Common Law Assignment

Jessie statement made to Ian that he is happy to ‘let go' of his car with the wording he has used has the potential to aka the situation somewhat ambiguous, Jessie true intentions are unclear. The statement is not definite and lacks sufficient finality for the statement to be classed as an offer. Although his wording is uncertain the courts will also look at what context the statement was made and because Ian did state he wanted to ‘buy a car for his daughter then the statement can be argued both ways.Jessie then invited Ian to his home to look at the car although there is still no conversation about the sale of the car. This offer doesn't have terms that are clear and final and therefore the requirement off valid offer has not been satisfied. It's important in deciding if valid acceptance has occurred to acknowledge that acceptance must be clear, absolute and identical to the terms in this case Ian in not having full knowledge of the terms has accepted without full knowl edge of the offer.He did not communicate acceptance to the offer Jessie. Ian in his actions of the visit to Jessie house to look at the car and his daughter taking full possession of the car cannot be seen as valid acceptance as Ian acted in ignorance of the offer Question 1 B Ian and Jessie at no point stated that they had any intention to enter into any binding agreement to create legal relations.The court will apply two tests the commercial presumption and the social and domestic presumption to determine if the parties had intended to create legal relations The language used by Ian in this case from the first discussion regarding the car, to the discussion regarding the ‘Market Value' seemed somewhat of a social nature rather than a commercial arrangement.Jessie at no point made any indication to Ian regarding a legally binding agreement and he at no point made any suggestion's to Ian that he was selling his car the court could el in favor of the social domestic presumption this was simply an arrangement between friends no intention to create legal relations have been satisfied Question Nan's consideration for the car is too vague and could be seen to be too affected by uncertainty due to there being at no point any talk of a sale or payment.Ian could not have provided good consideration in this case; it's unclear whether he provided consideration at all because an agreement has not been reached by both parties. A mere discussion between friends on the Market value of the car in question could not be seen as valid consideration. Question ID There is no valid contract between Jessie and Ian because all elements of a contract have not been satisfied at this stage.The terms are to ambiguous and unclear to come to a conclusion as to what the terms may have been as Jessie use of wording ‘Let go' of the car and further discussions with Ian are not certain. The courts may apply the six rules to help determine whether a contract exists or the certainty of the terms if there to be a contract. The terms in this case would be seen as Illusory and therefore the court would not enforces or recognize the terms as being a valid interact. 11.Assuming the courts did find in favor of the commercial presumption and other elements were satisfied the discussion regarding the market value of the car could be seen as a term to pay $3500 for the Toyota Corolla while Stephanie Nan's daughter takes first possession of the car. Question 2 Bryan can argue on the basis of lack of capacity as a minor and the contract can be void because it's not a contract for necessaries. Although he would have to prove that it's a luxury not a necessaries and it would be up to the courts to decide given his lifestyle and current circumstances 2. Common Law Assignment The issue is it's unclear whether Jessie is making an offer to sell or an offer simply as a gift as they have been friends for 15 years. In order to determine if a valid offer has been made application of the objective test would be applied . Would a reasonable person in these circumstances believe there to be a valid offer and what is the relative importance of the statement to each party?Jessie statement made to Ian that he is happy to ‘let go' of his car with the wording he has used has the potential to aka the situation somewhat ambiguous, Jessie true intentions are unclear. The statement is not definite and lacks sufficient finality for the statement to be classed as an offer. Although his wording is uncertain the courts will also look at what context the statement was made and because Ian did state he wanted to ‘buy a car for his daughter then the statement can be argued both ways.Jessie then invited Ian to his home to look at the car although there is still no conv ersation about the sale of the car. This offer doesn't have terms that are clear and final and therefore the requirement of a valid offer has not been satisfied. It's important in deciding if valid acceptance has occurred to acknowledge that acceptance must be clear, absolute and identical to the terms in this case Ian in not having full knowledge of the terms has accepted without full knowledge of the offer.He did not communicate acceptance to the offer Jessie. Ian in his actions of the visit to Jessie house to look at the car and his daughter taking full possession of the car cannot be seen as valid acceptance as Ian acted in ignorance of the offer Question 1 B Ian and Jessie at no point stated that they had any intention to enter into any binding agreement to create legal relations.The court will apply two tests the commercial presumption and the social and domestic presumption to determine if the parties had intended to create legal relations The language used by Ian in this cas e from the first discussion regarding the car, to the discussion regarding the ‘Market Value' seemed somewhat of a social nature rather than a commercial arrangement.Jessie at no point made any indication to Ian regarding a legally binding agreement and he at no point made any suggestion's to Ian that he was selling his car the court could ale in favor of the social domestic presumption this was simply an arrangement between friends no intention to create legal relations have been satisfied Question Nan's consideration for the car is too vague and could be seen to be too affected by uncertainty due to there being at no point any talk of a sale or payment.Ian could not have provided good consideration in this case; it's unclear whether he provided consideration at all because an agreement has not been reached by both parties. A mere discussion between friends on the Market value of the car in question could not be seen as valid consideration. Question ID There is no valid contr act between Jessie and Ian because all elements of a contract have not been satisfied at this stage.The terms are to ambiguous and unclear to come to a conclusion as to what the terms may have been as Jessie use of wording ‘Let go' of the car and further discussions with Ian are not certain. The courts may apply the six rules to help determine whether a contract exists or the certainty of the terms if there to be a contract. The terms in this case would be seen as Illusory and therefore the court would not enforces or recognize the terms as being a valid interact. 11.Assuming the courts did find in favor of the commercial presumption and other elements were satisfied the discussion regarding the market value of the car could be seen as a term to pay $3500 for the Toyota Corolla while Stephanie Nan's daughter takes first possession of the car. Question 2 Bryan can argue on the basis of lack of capacity as a minor and the contract can be void because it's not a contract for nece ssaries. Although he would have to prove that it's a luxury not a necessaries and it would be up to the courts to decide given his lifestyle and current circumstances 2.

