Earning Trust vs. Learning Trust How Are You Doing

Earning Trust vs. Learning Trust How Are You Doing â€Å"Stack Trust† I remember a body work session, specifically a Network Spinal Analysis (NSA) session, that I had many years ago. Donny Epstein, the founder of NSA, positioned my head and made contact with a specific point in my spine. â€Å"Stack trust,† he said. I don’t know if it was the point he touched or the command he gave me to â€Å"stack trust,† but felt a huge shift and broke out in tears. Trust is a big deal. I have always thought of myself as a trusting person, willing to share things about myself with strangers. I don’t expect people to cheat or lie and I have done things like rent my apartment to Airbnb guests, leaving them alone in my house with all my belongings. When a friend doubted whether I was telling the truth in a recent situation, I was hurt and angry. Not only do I trust people to tell the truth about things, but I also like to think people trust my word. Learning to Trust Can trust be learned? The answer, apparently, is yes. I recently received a link to what I thought was an article about how to teach trust. It turns out it was an advertisement for a Franklin Covey training, leading me not to trust Franklin Covey all that much for having misled me. Nevertheless, the idea that trust can be taught is fascinating to me and rings true. Google searches for â€Å"Harvard Business Review Trust and Teams† and â€Å"Harvard Business Review Teaching Trust† gave me a plethora of information on how we become trusting and on how to build trust in a business. I must confess that there are some areas where my trust level is very low, and where I have some definite growing to do. When I am in charge of a project, for instance, and ask someone to take responsibility for something, I often don’t trust them to perform. If they do the job and do it well, great. They have â€Å"proven themselves† to me. But if they don’t do the job or do it well, my first instinct is that I can’t rely on them and need to do it myself. If it’s something I don’t know how to do, I easily become scared and angry. I was amazed on a recent project that when a team member did not do a task, all I had to do was write him a note and he did it immediately! I had made up that because this person was usually very responsible, and had a ton on his plate at the time, he was overloaded and would not be able to it. Where was my sense of trust? I’ve had multiple opportunities to practice trust as my new website has launched, along with a new email and client management system, Infusionsoft. As many of you have experienced, we faced many breakdowns in the implementation process. Incorrect and duplicate emails went out to my list members. Pages on my site had missing and incorrect content. New clients were directed to pages where they received 404 errors instead of the documents they needed. Leaning In While I have admittedly done my share of stressing out and blaming about all these breakdowns (my web developers can â€Å"trust† me to do that), I have also leaned on the people who can fix the issues. They have come through for me every time, including going the extra mile to give my clients assistance on weekends and on short notice. I’m learning, slowly but surely, that when someone doesn’t do something they said they would do, or doesn’t do it well, the first step is to ask them to do it or coach them to do it better. It’s amazing how well that works! Commensurate Trust Of course, some people truly are not trustworthy, and those are the people not to do business with or form close relationships with. The term â€Å"commensurate trust,† which I learned recently, tells me that one trustworthy person in a relationship, whether business or personal, does not a trusting relationship make. Both parties must be able to handle a commensurate level of responsibility, truth, and vulnerability for the relationship to work. I will be working probably for the rest of my life on my own process of â€Å"stacking trust† – becoming trusting myself, and demanding trustworthiness of others. As I have discovered, I have a lot to learn.

Out of Pocket and Singing in Tune

Out of Pocket and Singing in Tune Out of Pocket and Singing in Tune Out of Pocket and Singing in Tune By Maeve Maddox When I heard someone on NPR say that someone â€Å"couldn’t hold a tune,† in the sense of â€Å"couldn’t carry a tune,† I assumed it was an isolated misuse of the more common expression. Then I did a Google search for â€Å"hold a tune† and got more than half a million hits. Here are a few: Oh, my God, can she really be so oblivious to the fact that she cannot hold a tune? –Otago Daily Times (New Zealand) Even if your child cannot hold a tune, the fact that he loves to sing and is showing an interest in music is wonderful! –LeapFrog advertising site (California company) But thats terrifying me. I cant hold a tune to save my life. God knows how Im going to do that. –Tom Hardy (London-born actor) If I could hold a tune, I’d probably sing to her. –lyrics, Fly Union (American hip hop group from Ohio) I scurried to the Ngram viewer and discovered that â€Å"hold a tune† has been making inroads since the 1960s, although it is still way below the more common expression, â€Å"to carry a tune.† Its use is more noticeable in British English than in American. For those unfamiliar with either idiom, the meaning is â€Å"to sing on key† or â€Å"to sing in tune.† Time will tell if the altered expression has staying power. â€Å"Hold† doesn’t work as well with the colorfully embroidered version that adds â€Å"in a bucket.† For example, â€Å"Florence Foster Jenkins couldn’t carry a tune in a bucket.† out of pocket The first time I heard the expression â€Å"out of pocket† was when I lived in England. I’d bought something to use with my English class and the headmistress reimbursed me because she didn’t want me to be â€Å"out of pocket.† In this context, an â€Å"out-of-pocket† expense is something one pays for personally. For example, one might have an expense account that covered food purchases, but wine would be an â€Å"out-of-pocket† expense. When I returned to the United States, I was bewildered one day when the woman I was working for stopped at my desk to say that she’d be â€Å"out of pocket for about two hours† and walked out the door. As the expression was one she was fond of using, I soon figured out that by â€Å"out of pocket† she meant â€Å"unavailable, out of reach.† In browsing for â€Å"out-of-pocket† examples, I found that, although the â€Å"unavailable† meaning is of U.S. origin and may be found in some newspapers, the financial sense dominates with American speakers, especially on the topic of health care: After I pay $14,523, I’ll incur charges up to an out-of-pocket maximum of $12,700 for a total of $22,700. I wouldnt pay out of pocket for a test my doctor doesnt think I need. We paid out of pocket for a private nurse coordinator service in New Jersey. I rear-ended someone–Should I pay it out of pocket or let them report it to insurance? I went out of pocket for this treat. A Forbes commentator on annoying business jargon notes disapprovingly, â€Å"Many auto-reply e-mails now carry the phrase: Im out of pocket until next week.† The money-related â€Å"out of pocket† dates from 1679. The earliest documentation of the â€Å"unavailable† use is in an O Henry story: Just now she is out of pocket. And I shall find her as soon as I can. –â€Å"Buried Treasure,† 1908. Now that I have these two uses clear, I’ve come across an example that has me bewildered all over again: Youre talkin out of pocket when you told me that Ive changed –Mac Lethal Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Expressions category, check our popular posts, or choose a related post below:60 Synonyms for â€Å"Walk†Work of Art TitlesEpidemic vs. Pandemic vs. Endemic

Enterprise Resource Planning System Research Paper

Enterprise Resource Planning System - Research Paper Example An information system is a collection of structured elements that collect, process, store, and transfer processed information to uphold decision making and control in an organization (Laudon & Laudon, 1999, p.7; Hoffer et al., 2007, p.429). On the other hand, an enterprise resource planning (ERP) system is an entirely integrated information system that includes most fundamental tasks essential for a large size corporation. Additionally, an ERP system is built and run on a common database shared by the basic business activities. In addition, an ERP solution presents the facilities of an information system for the whole organization. However, a corporation must redesign its business processes to arrange with the ERP system. Furthermore, the implementation and integration of an ERP usually considered as the biggest information system project ever completed by a corporation (Whitten et al., 2000, p.23; Ehie & Madsen, 2005; Vlachopoulou & Manthou, 2006; Hitt et al., 2002). (Stair & Reynolds, 2003, p.22), discuss the enterprise resource planning (ERP) system, according to them, an ERPS is accomplished for running a corporation’s fundamental business processes for whole multi-site, international corporation. In addition, the range of activities performed by an ERP system differs from organization to organization, since, a majority of ERP systems offer integrated software to facilitate the finance and manufacturing business processes of a corporation. However, in this scenario, a demand forecast is set up that determines the customer needs for a number of weeks.

