2 URI NG NILALAMAN: INTERNAL - INTERNAL O YAONG INIHAHAIN SA LOOB NG KINABIBILANGANG ORGANISASYON. EKSTERNAL - ORGANISASYONG DI-KINABIBILANGAN NG PROPONENT.
2 URI NG PAG-AANYAYA O PAG-AALOK: SOLICITED- ISANG PANUKALANG PROYEKTO NA ISINAGAWA DAHIL MAY PABATID ANG ISANG ORGANISASYON SA KANILANG PANGANGAILANGAN NG ISANG PROPOSAL. TINATAWAG DIN ITONG INVITED O IMBITADO. UNSOLICITED - WALANG PABATID AT KUSA O NAGBABAKASAKALI LAMANG ANG PROPONENT. TINATAWAG DIN ITONG PROSPECTING.
2 URI NG HABA: MAIKLING PROYEKTO - HANGGANG 10 PAHINA NA KADALASAN AY NASA ANYONG LIHAM LAMANG. MAHABANG PROYEKTO - NAGLALAMAN NG MAHIGIT SA SAMPUNG PAHINA. MAGKAPAREHO LAMANG ANG NILALAMAN NG DALAWANG URI NG PROPOSAL, NAGIGING ELABORATED LAMANG AT SUMUSUNOD SA ISANG STRUCTURED FORMAT ANG MAHABANG BERSYON.
MGA TAGUBILIN SA PAGSULAT NG PANUKALANG PROYEKTO: 1. MAGPLANO NANG MAAGAP, 2. GAWIN ANG PAGPAPLANO NANG PANGKATAN, 3. MAGING REYALISTIKO SA GAGAWING PANUKALS, 4. MATUTO BILANG ISANG ORGANISASYON, 5. MAGING MAKATOTOHANAN AT TIYAK, 6. LIMITAHAN ANG PAGGAMIT NG TEKNIKAL NA JARGON, 7. PILIM ANG PORMAT NG PANUKSIANG MALINAW ET MEDALING BASAHIN, 8. ALAHANIN ANG PRAYORIDAD NG HIHINGIAN NG SUPORTANG PINANSIYAL, 9. GUMAMIT NG MGA SALITANG KILOS SA PAGSULAT NG PANUKALANG PROYEKTO.
PAGSULAT NG PANUKALANG PROYEKTO AT ANG MGA ELEMENTO NITO: 1. TITULO NG PROYEKTO, 2. NILALAMAN, 3. ABSTRAK, 4. KONTEKSTO, 5. KATWIRAN NG PROYEKTO(PAGPAPAHAYAG SA SULIRANIN, PRAYORIDAD NA PANGANGAILANGAN, INTERBENSYON, MAG-IIMPLEMENTANG ORGANISASYON), 6. LAYUNIN(DAPAT ISA LAMANG ANG MASAKLAW NA LAYUNIN NG PANUKALA, DAPAT NA KONEKTADO ANG MASAKLAW NA LAYUNIN SA BISYON NG PAGPAPAUNLAD O PAGPAPABUTI, AT DAPAT NAPATUTUNAYAN ANG MERITO NG KONTRIBUSYON NG LAYON SA BISYON), 7. TARGET NA BENEPISYARYO, 8. IMPLEMENTASYON NG PROYEKTO.
MGA DAPAT GAWIN BAGO ANG PAGSULAT NG PANUKALANG PROYEKTO: MGA DAPAT GAWIN BAGO ANG PAGSULAT NG PANUKALANG PROYEKTO: 1. PAG-INTERBYU SA DATI AT INAASAHANG TATANGGAP NG BENEPISYO, 2. PAGBALIK-TANAW SA MGA NAUNANG PANUKALANG PROYEKTO, 3. PAGBALIK-TANAW SA MGA ULAT SA EBALWASYON NG MGA PROYEKTO, 4. PAG-ORGANISA NG MGA FOCUS GROUP, 5. PAGTINGIN SA MGA DATOS ESTADISTIKA, 6. PAGKONSULTA SA MGA EKSPERTO, 7. PAGSASAGAWANG MGA SARBEY AT IBA PA, 8. PAGSASAGAWA NG MGA PULONG AT PORUM SA KOMUNIDAD.