A Comparison Of Displays At The National Gallery And Tate Modern The WritePass Journal

A Comparison Of Displays At The National Gallery And Tate Modern Introduction: A Comparison Of Displays At The National Gallery And Tate Modern ).   It is this matter of communicative vision versus skilled labor that is the crucial difference in the curating of the 18th to early 20th century display at the National Gallery and the Transformed Visions display at Tate Modern. Vision is here defined as the concept or thinking around the message communicated by the art while the definition of labor is a combination of meticulous work and technique. Both displays show a variety of work painted, sculpted and conceived by artists moving away from the realistic painting school – and by realistic I mean painted to approximate our physical, observable world or to be â€Å"physically truthful† if you will – and moving towards an art of emotional truth. As both displays contain mainly relatively new art and artwork that is conceptual – albeit to a very varying degree – the essay will instead focus on the curating of the displays and the interpretation of what is important about a specific artwork and by extension about art itself. According to Cecilia Anderson (2007, p,72) ‘the curatorial challenge is to situate what at first may†¨seem like vastly different ideas and create coherence.’ The focus of the argument is therefore on how order and information provided creates this coherence. Despite the fundamentally similar impetus for the creation of the artworks displayed, the two galleries diverge in their displays’ interpretation of the importance of vision and labor on the following three points: The focus created by title of and initial information about the display The type of information provided in the wall-text The layout – i.e. the division and content of separate rooms – in the display A Comparison of   Displays The first contrast between the two galleries is the difference in the initial contact between the observer and the display. While Tate Modern has given its display the title Transformed Visions, the National Gallery simply display their collection under the heading 1700 to 1900 or 18th to early 20th century. ‘Transformed Visions’ clearly indicates an emphasis on the driving forces behind the artworks themselves, and it is quickly derived that the art displayed within will be of a conceptual nature to a large extent.   This impression is further confirmed by the information given about the purpose of the display; ‘After the Second World War, artists forged a new kind of expressive abstraction. This wing looks at the ongoing presence of the human figure within such works, as well as wider responses to violence and war, and the tendency towards contemplative immersion exemplified by Mark Rothko’s Seagram  Murals.’ (Tate Modern, 2012) The expression ‘ongoing presence of the human figure’ suggests a transformative quality to this figure, making the human conceptual rather than an absolute physical form.   In some cases, like in Giacometti’s ‘Man Pointing’ (see bibliography for illustrations of this and all further mentioned artwork) or Francis Bacon’s ‘Seated Figure’, the human form is abstracted and twisted in some way, yet still clearly approximating a human form – much in the same way as less realistic paintings like Degas’ ‘Combing the Hair’ or Daumier’s ‘Don Quixote and Sancho Panza’ exhibited towards the end of the National Gallery display. In other works like ‘Head I’ by Philip Guston the human figure is highly abstracted – being merely a silhouette of a possible head, much in the same way a ball could be mistaken for one in thick fog – and yet others abandon the physical figure altogether.   Jackson Pollock’s ‘Yellow Islands’ is not a portrait of flesh, but of the psyche.   As the wall-text explains: ‘By dripping and pouring paint, [Pollock] was able to work in a free and intuitive way, his thoughts and feelings finding direct expression in the rhythmic patterns he created.’ Thus in a way, Pollock’s painting is a self-portrait of his own mind, a new kind of human figure. In contrast to this focus on the mind behind the matter, the National Gallery’s naming of and information about their display places its works of art in a temporal and historical framework rather than an artistic thought.   Most obvious is of course the name of the display; the visitor is instantly made aware of when the art he/she will see was created, yet not what it is about, unlike the Tate display which suggests a post-war period, yet does not limit itself to that only. Furthermore, the information provided about the display, as a whole, positions it historically: ‘it became more common for artists to paint smaller works that were exhibited and sold through art dealers and public exhibitions. In the 19th century, art movements [†¦] emerged, as did the idea of the independent artist who rebelled against the official art establishment.’ (National Gallery, 2012) Thus the display information draws focus to a history of art within the confines of merchants, movements and commissions rather than ideas, ideals and thoughts within the movements mentioned. Similarly, the second point of difference – the information provided in the wall-text – is also a matter of focus.   