Write a Constitution Essay Example | Topics and Well Written Essays - 500 words

Write a Constitution - Essay Example The first area of consideration is the means of introducing laws. All group members will be given the chance to propose new laws or regulations at the meetings. This is similar to the United States system that allows Congressmen to introduce laws ("How a bill," 2012). In terms of repealing laws, individuals also have the option of introducing measures to repeal laws or regulations that had previously been passed. Once a law has been introduced by one of the group members there will then be a discussion about the specific law. Proponents and opponents of the law will be given a chance to speak about the reasons they support and don’t support it. After these discussions have taken place group members will be given a chance to vote on whether the law should be passed or rejected. Through majority vote the law will either be passed or denied. All members of the creative writing student organization will be treated as intellectual equals. This is an idea adopted from the United States Constitution ("Constitution of the," 2012). This, however, does not extend to decision-making power and group responsibilities. In these regards, the club will be divided through officer positions. There will be a President of the club that is responsible for organizing the meetings and setting the specific agenda for the day. The Secretary of the club will be responsible for taking notes about the meetings and reciting these notes at the new meetings. The Treasurer of the club will be responsible for financial matters, most notably those that involve the club’s literary magazine. Finally, all general members or officers of the club will be able to introduce ideas or general concepts to the specific project the group is focusing on. The emphasis on intellectual equality is a major consideration within the group. Many organized group e nvironments form and allow a select number of voices to dominate the discussion. Rather than allowing such forms of group dominance, the

Organising a Discursive Essay about Car Use Essay Example for Free

Organising a Discursive Essay about Car Use Essay

Merchant of Venice Essay: Universal Elements -- Merchant Venice Essays

The Universal Elements of Merchant of Venice  Ã‚      Shakespeare’s Merchant of Venice contains many themes and elements that are considered timeless or universal. Samuel Taylor Coleridge defines a timeless or universal element as a â€Å"representation of men in all ages and all times.†Ã‚   A universal element is relevant to the life of every human being – it is universal. The first major theme that plays an important role in the play is the Christians’ prejudice against the Jews. A second important theme is the attitude toward money.   Perhaps the most important theme of the play is the love between people. This love can occur between the same sex, or the opposite sex, platonic or romantic.   In Merchant of Venice, the three timeless elements are prejudice, money, and love.    The first theme is that religious intolerance and prejudice play destructive roles in the book. Even to this day, there is racism and prejudice in schools about race and religion. Antonio, as a true Christian, has often condemned moneylenders. He knows that since the early twelfth century, Christians are forbidden by the Church to lend money for profit. Shylock, as a Jew, does not consider his money-lending and overwhelming interest to be a sin in any manner. In fact, he considers his earnings through money lending as the gift of God. He appeals to and quotes the Scriptures in defense of his profession. Shylock and the other Jewish moneylenders are essential to the prosperity of the merchant community, but they are also outcasts as human beings and as Jews.   Shylock often shows his dislike to the Christians; â€Å"I hate him for he is a Christian†, (Act I, Sc. III, L. 38). The Christians ridicule and hate the Jewish moneylende... ...o, who she cares about for the sake of Bassanio. Jessica gives up her family ties to marry Lorenzo. Even Gratiano and Nerissa are devoted to one another. The play is truly about the happiness that true love brings.    In this play, three timeless elements that are very relevant today and throughout history are prejudice, money, and love. Shakespeare included many examples of all these themes in his play. Bassanio, Antonio, Gratiano, Lorenzo, Portia, and Shylock are the main representatives of these themes. You could take anyone in history and compare him or her to anyone in this play. An example of this would be the prejudice and mean spirit that both Shylock and Hitler share. Shakespeare did a very good job showing these elements in real life scenarios. Samuel Taylor Coleridge put it perfectly; this play is a â€Å"representation of men in all ages and all times.†

