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If we include all elements in the summation, that is, also those on the rear side, the rear elements will contribute only to the sidelobe region. It seems, therefore, logical to switch off those elements. Another approach is to use them just for shaping of the sidelobe region. Figure 8.9 shows the pattern according to Equation (8.5) for N = 16, with equal amplitudes and the array phased for a 30 scan angle. The element spacing is half a wavelength. The small circles indicate the locations of the active elements. If the elements on the rear side are turned off, we get the pattern in Figure 8.10. The two distinct sidelobes at about 120 off the main beam are parts of two grating lobes. They appear, in spite of the half-wavelength spacing, because the edge regions of the 180 active arc are scanned almost to endfire. A denser element spacing eliminates the grating lobe problem, as shown in Figure 8.11, where we have taken twice as many elements; thus, d/ = 0.25 . We have now again 16 active elements, but on half the circumference. Another way to reduce the grating lobes is to scan less, that is, to reduce the active sector. Figure 8.12 shows the result with only a 120 active sector. The element spacing is

The objective of this chapter was to introduce the clinician to a range of directives that focused on the maturing individual s ability to move beyond egocentricity toward social reciprocity. To this end, interventions were embedded within the framework of Erikson s psychosocial stages in order to illustrate the process of growth and maturity. However, I must stress that directives do not need to conform to these principles. In fact, art therapy interventions frequently arise from an individual s verbal statements during the session, and it is the therapist s responsibility to decide whether the use of directives will build upon the client s verbal statements or will be decided prior to the therapeutic hour to accommodate transitional stages. Ultimately, the decisive factor when choosing a directive should be the comprehensive needs of the client. As a form of intervention, directives enhance the growth process as well as offering support where ego functioning is present but tenuous. This distinction is an important consideration for any clinician to understand, for it is the social trust formed and developed through the curative involvement of therapist and client that creates intimacy. And it is this intimacy that paves the way for insight as the ego is able to endure resultant environmental con ict. As a basis for communication, art therapy directives encourage symbolic and creative representations, stimulate verbal expression, offer a controlled situation to explore and practice new modes of thinking, and provide an outlet for unconscious thoughts and feelings. In short, art has the power to serve both expressive and interpretive functions of development. With an emphasis on integration and identity formation, directives can heighten the interaction between the individual and his or her environment as mature thinking develops.

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Reaching a wider audience: With the same essential content, Flash gives you the flexibility of reaching a wider audience than if you were developing for only one medium. You have a suite of options for the client to consider, where they can pick and choose which mediums to deliver to without necessarily having a big impact on the bottom line. They come in the door wanting to do a 30 second television spot, and the same file could be adjusted and delivered on the Web at a better quality than if traditional video had been used for Web delivery. New promotional/revenue opportunities: When your starting point is Flash, the medium is an ideal way of setting the stage for promotions. For example, your primary goal may be delivering an animated segment on television or on the Web. But you could also take the video and develop a DVD for fans, or a portfolio DVD to showcase the studio's offerings. The promotional potential of content developed with Flash is a publicist's dream, because it can go in so many directions even if it's just being given away at conventions on business card CDs.

26: Programming Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541 27: Managing Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 567

onClipEvent (mouseDown) { if(this.hitTest(_root._xmouse,_root._ymouse, true) && this._name != dog_1 ){ this.startDrag (true, 0, 0, 550, 400); } } onClipEvent (mouseUp) { if(this.hitTest(_root._xmouse,_root._ymouse, true)){ this.stopDrag (); } if(eval(this._dropTarget) == _root.parkSign){ this.removeMovieClip(); } }

JPEG (Joint Photographic Experts Group) Another compressed image format used for Web graphics. Some image information might be lost during compression. MIDI (Musical Instrument Digital Interface) A musical description language used to control various electronic musical instruments. MIDI files are instrument-only sound files. MP3 (MPEG-1 Layer 3 audio) MPEG-1 (Motion Pictures Expert Group) MPEG-2 (Motion Pictures Expert Group) A widely used format for compressing and distributing songs. A common format for distributing video clips. A common format for distributing higher-quality video clips (used for SVCD and DVD video). Requires an MPEG-2 codec to be installed. A common format for distributing highly compressed video, such as DivX, xvid, and the content for the video iPod.

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