As the National Gallery display covers quite a lot of time the information they provide about the works centers on biographical, historical and technical facts. Tate Modern, on the other hand, provides wall-text with some technical points, but brimming with information about the conception of the work, the ideas acted upon and the message the artist wanted to convey. Take for example the wall-text provided for Degas’ ‘After the Bath, Woman Drying Herself’ at the National Gallery: This densely worked pastel is executed on several pieces of paper mounted on cardboard. [†¦] This work is one of a series of similar subjects dating from this period, when bathers and dancers were the artists principal themes. Here Degas has exploited the flexibility of the pastel medium, creating sumptuous textures and blurred contours which emphasise the movement of the figure.’ (National Gallery, 2012) Then compare it to the information provided by Tate Modern about ‘Seated Figure’ by Francis Bacon: ‘Bacon’s portraits are explorations of the human condition as much as they are character studies [†¦] They also represent a complex exploration of pictorial space: the figure is simultaneously posed among some elegant items of furniture and confined within a box-like frame. This device, which was one of Bacon’s trademarks, underlines the sense of isolation as well as generating a claustrophobic psychological intensity.’ (Tate Modern, 2012) While the text in the National Gallery display talks of the ‘pieces of paper mounted on cardboard’, the ‘flexibility of the pastel medium’ and Degas’ use of bathers and dancers as themes, the text from Tate Modern comments on the artist’s general work as ‘character studies’, the box underlining a ‘sense of isolation as well as generating a claustrophobic psychological intensity.’   The first is about artistic fact, the second about interpretation of emotional artistic intent. Though these are merely two examples, the displays as a whole follow these lines in their wall-texts throughout. This prioritizing of information around the art further underlines the difference in approach taken by the two galleries; the National Gallery’s display – spanning over two centuries – focuses on the evolution of techniques and surrounding circumstances while Tate Modern’s display, with its snippet of a time frame, investigates the ideas of that time more closely.   Both provide relevant information to their aim. Finally, there is the matter of the division and content within the displays themselves.   The National Gallery’s display is divided into 13 rooms, each with an art historic theme like ‘France 1700-1800’ (room 33), ‘Canaletto and Guardi’ (room 38), ‘Degas and Art Around 1900’ (room 46) or ‘The Academy’ (room 41).   Thus the National Gallery enforces the perception of art in a fixed, historical timeline through which the visitor can trace the evolution of themes, techniques, establishments or artistic development within a nation.   This layout of the display makes the National Gallery an institution for the study of art history, but perhaps it is less suitable than the Tate Modern for the study of message-loaded art. The layout of Transformed Visions is all about the artistic impetus behind the work.   The rooms are equipped not according to time period or artists, but according to the ideas the artists have in common.   It is a different take on how to show the evolution of art.   The display begins with alternative conceptions of what it means to display the human figure as the human itself.   Germaine Richier’s ‘Shepherd of the Landes’ depicts a French shepherd who has become one with his stilts ‘achieving an insect-like adaptability’ (Tate Modern, 2012) and the caption on the wall comments on this as ‘striking a chord with the bleak image of humanity prevalent in Europe after the Second World War’ (Tate Modern, 2012). Moving from this concept of alternative images of the human figure itself, the display moves through ‘This Exquisite Forest’ – a web-based art project encouraging public contribution i.e. an abstracted virtual imprint of human life and connection, and finally leaves the visitor with the idea that the human figure does not have to be a figure at all.   Mark Ruwedel and Ursula Schulz-Dornburg’s photographies towards the end of the display present the idea that things like bomb craters and train stations   are ultimately imprints of humans because they are human-made, and in the very last room of the display finding nothing but Iranian flags stained by pollution cements the idea of extensions of humanity as humanity itself. While the National Gallery’s display moves chronologically through the time of art, Transformed Visions includes works from outside the era of its theme (post-war, see Room 5 of the display for example) in order to showcase the influences on the artist.   In this way both the National Gallery and Tate Modern trace the historical placement of the art in the display – the National Gallery through linear history, allowing the art to show for itself who has been influenced by what, and the Tate Modern creates an alternative history traced through impact and idea. It can in fact be said that both the 18th to early 20th century display and Transformed Visions concern themselves with history as the primary and optimal way of displaying art.   The difference is in how the displays consider history to move.   