2 URI NG NILALAMAN: INTERNAL - INTERNAL O YAONG INIHAHAIN SA LOOB NG KINABIBILANGANG ORGANISASYON. EKSTERNAL - ORGANISASYONG DI-KINABIBILANGAN NG PROPONENT.
2 URI NG PAG-AANYAYA O PAG-AALOK: SOLICITED- ISANG PANUKALANG PROYEKTO NA ISINAGAWA DAHIL MAY PABATID ANG ISANG ORGANISASYON SA KANILANG PANGANGAILANGAN NG ISANG PROPOSAL. TINATAWAG DIN ITONG INVITED O IMBITADO. UNSOLICITED - WALANG PABATID AT KUSA O NAGBABAKASAKALI LAMANG ANG PROPONENT. TINATAWAG DIN ITONG PROSPECTING.
2 URI NG HABA: MAIKLING PROYEKTO - HANGGANG 10 PAHINA NA KADALASAN AY NASA ANYONG LIHAM LAMANG. MAHABANG PROYEKTO - NAGLALAMAN NG MAHIGIT SA SAMPUNG PAHINA. MAGKAPAREHO LAMANG ANG NILALAMAN NG DALAWANG URI NG PROPOSAL, NAGIGING ELABORATED LAMANG AT SUMUSUNOD SA ISANG STRUCTURED FORMAT ANG MAHABANG BERSYON.
MGA TAGUBILIN SA PAGSULAT NG PANUKALANG PROYEKTO: 1. MAGPLANO NANG MAAGAP, 2. GAWIN ANG PAGPAPLANO NANG PANGKATAN, 3. MAGING REYALISTIKO SA GAGAWING PANUKALS, 4. MATUTO BILANG ISANG ORGANISASYON, 5. MAGING MAKATOTOHANAN AT TIYAK, 6. LIMITAHAN ANG PAGGAMIT NG TEKNIKAL NA JARGON, 7. PILIM ANG PORMAT NG PANUKSIANG MALINAW ET MEDALING BASAHIN, 8. ALAHANIN ANG PRAYORIDAD NG HIHINGIAN NG SUPORTANG PINANSIYAL, 9. GUMAMIT NG MGA SALITANG KILOS SA PAGSULAT NG PANUKALANG PROYEKTO.
PAGSULAT NG PANUKALANG PROYEKTO AT ANG MGA ELEMENTO NITO: 1. TITULO NG PROYEKTO, 2. NILALAMAN, 3. ABSTRAK, 4. KONTEKSTO, 5. KATWIRAN NG PROYEKTO(PAGPAPAHAYAG SA SULIRANIN, PRAYORIDAD NA PANGANGAILANGAN, INTERBENSYON, MAG-IIMPLEMENTANG ORGANISASYON), 6. LAYUNIN(DAPAT ISA LAMANG ANG MASAKLAW NA LAYUNIN NG PANUKALA, DAPAT NA KONEKTADO ANG MASAKLAW NA LAYUNIN SA BISYON NG PAGPAPAUNLAD O PAGPAPABUTI, AT DAPAT NAPATUTUNAYAN ANG MERITO NG KONTRIBUSYON NG LAYON SA BISYON), 7. TARGET NA BENEPISYARYO, 8. IMPLEMENTASYON NG PROYEKTO.
MGA DAPAT GAWIN BAGO ANG PAGSULAT NG PANUKALANG PROYEKTO: MGA DAPAT GAWIN BAGO ANG PAGSULAT NG PANUKALANG PROYEKTO: 1. PAG-INTERBYU SA DATI AT INAASAHANG TATANGGAP NG BENEPISYO, 2. PAGBALIK-TANAW SA MGA NAUNANG PANUKALANG PROYEKTO, 3. PAGBALIK-TANAW SA MGA ULAT SA EBALWASYON NG MGA PROYEKTO, 4. PAG-ORGANISA NG MGA FOCUS GROUP, 5. PAGTINGIN SA MGA DATOS ESTADISTIKA, 6. PAGKONSULTA SA MGA EKSPERTO, 7. PAGSASAGAWANG MGA SARBEY AT IBA PA, 8. PAGSASAGAWA NG MGA PULONG AT PORUM SA KOMUNIDAD.