Advantages and disadvantages of the civil war Essay

In 1861, when the Civil War broke out, the Confederacy and the Union both had numerous advantages and disadvantages and there were multiple women and slaves that contributed to the war. To begin with, the Confederacy had its significant advantages that helped it push through the war, one of which was its strong leaders. Many believed â€Å"Stonewall† Jackson and Robert E. Lee were some of the best officers even before the war. Also, they had the advantage of fighting on their own soil. They knew the terrain better that of their counterparts. A psychological aspect could be that fighting for their land, for their families, could have been the driving force or motivation. Moreover, they have longer coast lines which increased the travel time and decreased the chances of blockade or capturing of ports and major cities. On the other hand, the Confederacy did have several disadvantages as well. First, they were not recognized by Europe at all which limited their foreign aid. The Confederacy also had minimal factory production and industry. At the beginning of the war, the Confederacy had only one-ninth the industrial capacity of the Union. But that statistic was misleading. In 1860, the North manufactured 97 percent of the country’s firearms, 96 percent of its railroad locomotives, 94 percent of its cloth, 93 percent of its pig iron, and over 90 percent of its boots and shoes. There was not even one rifleworks in the entire South. The railroad system that the Union had was far more sophisticated than that of the Confederacy, having over ten thousand more miles of railroad tracks that were, in itself, more modern. Due to the large amounts of manufacturing businesses and the railroad system to move the products, the Union, unlike the Confederacy, could produce and ship weapons, clothing, and food at a much more efficient rate than their counterparts. Also, because they were a newly founded â€Å"sovereign state†, the Confederacy did not have a professional, organized standing army and navy. The army and navy of the Federal United States were already organized and ready for war. Since, The Union had a naval advantage and the confederacy had Long Coastlines that were hard to defend,the union could block the Confederate’s ports for supplies. Furthermore, the economy of the Confederacy was destroyed by the Union. Second, the Union also had its many advantages as well as some disadvantages. One of the North’s significant advantages in fighting the war was that the industrial, urbanized Northern states held a significant edge in the population and manpower. The North had over twenty-two million people whereas the South had just over nine million (three and a half million of whom were blacks). Additionally, the Union had already an more experienced government since it was around for some years, when on the contrary, the Confederate government was fresh and new. Also, as mentioned before the Union was far more industrialized with its vast networks of factories, railroads, and ships which exceed any amount of industrialization in the south. This aspect gave the Union of being able to transport supplies and equipment faster and finance the war much better than the Confederacy. Finally, as it was also mentioned previously, the Union did have a large navy that allowed them to block major southern ports. During the horrible four years of the Civil War, women who did not own property, did not have the right to vote, or did not have many civil liberties came together in support of the war efforts. Women were so eager to help that they hid their identity by dressing as men, taking up masculine names, and took up arms of their own. They cared for sick and dying soldiers, risked their lives to gather information as spies, cooked, cleaned and care for children. The tenacity and love with which these women served their country was astounding, and yet often overlooked. About 3,000 women served as Union army nurses. Dorthea Dix was one women who was acknowledged for being the Nation’s first superintendent of women nurses. Clara Barton was recognized for being the first women to work in the U.S. Patent Office and was given the name â€Å"Angel of the Battlefield.† Sally Tompkins was a Confederate army nurse commissioned as captain because she performed her hospital duties so heroically. Finally, Belle Boyd was honored for being a brave Confederate nurse and spy. After President Lincoln presented the Emancipation proclamation, which held a section for the enlistment of African Americans into the Union Army, African American men rushed to enlist. This time they were accepted into all-black units. The first of these was the Fifty-fourth Massachusetts Colored Regiment, led by white officer Robert Gould Shaw. Their heroism in combat put to rest worries over the willingness of black soldiers to fight. Soon other regiments were being formed, and in May 1863 the War Department established the Bureau of Colored Troops. Black recruiters, many of them abolitionists such as Frederick Douglass, Henry Highland Garnet, and Mary Ann Shadd Cary, brought in troops from throughout the North. Douglass proclaimed, â€Å"I urge you to fly to arms and smite with death the power that would bury the government and your liberty in the same hopeless grave.† Others, such as Harriet Tubman, recruited in the South. On March 6, 1863, the Secretary of War was informed that â€Å"seven hundred and fifty blacks who were waiting for an opportunity to join the Union Army had been rescued from slavery under the leadership of Harriet Ross Tubman†¦.† By the end of the war more than 186,000 black soldiers had joined the Union army; 93,000 from the Confederate states, 40,000 from the border slave states, and 53,000 from the free states. They participated in about 500 Civil War battles and skirmishes. Although they were treated unequally they continued to volunteer. For example, white privates in the Union army were paid $13 monthly with and extra $3.50 clothes allowance, while black privates in the Union were only paid $10 monthly WITHOUT an extra clothes allowance. It wasn’t until 1864 that Congress equalized the pay for the black and white soldiers. Also, the mortality rate of blacks were higher than that of whites due to the fact that they were assigned to labor duty in the germ-ridden garrisons where they were likely to ctach typhoid, pneumonia, malaria, or other diseases.

