the moon (â€Å"Artemis (Diana)†). Daughter of Zeus and Leto, Artemis is very strong very capable of defending herself against others. She is against men, marriage, and the limitations it sets for the rights of women (Regula). She is also mentioned and involved in many myths throughout Greek mythology. Artemis is the daughter of Zeus and Leto. In some stories, Artemis was thought to have been birthed by Demeter instead of Leto but in other Egyptian legends, its states that she was the offspring of Dionysus and Isis, while Leto was the caretaker. She also has a twin brother named Apollo (Atsma). They were both born under a palm tree at the same time on the island of Delos (Regula). In other stories, Artemis was supposedly brought into this world earlier than Apollo to nurse her mother through the birth of her other sibling (Atsma). Artemis is in charge of the moon, childbirth, wild animals, and female fertility (â€Å"Artemis (Diana)†) She was never fond with men. She promised to be a sworn virgin forever while she runs the forest with her fellow maiden friends. She has even been known to kill peeping men for spying on her while bathing (Regula). Artemis, being twins in all, was almost the feminine Apollo. He handled the young women while he was in charge of the young men. The symbols of her are the silver bow and arrow