Another, more everyday side of this law, but one that demonstrates its truth even further, is the law of scarcity in the science of economics. By withdrawing something from the market, you create instant value. In seventeenth-century Holland, the upper classes wanted to make the tulip more than just a beautiful flower they wanted it to be a kind of status symbol. Making the flower scarce, indeed almost impossible to obtain, they sparked what was later called tulipomania. A single flower was now worth more than its weight in gold. In our own century, similarly, the art dealer Joseph Duveen insisted on making the paintings he sold as scarce and rare as possible. To keep their prices elevated and their status high, he bought up whole collections and stored them in his basement. The paintings that he sold became more than just paintings they were fetish objects, their value increased by their rarity. "You can get all the pictures you want at fifty thousand dollars apiece that's easy," he once said. "But to get pictures at a quarter of a million apiece that wants doing!"
2 URI NG NILALAMAN: INTERNAL - INTERNAL O YAONG INIHAHAIN SA LOOB NG KINABIBILANGANG ORGANISASYON. EKSTERNAL - ORGANISASYONG DI-KINABIBILANGAN NG PROPONENT.
2 URI NG PAG-AANYAYA O PAG-AALOK: SOLICITED- ISANG PANUKALANG PROYEKTO NA ISINAGAWA DAHIL MAY PABATID ANG ISANG ORGANISASYON ES KANILANG PANGANGAILANGAN NG ISANG PROPOSAL. TINATAWAG DIN ITONG INVITED O IMBITADO. UNSOLICITED - WALANG PABATID AT KUSA O NAGBABAKASAKALI LAMANG ANG PROPONENT. TINATAWAG DIN ITONG PROSPECTING.
2 URI NG HABA: MAIKLING PROYEKTO - HANGGANG 10 PAHINA NA KADALASAN AY NASA ANYONG LIHAM LAMANG. MAHABANG PROYEKTO - NAGLALAMAN NG MAHIGIT SA SAMPUNG PAHINA. MAGKAPAREHO LAMANG ANG NILALAMAN NG DALAWANG URI NG PROPOSAL, NAGIGING ELABORATED LAMANG AT SUMUSUNOD SA ISANG STRUCTURED FORMAT ANG MAHABANG BERSYON.
MGA TAGUBILIN SA PAGSULAT NG PANUKALANG PROYEKTO: 1. MAGPLANO NANG MAAGAP, 2. GAWIN ANG PAGPAPLANO NANG PANGKATAN, 3. MAGING REYALISTIKO SA GAGAWING PANUKALS, 4. MATUTO BILANG ISANG ORGANISASYON, 5. MAGING MAKATOTOHANAN AT TIYAK, 6. LIMITAHAN ANG PAGGAMIT NG TEKNIKAL NA JARGON, 7. PILIM ANG PORMAT NG PANUKSIANG MALINAW ET MEDALING BASAHIN, 8. ALAHANIN ANG PRAYORIDAD NG HIHINGIAN NG SUPORTANG PINANSIYAL, 9. GUMAMIT NG MGA SALITANG KILOS SA PAGSULAT NG PANUKALANG PROYEKTO.
PAGSULAT NG PANUKALANG PROYEKTO AT ANG MGA ELEMENTO NITO: 1. TITULO NG PROYEKTO, 2. NILALAMAN, 3. ABSTRAK, 4. KONTEKSTO, 5. KATWIRAN NG PROYEKTO(PAGPAPAHAYAG SA SULIRANIN, PRAYORIDAD NA PANGANGAILANGAN, INTERBENSYON, MAG-IIMPLEMENTANG ORGANISASYON), 6. LAYUNIN(DAPAT ISA LAMANG ANG MASAKLAW NA LAYUNIN NG PANUKALA, DAPAT NA KONEKTADO ANG MASAKLAW NA LAYUNIN SA BISYON NG PAGPAPAUNLAD O PAGPAPABUTI, AT DAPAT NAPATUTUNAYAN ANG MERITO NG KONTRIBUSYON NG LAYON SA BISYON), 7. TARGET NA BENEPISYARYO, 8. IMPLEMENTASYON NG PROYEKTO.