Succubus Shadows Chapter 23

â€Å"Where've you been?† asked Roman. I hadn't landed in Seattle until later the next day. Turns out getting flights from Mexico to the Pacific Northwest can take a little longer than immortal teleportation, particularly on short notice. â€Å"To the edge of the known world and back,† I said, falling onto the couch. Both cats came to me, which I took with some smugness, seeing as they usually fawned all over Roman. â€Å"So, what, South Dakota?† I made a face and covered my eyes with one arm. My trip to locate Seth had only taken twenty-four hours, but really, that was a lot to endure in so short a time. â€Å"I found Seth.† â€Å"Oh.† Roman's enthusiasm dimmed considerably. â€Å"I guess his disappearance wasn't as milk carton?Cworthy as Maddie made it sound.† â€Å"Well, I had to – literally – call in a demonic favor to hunt him down.† â€Å"And? Are you guys running into the sunset together now that he's free?† The mention of sunset made me flinch, recalling how Seth and I had held each other on the beach. â€Å"Not quite. I†¦left him.† â€Å"What's that mean exactly?† I tried to explain all that had gone down with Seth, but it wasn't easy. It was almost too much for my brain to wade through, let alone articulate to someone else. When I finished, I felt even more exhausted than before. â€Å"So that's it? You're never going to see each other again?† Roman's voice was skeptical. â€Å"He said he's not coming back, and I didn't stick around. So, yeah.† â€Å"I have a hard time believing that. Is he just going to live at that hotel permanently? Even he can't make that much money.† â€Å"No, he mentioned at dinner that he'd be settling down somewhere else. He just hasn't decided where.† All was quiet between us for a minute or so. The only sounds were the traffic outside and Aubrey purring near my ear. At last, Roman asked, â€Å"Are you okay?† I glanced over at him in surprise. â€Å"What do you mean?† â€Å"Exactly what I said. This can't be easy on you. I mean, you haven't even had any downtime since the Oneroi.† I don't know why his words caught me by surprise. I guess it was because amidst all the woes that were always going on in my life, few people ever asked if I was okay. Maybe they'd given up asking because depressing things were so commonplace for me. How weird, I thought, that Roman had swung from sociopathic to compassionate while Seth had fallen down a darker path. Of course, I had no hard evidence that Roman wasn't actually a compassionate sociopath. Still, I gave him a smile of gratitude. â€Å"I am okay – or will be eventually. Thanks.† There must have been something in my smile that gave him hope or just made him feel inspired because his own smile grew radiant. I'd forgotten just how beautiful it was, the way it could light up his face. We left dangerous topics alone after that but spent the rest of the night hanging out together. I wasn't totally okay by any means, but it was nice to simply be ordinary for a while and free of drama. I wondered if that's what my life would be like now – and what role Roman would play. Still, adjusting to a world without Seth wasn't easy over the next few days. Even when he'd been with Maddie, even when the sight of him had caused me pain, he'd still been there. And I'd known he was there. Now, the knowledge that he was gone and that he wasn't coming back left a strange emptiness in my heart, even as the rest of my life began to stabilize. I returned to work, a good thing for the store because Maddie had taken some much-needed time off. I checked on her via Doug and offered to go to her if needed, despite knowing I wouldn't enjoy listening to her mourn for Seth. Of course, since I was doing the same thing, maybe I shouldn't have been so quick to turn down commiseration. â€Å"She just wants to be alone right now,† Doug said, leaning in my doorway. He had no joke today, none of his usual wackiness. â€Å"Still upset – but she's a trouper. I'll let you know when she's ready to see anyone.† â€Å"Okay.† My heart went out to her. â€Å"Keep me posted.† It was nearing closing time, and I went out to the store's main part to help with some of the evening tasks. A few of the staff members were already going home. One of them was Gabrielle. And she was leaving with Cody. â€Å"What's going on?† I whispered to him while she went to get her purse. He wasn't even wearing black. â€Å"We've gone out a couple times since†¦well, while you've been distracted.† He sounded apologetic for his happiness. â€Å"That's fantastic,† I said. Love was managing to survive somewhere in this world. â€Å"What changed her mind? The concert?† â€Å"A little. I think that opened the door. She's really excited that I'll only hang out at night. And that I can show her real vampires.† â€Å"What? You managed to convince her Peter was a vampire?† To the average human, that would be even less likely than Cody being a vampire. â€Å"No, of course not.† His lovesick expression hardened a little. â€Å"But Milton – you know that vampire from Eugene? – he's been in town this week. Claims he's visiting friends.† Vampires were very territorial about their hunting grounds, even ones like Peter and Cody who rarely took victims and didn't kill when they did. â€Å"He hasn't caused any trouble, but I don't buy that vacation thing. It's as ridiculous as Simone just visiting.† â€Å"She is gone, right?† That had been the rumor, and seeing as there'd been no wacky mishaps with two Georginas, I had to believe it was true. I'd never know what her motivation had been. â€Å"Yup, as far as I know. Anyway. Milton. He sure does look like a vampire. Have you seen him? He's like a modern-day Nosferatu. I took Gabrielle when I went to spy on him at a dance club, and she got really excited. She thinks I have some special knack for finding vampires – at least wannabe ones.† â€Å"Huh,† I said. â€Å"That's somehow bizarre, funny, and cute all at the same time. Maybe a little disturbing.† He grinned at that, showing his fangs. â€Å"What's she think of the teeth? You can't hide those if you're up close and personal all the time.† â€Å"Told her I had them cosmetically done.† He looked very pleased. â€Å"She thinks it's hot.† His new romance left me in a good mood when I finally took off. I stepped outside into the chilly night, surprised I didn't mind it so much. Something about the clean, brisk air seemed refreshing to me, and for the first time in a while, I regretted moving out of Queen Anne. It would have been nice to walk home on this early winter evening, instead of climbing into the plastic and metal of my car. There was nothing to be done for it, though. I turned the ignition and checked my cell phone before heading out of the parking lot. I often left the ringer off while working, and three calls had come in for me. I had a voice mail for each. The first was from a few hours ago, from Erik. He spoke in his usual genteel tones, but I could hear some urgency underneath. He told me he'd come up with some theories about my contract and wanted to talk to me soon. The next message was from Roman, from about an hour ago. He knew my work schedule perfectly and was calling to see what kind of takeout I wanted. If I called as I was leaving, he said, he'd probably have food by the time I walked in. I felt my lips turn into a smile at that – one that promptly dropped when I heard the last message. It had come in five minutes ago and was from Erik again. â€Å"Georgina – â€Å" That was it. Just my name, tense and strangled. After that came static, what sounded like the phone dropping, and then the voice mail ended. I stared at my phone as though it were a totally foreign object. I had never, ever heard Erik call me by my first name. My car was already headed toward his store when I dialed him back. It was too late for the store to be open, but that was the number my cell phone had logged. No answer came. I tried his home number, just to be safe, and received no answer there either. My fear increased, as did my speed. Easy traffic moved me along, but I still felt like his store might as well be hundreds of miles away. I made it there in fifteen minutes, which was actually pretty remarkable. The store's lights were on, though everything else in the strip mall and its lot was dark. I parked right in front, in a handicapped spot, and tore out of my car, nearly coming to a halt at what I found. The glass of the door and window were smashed, with glittering shards covering the sidewalk. Even if the door had been locked, I could have reached right in to open it. I pushed through, stepping inside to find more destruction. Fountains still tinkled, music still played, but everything else was in shambles. Bookshelves knocked over. Statuary in pieces. Jewelry cases broken – and empty. â€Å"Erik?† I called, hurrying through the store. There was no answer. I passed the register, saw the drawer hanging open, and suspected I'd find it as empty as the cases. I was heading for the store's back room when I heard a small noise. Turning, I peered around wildly and caught a glimpse of a hand, behind the checkout counter. There, I found Erik sprawled on the floor, pale despite his dusky skin. A hand lay over his stomach, which was a pool of dark blood. His eyes were glassy, and for a moment, I thought he was dead. Then the lids twitched, and his eyes focused on me. â€Å"Miss Kincaid†¦Ã¢â‚¬  I dialed 911 while simultaneously trying to rip my coat off. I screamed at them to send an ambulance and pressed the light fabric of the trench coat into his stomach. The effort was futile. A red strain promptly began spreading through the cloth. â€Å"Don't say anything,† I pleaded when I saw his lips move. They were blue-tinged. â€Å"Someone's coming. You'll be okay.† I wanted to ask a hundred questions: what had happened, who had done this. None mattered. Only saving him did – and besides, the scenario seemed painfully clear. A break-in, one in which he must have interfered. Two bullet holes on the wall revealed what had happened to his stomach. The third shot had hit. â€Å"Miss Kincaid†¦Ã¢â‚¬  His voice was so small, barely a croak. â€Å"Shh. We'll talk later, after the paramedics come. Save your strength.† â€Å"There won't be a later,† he gasped. I swear, he tried to smile. â€Å"Not†¦for†¦me†¦Ã¢â‚¬  â€Å"They'll be here in, like, five minutes,† I countered. â€Å"Doesn't matter. Too weak. Too much blood.† â€Å"No,† I said desperately. â€Å"No.† Even as I begged, my hysteria growing, I knew he was right. He had lost too much blood. He was only alive now because this was a slow-killing wound. Even if paramedics walked in right now, they wouldn't get him away in time to save him. With his age and recent illness, he wouldn't come back from this. Still, I denied it. â€Å"You'll be okay. Listen – â€Å" â€Å"You listen.† There was no real force behind the command, but I shut up. One of his hands clung to me. â€Å"It's not†¦your contract.† I was confused, my mind still on his condition and the store. Then, I caught the context. â€Å"Let the contract go. We'll worry about it later.† His grip tightened. â€Å"There must be another. Two contracts.† â€Å"There†¦what? No. That's not how it works. I know that for sure. One contract per soul. I signed one. Now, please. Don't say anything else.† â€Å"Find it,† he coughed. There was blood on his lips. â€Å"Find†¦it.† â€Å"I will, I will.† I would have agreed to anything, though what he was saying made no sense. My words must have comforted him because he relaxed ever so slightly. There was still no question that he must be in agonizing pain, though. I glanced up at the front of the store, willing myself to hear sirens. â€Å"They'll be here,† I said. â€Å"Too†¦late. You†¦you can stop the pain.