MGA DAPAT GAWIN BAGO ANG PAGSULAT NG PANUKALANG PROYEKTO: MGA DAPAT GAWIN BAGO ANG PAGSULAT NG PANUKALANG PROYEKTO: 1. PAG-INTERBYU SA DATI AT INAASAHANG TATANGGAP NG BENEPISYO, 2. PAGBALIK-TANAW SA MGA NAUNANG PANUKALANG PROYEKTO, 3. PAGBALIK-TANAW SA MGA ULAT SA EBALWASYON NG MGA PROYEKTO, 4. PAG-ORGANISA NG MGA FOCUS GROUP, 5. PAGTINGIN SA MGA DATOS ESTADISTIKA, 6. PAGKONSULTA SA MGA EKSPERTO, 7. PAGSASAGAWANG MGA SARBEY AT IBA PA, 8. PAGSASAGAWA NG MGA PULONG AT PORUM SA KOMUNIDAD.
Napoleon was recognizing the law of absence and presence when he said, "If I am often seen at the theater, people will cease to notice me." Today, in a world inundated with presence through the flood of images, the game of withdrawal is all the more powerful. We rarely know when to withdraw anymore, and nothing seems private, so we are awed by anyone who is able to disappear by choice. Novelists J. D. Salinger and Thomas Pynchon have created cultlike followings by knowing when to disappear.
Once you die, everything about you will seem different. You will be surrounded by an instant aura of respect. People will remember their criticisms of you, their arguments with you, and will be filled with regret and guilt. They are missing a presence that will never return. But you do not have to wait until you die: By completely withdrawing for a while, you create a kind of death before death. And when you come back, it will be as if you had come back from the dead an air of resurrection will cling to you, and people will be relieved at your return. This is how Deioces made himself king.
The moment you allow yourself to be treated like anyone else, it is too late you are swallowed and digested. To prevent this you need to starve the other person of your presence. Force their respect by threatening them with the possibility that they will lose you for good; create a pattern of presence and absence.
The truth of this law can most easily be appreciated in matters of love and seduction. In the beginning stages of an affair, the lover's absence stimulates your imagination, forming a sort of aura around him or her. But this aura fades when you know too much when your imagination no longer has room to roam. The loved one becomes a person like anyone else, a person whose presence is taken for granted. This is why the seventeenth-century French courtesan Ninon de Lenclos advised constant feints at withdrawal from one's lover. "Love never dies of starvation," she wrote, "but often of indigestion."
Here's a structured outline of topics and sub-topics for a beginner's course in creative coding with Processing, organized into three main sections to provide a clear progression.
Section 1: Foundations of Creative Coding
.1 Introduction to Creative Coding, What is Creative Coding?, Art vs. Creative Coding, Examples of Creative Coding Applications, Overview of Processing and p5.js
.2 Setting Up the Development Environment, Installing Processing IDE (or p5.js for web), Exploring the IDE interface, Using the editor, console, and tools, Overview of helpful resources and libraries
.3 Basic Programming Concepts, Variables and Data Types, Control Structures: If statements and loops, Functions and Scope, Basics of Object-Oriented Programming (optional)
.4 Drawing Basics, Coordinate System and Canvas Setup, Drawing Shapes: Lines, Rectangles, Ellipses, etc., Colors: RGB, HSB, and transparency, Stroke, Fill, and Customization
.5 Creating a Visual Sketch, Understanding the `setup()` and `draw()` functions, Using `background()` for frame-by-frame control, Adding interactivity with mouse and keyboard input, Saving sketches and exporting images
Section 2: Animation and Interactivity
2.1 Animation Basics, Understanding Frames and Frame Rate, Creating Simple Animations, Positioning and Movement of Objects, Basic easing and interpolation techniques
2.2 Introduction to Transformations, Translation, Rotation, and Scaling, Working with Push and Pop Matrix, Rotating and scaling objects in 2D space
2.3 Interaction with User Input, Detecting mouse and keyboard events, Responding to clicks, drags, and key presses, Creating responsive elements (buttons, sliders), Using the `mouseX`, `mouseY`, and `keyPressed` variables
2.4 Creating Simple Interactive Art, Designing interactive shapes and patterns, Creating randomized patterns and shapes, Experimenting with randomness and control
2.5 Introduction to Generative Art, What is Generative Art?, Using loops and randomness in art creation, Introduction to Perlin noise for smooth randomness, Exploring pattern-making and algorithmic designs
2.6 Sound and Visual Integration (optional), Using the `minim` or p5.sound library, Adding sound effects and simple audio visualization, Basics of sound-reactive visualizations
Section 3: Exploring Depth, Complexity, and Projects
3.1 Working with Layers and Composition, Organizing visuals in layers, Using transparency and blend modes, Creating depth and visual hierarchy
3.2 3D Basics (optional for beginners), Introduction to 3D coordinates and perspective, Basic shapes in 3D: Boxes, spheres, planes, Understanding the camera and lighting in 3D
3.3 Motion and Particle Systems, Introduction to particle systems, Using vectors for physics-based motion, Simple forces: gravity, wind, and friction
3.4 Exploring Text and Typography, Rendering text and custom fonts, Dynamic text effects and typography, Using text in interactive pieces
3.5 Building a Creative Coding Project, Planning and ideation: From concept to code, Choosing colors, shapes, and style, Working iteratively and improving sketches, Adding finishing touches: polish and presentation
3.6 Sharing and Publishing Your Work, Exporting images, animations, and videos, Using the Processing web editor for p5.js projects, Sharing online: platforms like OpenProcessing, GitHub, Collecting feedback and iterating on your project
This structured outline gradually introduces the basics, moving from core concepts and drawing to animation, interactivity, and finally, project development. This approach encourages learning foundational skills first, then exploring creative expression and completing a final project.