† He was so hard to hear now, I had to lean close. Even then, I didn't fully parse his words until a few moments later. â€Å"I'm trying.† I shifted the coat a little, which was proving totally ineffectual. â€Å"A kiss†¦one kiss†¦Ã¢â‚¬  â€Å"I†¦Ã¢â‚¬  My eyes went wide. â€Å"No. No. It'll kill you†¦Ã¢â‚¬  Even as I said the words, I realized how stupid they were. This gunshot was already going to kill him. He was going to die. One kiss. He wanted a kiss to speed his dying, just as I'd given Luc. I'd never performed that deed again, nor had I wanted to. Maybe it had been mercy, but I'd felt like a killer. And yet, just like I had then, I knew it would ease the passing†¦. I shook my head. â€Å"No.† â€Å"Nyx†¦showed me. Showed me my death: you.† He coughed again and could speak no more. Still, he clung to life, with pain on his face and pleading in his eyes. Nyx? Nyx had shown him his death†¦. In the far reaches of my mind, I remembered finding him one day, right after Nyx had visited him and shown him a vision. He'd recoiled from me at first and then later shrugged it off, laughing it away as the remnants of a nightmare. But I understood now. He'd seen his death – seen me causing it. He'd been afraid of me in those moments. My man in the dream had been a lie, but all the other visions she'd shown had been true. My role in Erik's death had been destined†¦just not in any malicious way. That was how her dreams often worked. Never quite what you expected. And so, for the second time, I became an angel of mercy†¦an angel of death†¦whatever. I hunched down and kissed him, ignoring the blood on his mouth. Just like with Luc, there was only a breath of life left. Five more minutes, and Erik would have been gone without me. That tiny bit of life was as pure and good as I'd known it would be. Erik would be rewarded in the afterlife. As I lifted my head and watched peace settle over his features, faint feelings flitted through me, as sometimes happened when I took energy. There was affection for me. It wasn't romantic love. More like fatherly love. Friendship. Fondness. And underneath it was a warning, a warning for me he never got to convey. I was so caught up in those last bursts of life, that I was only distantly aware when the lights and sirens came. Someone lifted me away, and I saw people huddling around him – too late. I stared at the commotion that followed – paramedics, police. I saw it without seeing it, answered questions without even knowing what I said. A policeman with kind eyes took it all down and spoke to me gently, often repeating himself. I don't know how long it all took. Maybe an hour, maybe more. I only remember assuring them over and over that I was okay, that I was going home, and that I would answer any other questions that came up. But when I drove away, still in shock, still barely grasping what had happened, I didn't go to West Seattle. I went to Pioneer Square, parking in a lucky street spot and then winding my way through the partying crowds. A few people gave me curious looks when I walked into the Cellar, looks I gave no heed to as I honed in on Jerome's table. He drank alone tonight, his dark eyes watching me intently as I approached. â€Å"Georgie,† he said when I came to a stop in front of him, â€Å"what's the point of shape-shifting if you're going to walk around with blood on you?† I looked down, only then registering the stains on my shirt. I turned back to him, ignoring the shape-shifting suggestion. â€Å"Erik's dead,† I told him, my voice flat. Jerome's face displayed no reaction. â€Å"How?† â€Å"A break-in. Somebody shot him.† Jerome sipped his bourbon and remained silent. â€Å"Well? Don't you have anything to say?† He scowled. â€Å"What do you expect me to say? Should I cry? Put on sackcloth and ashes? Humans die all the time, Georgie. You're the one who mourns them – not me. I have no sentiment for any of them. You know that. And certainly not for him.† I did know that. When Duane – one of Jerome's former employees – had been killed, the demon's only reaction had been annoyance. â€Å"What's weird†¦Ã¢â‚¬  I paused, putting to words what had been coalescing in the back of my mind this whole time. â€Å"What's weird is that someone would break into a New Age store at all. It's not a good place for a robbery.† â€Å"If it has money, it's a good place for a robbery. If it's in a deserted strip mall, with only an old man there, it's even a better place for a robbery. Were the valuables gone?† â€Å"Yes,† I admitted. â€Å"Then why are you here wasting my time?† â€Å"The glass.† â€Å"The glass?† â€Å"The glass was broken from the inside,† I said. â€Å"The pieces were scattered on the sidewalk. Whoever did it didn't break the glass to get in. It just looked that way.† Jerome sighed irritably. â€Å"After everything you've seen, can you honestly question the behaviors of humans?† â€Å"It just seems strange that someone like Erik – someone who deals in the supernatural and who had – † I hesitated, about to say that he'd been pondering my contract. Instead, I said, â€Å"Who had just been involved with a big immortal blowout would be the victim of this by coincidence.† â€Å"Coincidences happen.† â€Å"I don't believe in coincidences anymore.† â€Å"Then replay your own words. Your ‘big immortal blowout' is the answer. They might not live in our world, but do you think dream creatures don't have connections here?† I frowned. â€Å"What are you saying?† â€Å"That I thought it was too convenient for the Oneroi's overlord to walk away. He knew he couldn't touch me or any other immortal. But a human? One who had been actively involved with thwarting him?† Jerome shrugged. â€Å"It's revenge. He could arrange for that. We can't prove it – and we can't do anything. Make sure you understand that. I'm not going to avenge your friend, if that's what you're asking for.† I hadn't expected him to. In fact, I really wasn't sure what I'd expected of him at all. Why had I come here? Because I was in shock. Because what had happened to Erik didn't make sense. Because Jerome often had answers for me. This time, he did too†¦but I wasn't sure that I believed them. The old adage came back: How do you know if a demon is lying? His lips are moving. â€Å"Okay,† I said with a small nod. His eyes narrowed a little. I think he was surprised I'd given in so quickly. Glancing down, I shape-shifted the blood away. â€Å"I'm going to go home and†¦I don't know. I don't know what I'm going to do.† My confusion wasn't faked, and I hoped it would be enough to clear any suspicion. And really, what did he have to be suspicious of? I didn't even know. Two contracts. Jerome didn't try to stop me. I drove home with almost no realization of what I was doing until I pulled into the parking lot under my building. As soon as I opened my condo's door, I caught the faint smell of Chinese food. It smelled delicious, yet at the same time, it had that slight twinge of food that had been sitting around for a while. Roman sprawled on the couch, staring at nothing as far as I could tell. The TV was off. The cats remained unpetted. â€Å"I'm sorry I didn't call,† I said. â€Å"You won't believe what – â€Å" â€Å"I've got something for you,† he said. â€Å"Two somethings, actually.† The odd tone of his voice was about the only thing that could have stopped me from gushing about what had gone down at Erik's tonight. Even now, the events in the store were so surreal that it hardly seemed like something that had happened to me. Surely it was something I'd seen in a movie. I sat down in the armchair near Roman, the queasy feeling in my stomach growing as I wondered what else could possibly happen tonight. â€Å"What is it?† He handed me a piece of paper. â€Å"This was under the door when I got back with the food. I didn't mean to read it, but†¦well, it wasn't in an envelope or anything.† I took it wordlessly, immediately recognizing the scrawled writing. Seth's. To a lot of people it would be undecipherable, but I'd had a lot of practice in decoding his sloppy penmanship. Georgina, When I woke up without you in Mazatln, I was so angry. I felt betrayed and abandoned and wondered if you'd been playing me the entire time. Then, the more I thought about your words, the more my life began to come into focus. I still don't want to deal with the mess here in Seattle. I don't want to face Maddie. I don't want to face myself. But, I realized, I do want you to be proud of me. Maybe â€Å"proud† isn't the right word. Respect? Like? Love? I'm not sure, but the events at Erik's have still left an impression. Really, lying in your arms has left an impression. I meant what I said: I'd rather be alone than not be with you. Even apart, though, I can't stand the thought of you being disappointed in me. To regain your good opinion, I would risk almost anything. I'd even come back here to face my demons. And I have come back here, despite how much I wish I could run away. Disappearing won't erase the bad things around me, however. Maybe you're a messenger of some sort, some agent of destiny. If not for you, I almost certainly wouldn't have returned, but it turns out I needed to. Terry and Andrea received their results yesterday. She only has months to live, something that I'd almost swear was the doctor's joke. Only a few weeks ago, she seemed perfectly fine. I don't want to face that, any more than I want to face everything else. But they need me more than ever now, and I love them. I love them so much that I realize my own life and wants don't matter. As soon as I finish this book, I'm putting everything else – even the new series – on hold. None of it matters. Only they do. They'll need me in the next few months. They'll need me more in the months after that. I don't know when we'll see each other again – though you'll notice I say â€Å"when† and not â€Å"if.† Like I mentioned in Mexico, I know better than to think the universe will keep us apart. Regardless, I want you to be happy wherever your life takes you – and I hope someday I can be worthy of your respect again. I also want you to know that in returning, I don't expect anything from you. I just wanted to make sure you understood what I did†¦and how you've affected me. – Seth I looked up at Roman, who had been studying me while I read. I didn't know what astonished me more: Seth returning – because of me – or the god-awful news about Andrea. Both were monumental in their own ways. One was a tragedy of epic proportions. I swallowed, afraid if I fully processed it all, I'd start crying. â€Å"I'm not sure how much more I can handle tonight,† I said in a small voice. Roman's face was a mixture of sympathy and cynicism. â€Å"Well, you've got one more thing.† He handed me a magazine. It was a trashy celebrity gossip one that was a popular source of mockery over at the bookstore. I couldn't imagine why he was giving something so trivial to me, in light of everything else that had gone on. One page was marked with a Post-it, and I flipped to it. It was a spread of assorted celebrity shots, the kind of candids that paparazzi delighted in: actors out with their children, pop stars spotted in Las Vegas nightclubs. I skimmed over the two pages, feeling a frown grow on my face as I tried to figure out why on earth I'd care about this right now. Then, I found it. It was a small picture, shoved off to the side between much more interesting and larger ones of badly dressed actors. The caption read: Best-selling author Seth Mortensen enjoys some natural beauty in Mazatln. And it showed Seth and me kissing on the beach.

The Changing View of Slavery essays

The Changing View of Slavery essays Justus Engelhardt Kuhn and Robert S. Duncanson held respected reputations for their artistic abilities. Kuhn was the first Maryland portrait painter, of German descent from the Rhine Valley who continued his painting until his death in November 1717. Duncanson was a pre-Civil War African-American painter widely recognized as one of the great landscape artists. Given the time period and background of the two artists, one can expect their artwork to also differ in style, content, and meaning. Kuhns Henry Darnall III as a Child and Duncansons Uncle Tom and Little Eva appropriately reflect societys different and changing views towards slavery during each of the artists time periods. The first stark difference that stands out about the paintings certainly has to be the setting. Despite the fact that both paintings contain some form of a master and a slave, the setting certainly is different. Kuhns painting is set on a balcony with a balustrade behind the child along with formal gardens and pavilions behind that are complete fictions. During that time period, no properties in America looked like this. Kuhn was meeting the illusory desire of Colonial gentry to seem like important extensions of European culture (Pohl 65). This type of grandeur did not begin to be realized for another century or so, when Americans were actually able to accumulate wealth comparable to Europe. These types of aristocratic pretensions (Pohl 65) made it seem appropriate that there would also be a strict division of class during the time. With such a class difference, one can deduce that servitude or some form of slavery would also be accepted during the time period. This argumen t is validated by the fact that the slave population was growing dramatically during the first half of the 18th century when the number of slaves rose from 15,000 to 100,000 (Pohl 64). The setting for Duncansons painting is sligh...