INTERNAL - Internal o yaong inihahain sa loob ng kinabibilangang organisasyon.
EKSTERNAL - organisasyong di-kinabibilangan ng proponent.
INTERNAL
Internal o yaong inihahain sa loob ng kinabibilangang organisasyon.
EKSTERNAL
organisasyong di-kinabibilangan ng proponent.
Ito ay dokumentong nagtatala ng mahahalagang diskusyon at desisyon
Dapat ibinabatay sa agendang unang inihanda ng tagapangulo o pinuno ng lipon
Maaaring gawin ito ng kalihim , typist, o reporter sa korte.
Dapat ding maikli at tuwiran ito
Dapat walang paligoy-ligoy, walang dagdag-bawas sa dokumento, at hindi madrama
Dapat ito ay detalyado, nirepaso, at hindi kakikitaan ng katha o pagka-bias sa pagsulat
Oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad. Road, road, road, road, road, road, road, road, road, road, road, road, road, road, road, road. Oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad oad. Download, download, download, download, download, download, download, download, download. Vehicles needed on the road, vehicles needed on the road, vehicles needed on the road, vehicles needed on the road, vehicles needed on the road, vehicles needed on the the road,
family mother father sister brother man woman boy girl friend name surname age person baby child teenager adult active friendly funny kind smart lazy shy rude passive greedy pretty short tall cute ugly hungry thirsty tired dizzy happy unhappy calm nervous love hope care fear anger good bad easy difficult important unimportant
family mother father
Keys To Power
Everything in the world depends on absence and presence. A strong presence will draw power and attention to you you shine more brightly than those around you. But a point is inevitably reached where too much presence creates the opposite effect: The more you are seen and heard from, the more your value degrades. You become a habit. No matter how hard you try to be different, subtly, without your knowing why, people respect you less and less. At the right moment you must learn to withdraw yourself before they unconsciously push you away. It is a game of hide-and-seek.
A man said to a Dervish: "Why do I not see you more often?" The Dervish replied, "Because the words 'Why have you not been to see me?' are sweeter to my ear than the words 'Why have you come again?'"
Mulla Jami, quoted in Idries Shah's Caravan of Dreams, 1968
Once Deioces had discovered the truth of this law, he carried it to its ultimate realization. In the palace his people had built for him, none could see him except a few courtiers, and those only rarely. As Herodotus wrote, "There was a risk that if they saw him habitually, it might lead to jealousy and resentment, and plots would follow; but if nobody saw him, the legend would grow that he was a being of a different order from mere men."
At the height of his power as a judge, however, Deioces realized the truth of the law of absence and presence: By serving so many clients, he had become too noticeable, too available, and had lost the respect he had earlier enjoyed. People were taking his services for granted. The only way to regain the veneration and power he wanted was to withdraw completely, and let the Medes taste what life was like without him. As he expected, they came begging for him to rule.
In a land plagued with anarchy, the most powerful man is the judge and arbiter. So Deioces began his career by making his reputation as a man of impeccable fairness.