What Are the 7 Principles of Design

What Are the 7 Principles of Design SAT / ACT Prep Online Guides and Tips If you’re taking any of AP Art courses, like 2-D or 3-D studio art, you absolutely have to understand the core principles of design. That’s because the elements and principles of design are a foundational element of great art! In this article, we’re going to teach you everything you need to know about the seven principles of design, including: An overview of the principles of design An introduction to key concepts An in-depth look at each of the principles one-by-one Three top tips for incorporating these principles into your own work Let’s get started! What Are the Principles of Design? If you’ve ever played a sport, then you know that there are some fundamental rules that you have to follow if you want to be successful. For example, if you play soccer, then you know that one of the rules is that you have to kick the ball into the opposing team’s goal in order to score a point! While you don’t have to follow this rule- your team could just kick the ball to one another for 90 minutes- you’ll have a much better chance of winning if you do. The principles of design are a lot like the rules of a sport. That’s because the principles of design are the rules and principles that artists and designers use to create visual compositions. Artists use these principles to make sure whatever they’re making accurately and effectively delivers their intended message to their audience. 2Key Concepts: Visual Language and Design In order to understand the principles of design, you first have to have a handle on two key concepts: visual language and design in general. Visual language is the idea that we communicate through visual symbols. For example, take a look at the clothes you’re wearing. Do they have a logo on them, like the Nike â€Å"swoosh† or the Ralph Lauren â€Å"polo pony†? If they do, you’re participating in visual language! Visual language is the way that designers and artists communicate messages and meaning through their work. They can use things like colors, lines, and shapes to make you feel or think a certain way. And since this is the ultimate goal of design, it’s important to understand how visual language works! The second key concept is the definition of design itself. You probably hear the term thrown around a lot, whether it’s about the design of the newest Tesla car or the launch of a new designer clothing label. But when it comes to principles of design, the term â€Å"design† has a very specific definition. In this case, design is the process of selecting and organizing elements or components in order to fulfill a specific purpose. This purpose may be functional, aesthetic, or both! So when we talk about design in this article, we’re specifically talking about how design elements are used to support the artist’s ultimate goal, whether that’s marketing a product, telling a story, or creating the next great artistic masterpiece. What Are the Principles of Design Used For? Artists use the principles of design to make sure that the work they’re creating...well, works. For instance, let’s say a graphic designer is supposed to create a poster for a presidential candidate. It’s going to be really important for the designer to use the principles of design during their design process to ensure the finished poster is visually communicating the right message to potential voters. The same holds true for fine art, too. Artists paint, sculpt, and create in order to communicate with their viewers. Let’s say an artist is worried about how much Americans consume on a daily basis. That may become the subject of their work, and they’ll pay close attention to how their finished piece speaks to viewers about issues of capitalism. (A good example of how opinions on topics like consumerism and capitalism can be expressed through fine art is the painting â€Å"Landscape,† by American painter Mark Tansey.) On the flip side, these principles are also used to determine whether a piece of art is a success or failure. When a visual composition uses the principles of design well, it will succeed in fulfilling its purpose (whatever that purpose might be). But just because a work is successful doesn’t mean you have to like it. That’s because liking or disliking a visual piece involves your personal taste. The difference between the principles of design and taste is important. As an artist, it's important to separate your work from taste. This is true for many commercial artists, where their clients’ tastes might not reflect their own. Even fine artists need to be able to do this so that they aren’t conforming their art to others’ tastes. For a critic, the separation helps them make better judgements. While there’s no real objective way to critique art, the principles of design provide a kind of rubric for assessing whether a piece of art functions. It might make more sense to think of this in terms of baking. Let’s say you’re judging a cookie baking contest, and when you go to taste one cookie, it’s actually a small, round pizza. The baker argues that you should consider it a cookie: it’s small, flat, round, and baked in an oven. But just because the pizza lines up with the qualifications of a cookie in some ways, it’s missing some other important criteria: it’s not sweet, it’s not cake-like, and it’s certainly not dessert. At the end of the day, a pizza just isn’t a cookie. The seven principles of design work the same way. Critics can use them as a measuring stick for art. If the goal of art is to communicate a message, then the fundamentals of design give critics a way of checking whether an art piece does so effectively. For critics, the seven principles of design also help ensure they aren’t labeling works as â€Å"bad† just because they don’t suit their personal tastes, too. The 7 Principles of Design: Explained Now that you’re familiar with the ideas behind the principles of design, let's take a closer look at each of the seven principles. How an artist uses these elements is important to the overall quality and effectiveness of their work. One quick note: if you Google the principles of design, you’ll find lists that feature five, six, or even eleven principles! That’s because there’s not 100 percent consensus on what the fundamental principles of design are. So to create our list, we picked the principles that appeared the most often across the widest variety of sources. Ginevra de'Benci by Leonardo da Vinci Principle 1: Contrast Just like in literature, visual contrast happens when different elements of a piece are noticeably different from one another. When contrasting elements are juxtaposed, or place next to one another, it draws the viewer’s attention. One of the common ways artists do this is by using contrasting colors close to one another. (These are colors that appear on opposite sides of the color wheel from one another.) But this can also be done through the size or types of objects, too. Take a look at Leonardo da Vinci’s work, Ginevra de’ Benci, pictured above. Notice the contrast of the woman’s skin against the dark background of the trees. Da Vinci uses contrast to draw your eye to what he considers to be the most important part of the piece- the woman’s face. Jurassic Park/Universal Pictures Principle 2: Emphasis Emphasis is important for helping viewers see the most important part of a visual design. Oftentimes, we don’t notice emphasis when it’s done well...but it definitely stands out when it’s done poorly! For example, think about the billboards you see when you drive down the highway. The best ones put the most important information in big, bold letters, or use a related image to capture your attention. But when the type is too small or the images are too cluttered, the advertisement doesn’t work as well. The movie poster for Jurassic Park is a great example of emphasis. It puts the most important information front-and-center: from a glance, you know that title and opening date of the movie. But the prominent outline of a skeleton also gives you a pretty good idea of what the movie is going to be about. (Spoiler alert: it’s about dinosaurs!) It’s important to note that emphasis is closely linked to other principles of design. For example, the Jurassic Park poster uses contrast and space to create emphasis. Other posters, like this one for Gravity, use movement, space, and contrast to do the same thing. Principle 3: Pattern Pattern happens when an object, image, or symbol is uniformly repeated throughout a visual composition. Anything can be turned into a pattern, though some classic examples include intersecting lines, shapes, and spirals. Patterns can do many things for a design. It can set the tone for the piece, like if the background features a 70s mod pattern or a repeating image, like an animal. A pattern can also set the stage for other design elements, like contrast or emphasis. In the image above, you can see how the star pattern combines with contrast to reveal a patriotic star, which becomes the emphasis of the advertisement. Principle 4: Repetition In design, repetition is used to unify and strengthen a design. Unlike a pattern, where one thing is repeated consistently throughout a design, repetition is the repeated use of certain elements, like color, shape, or font. When repetition is used correctly, it creates consistency in a design. As a brand, Target Stores are famous for their use of repetition. They use color repetition to help viewers immediately associate an advertisement with their store. A good example of this is the advertisement above, which uses the repetition of colors and shapes (the concentric circles of the Target logo) to reiterate their brand. Starry Night by Vincent Van Gogh Principle 5: Movement It can seem strange to talk about movement when some visual compositions are still images. But movement as a principle of design is about the movement of a viewer’s eye across a work. Good art leads the viewer from one important element to the next. If a viewer’s eye tends to get stuck in one place, it’s a sign that some of the principles of design aren’t working quite right! Using movement as a part of your design process has an added benefit: it helps viewers feel connected to what they’re seeing. Starry Night by Vincent Van Gogh is an excellent example of movement in action. In this painting, the swirls of color in the sky carry the viewer’s gaze from left to right, which makes you feel like you’re experiencing the night breeze. But on a mechanical level, Van Gogh’s brush strokes create movement, too. The sweeping lines on the mountains, for example, help[ bring your eye to the village, and following the vertical lines on the plant in the foreground return your gaze back to the sky. Steve Jobs Tribute by Jonathan Mak Principle 6: Space In design, space refers to the area around different visual elements. There are two types of space: positive space and negative space. Positive space is the area that the subject of the composition occupies. If you go back to da Vinci’s portrait above, you’ll see that the woman occupies a lot of the portrait’s positive space. As a designer, you use positive space to display the most important elements of your design. On the other hand, negative space- which is sometimes called â€Å"white space†- is the space around objects! If you look back at the Jurassic Park poster, all of the black surrounding the central image and the other copy is a textbook example of negative space. Negative space can be tricky for designers since it seems empty, but it’s actually helping to create emphasis. It helps viewers quickly discern what’s important while also giving a design â€Å"room to breathe.† Positive and negative space work together to create emphasis and visual appeal. Check out the piece above by graphic designer Jonathan Mak, which he made as a memorial to Steve Jobs after his death. He plays with the negative space of the Apple logo, turning the normal bite mark into the profile of the company’s late founder. Principle 7: Balance Now it’s time to talk about the last (but perhaps most important) principle of design: balance. Every element in a visual composition carries weight. The more an element is emphasized, the heavier it is. A designer’s goal is to balance the weight of each object on the canvas in order to create a feeling of balance for the viewer. There are two ways to do this: through symmetrical balance and through asymmetrical balance. Symmetrical balance adds objects to both sides of the center of a work to create symmetry. You can think of this as balancing a set of old-timey scales. You have to add the same amount of weight to each side to keep them level! Asymmetrical balance happens when objects and elements aren’t spread evenly across the composition, but how they’re placed creates a sense of balance anyway. Oftentimes, asymmetrical balance helps create a sense of movement and draws your eye from one element to another. In the photo above, you can see asymmetrical balance at work. The hand and donut are in the bottom of the image, and there’s no identical image at the top! The balance here comes from the amount of negative space in the photo. By limiting the emphasized image to a small part of the picture, the photo maintains its balance. The 3 Best Tips for Using the Principles of Design So how can you use the principles of design in your own work? Here are our three top tips for using principles of design to take your art to the next level. Tip 1: Embrace Negative Space Like we mentioned earlier, it’s tempting to fill up every corner of a composition with something. After all, we often think of space as â€Å"wasted,† right? But remember: negative space is incredibly important to helping the more important elements of a work shine. A good way to do this is to follow the advice of Coco Chanel, the famous French fashion designer, who famously said: â€Å"Before you leave the house, look in the mirror and take one thing off.† Take a step back and look at your composition. Is there something you can take off, shrink, or move that will help create more balance and space in your work? Tip 2: Rethink the Axis of Symmetrical Balance When it comes to symmetrical balance, we sometimes think about it like a Rorschach test where the balance of an image is either left/right or top/bottom. But in fact, the axis of balance for a visual composition can bisect the image at any angle. Take a look at the picture above. The line of symmetry is on a diagonal from bottom right to top left. The image is still balanced, but the axis is tilted, which gives the image a lot more visual interest. It also comes across as more modern, too! Tip 3: Take a Step Back When you’re working on a composition, you’re normally pretty up close and personal with it. But that can sometimes skew your perspective of the piece as a whole. That’s why one of the best ways to see if a composition works is to view it from a distance. (This is especially true if your composition is meant to be viewed from a distance, like with a large painting or advertisement.) Backing away from the screen or canvas will blur the elements together and help you get a better sense of whether the contrast, movement, and balance of a piece communicates your message. What's Next? Are you looking for more AP classes to take before applying for college? Here’s a list of every AP class (and test!) But be careful: AP classes can be more challenging than their general education counterparts. Get the inside information on how hard AP classes really are so you can make sure you’re balancing a challenging schedule with making good grades. So what’s the benefit to taking AP courses? Well, most high schools in the United States add points to your final grade to create a weighted average. Learn more about weighted averages and how they affect things like your graduation rank and college admissions chances here.

Reaction paper (Greg Stahly) Essay Example | Topics and Well Written Essays - 750 words

Reaction paper (Greg Stahly) - Essay Example He identified himself as a ceramic artist, a term that I had never heard of, and even though many of his products are displayed in museums, I still hold the opinion that his works are not artistic. Greg’s products however exhibit some elements of art. I consider his soda vapor glazing, a work that involved pottery, as his artistically richest work. Even though the product involved handwork creativity skills, its artistic elements are realized in its design process rather than implementation of the design to develop the product. Greg also associates himself more with creation of products for use. He for example creates bowls from which people can eat, watering ports for watering flowers and develop color schemes to capture people’s attention. His soda vapor without glazing was particularly outstanding and neat. It only applied a particular type of firewood with diversified natural colors that were derived from flames, parts of the wood and ash. Even though a distant glan ce of the work would not captivate, a closer approach to understanding the coloration identifies the quality in the product. Mixing of colors is the basis of this particular piece of work. Another identifiable feature of Greg’s work is that his products offer tangible utility. They are not merely commodities to be seen but are things that are applicable in daily life processes. His works therefore puts me in a dilemma as I fail to understand the precise difference between a person who makes products and a person who invent products towards development and sale. The concept of ceramic art also confuses me because even though I can comprehend aspect of art as implied in the works, I do not understand how the works can be generally considered art. This is because Greg develops his products without outlined motive. Examples involve his development of inflatable shapes and suspending them in a museum without a clear intent. Even though he later developed an understanding from his Cadaver bags that he tried to lift but fell down to six feet, such a theme of communicating aspects of death was not in his intentions at the time of developing the bags. I therefore hold the opinion that Greg is just an explorer who delights himself in making funny items and observing how his made items operate. This, in my opinion, is a development of products for physical utility and not art. ‘50 ways in’ is another of Greg’s works that appears to be controversial to me with respect to artistic consideration. The work only exhibits a few elements of artistic development and induces the dilemma of whether to consider it artistic or not. It was developed from ceramic, latex tubing, case rubber, aluminum, and 120 tubes and is identifiable with 50 eyeballs with tails that converge to a focal point on a wall. The work’s theme was to illustrate 50 of ways locating a particular point and even though the work’s title was captivating, the theory behind it , and the way in which Greg explained it is not. Greg for instance explained that every eye was the size of a grape fruit or one of the larger groups of fruits, a statement that identifies ambiguity. His other presumed art regarded construction of pipelines and aerial view of the city. He demonstrated diagrams of both pipelines and electrical line from an aerial view. The aim of such a development was to illustrate underground installations and even though he demonstrated an understanding of involved appliances, this work closely identifies with construction than it does with art.

Wal-Marts Marketplace Clout Essay Example | Topics and Well Written Essays - 500 words

Wal-Marts Marketplace Clout - Essay Example It is evidently clear from the discussion that Wal-Mart’s marketplace clout is tremendous. It controls about 30 percent of the household’s staples market. It sells 15 percent of all magazines and 15-20 percent of all CDs, DVDs, and videos. It is expected to soon control over 35 percent of U.S food sales. Wal-Mart has risen to dominate the retail market through the bargain prices it offers to consumers. Due to its cost efficiencies, it has attained and the pressure it places on suppliers make it affordable to give customers products at low prices. As much as Wal-Mart offers low prices, not everyone loves it. It also has charges that criticize the retail behemoth. One, Wal-Mart’s buying power and cost-saving efficiencies force local rivals out of business, in turn disrupting local communities, costing jobs and injuring established business districts. Second, Wal-Mart pays low wages and is staunchly anti-union. Its labor cost is 20 percent lower than that of unioniz ed supermarkets. Moreover, its hard-line on costs has forced many factories to move overseas, resulting in sacrificing American jobs and thus, holds wages down. Government welfare program subsidizes Wal-Mart’s poverty level wages. One congressional report shows that a two hundred employee store costs the government a fortune that is: housing assistance, children healthcare, and tax credits are paid by the government. Lastly, as Wal-Mart grows and its competitors fall by the wayside, consumer’s choice narrows and the retail exert even greater power as a cultural censor. For instance; Wal-Mart won’t carry computer games and music with the mature rating. Therefore, the big music companies supply it with sanitized versions of explicit CDs that they supply to the radio stations, and that are sold elsewhere. The retailer has also removed racy magazines, such as FHM and Maxim, from its racks and it obscures the cover of Glamour, Cosmopolitan, and Redbook.