While Tate Modern takes a conceptual approach to art history – the concept being that a linear history can be traced through ideas rather than events and physical happening – the National Gallery’s display centers on a traditional, physical history. However, the question is not, after all, a question about mind or matter.   Rather, it is a question about the mind in the matter.   One display sends a message from Whistler – indeed the National Gallery’s choice in display layout and information conveys an inclination towards Whistler’s idea – ‘art for art’s sake’ (Ten O’clock Lecture, 1885) – whilst the other is all about art as a mouth piece for political, philosophical and aesthetic issues. The 18th to early 20th century display at the National Gallery is designed to give minimal interpretation of the artworks.   Instead the display is designed for the observation of the development of artistic ideas – artistic here meaning ideas about the making of the art and the art itself – to appreciate the craftsmanship that went into making it and to enjoy the impression left by well-made art. Transformed Visions is to the contrary all about art engaging in a political conversation with its surroundings.   The focus is not necessarily on the craftsmanship that goes into making the piece but rather on what the piece means.   While Hirschhorn’s ‘Candelabra with Heads’ may not require a lot of artistic craftsmanship – it is after all just mannequin heads gaffa-taped onto obscure lumps and a pole – it certainly requires artistic vision. Therefore, as stated in the introduction, the main contrast between the two displays is the matter of artistic labor and technique versus artistic vision and message. Both displays show a variety of work conceived by artists moving away from the realistic painting school – though of course the National Gallery’s display due to time span does begin in a more classicist strand of art – and moving towards a more emotionally and intellectually expressive form of art. Conclusion According to Joseph Ishikawa (1961, p. 238) ‘it is of prime importance for the museum man to know what he is peddling, to what he is converting people, why he is parting people from their money to support a particular program.’ In other words; in order to create a good display a curator must understand not only what the individual painting is saying but the display as a whole, and therefore deciding what information to provide visitors with varying knowledge with, becomes a crucial element of the display itself and therefore the focus of this essay. Despite the fundamentally similar impetus for the creation of the artworks exhibited, the two displays diverge in their choice of focus on aspects of the art. The National Gallery’s 18th to early 20th century display, is chronological and historical with a focus of information about the style of the artwork, the biographical details around the subjects and the artist and detailed information about the artistic movements and developments in techniques and thinking around art that all went into creating the work discussed. The Tate Modern Transformed Visions display presents a different chronology – a chronology of thought.   The focus of the display is post-war thinking on humanity but where the idea fits, the time of creation of a work of art is insignificant and works like Joseph Mallord William Turner’s ‘Yacht Approaching the Coast’ – painted over a century before most of the works in the rest of the display – are still featured because of their influence, importance or other relation to the more contemporary artworks in question. The display in the National Gallery, taking up a full wing of an established institution, placed in a historical building with grand arches and great historical standing effectively canonizes the artworks on display the art itself is the message. The Tate Modern display in the barren rooms of a modern building with   modern ideas is a look into the recent past that casts a reflection into the future – an idea that the political or philosophical message of the art might override the appreciation of aesthetically pleasing forms. Ultimately, both displays concern themselves with the past of art and how it reflects on the present world of art and the direction it might be heading in the future. Art is not, after all, mind over matter, a choice of idea or aesthetic, but rather a combination of all four into different modes of expressions emphasising different concepts at different times and in different ways. REFERENCE LIST Reading: Anderson, C., 2007. Madrid Abierto: Curatorship, Public Art and the City, Building Materials [e-journal] 17, Available through: JSTOR [url: jstor.org/stable/29792339 ] [Accessed 21 November 2012) Brainy Quote, 2012, James Whistler Quotes [online] Available at: brainyquote.com/quotes/quotes/j/jameswhist382345.html [Accessed on 17 November 2012] Ishikawa, J., 1961, Curatorship Training and Museology, Art Journal [e-journal] 20 (4) Available through: JSTOR [url: jstor.org/stable/774392] [Accessed 21 November 2012] James McNeill Whistler, 1885, Ten O’clock Lecture, Public lecture, Princes Hall [online] Available at: whistler.arts.gla.ac.uk/miscellany/tenoclock/ [Accessed on 18 November 2012] National Gallery, 2012, 18th to early 20th century: Collection Overview [online] nationalgallery.org.uk/paintings/collection-overview/collection-overview/*/viewPage/5 [Accessed on 16 November 2012] Tate Modern, 2012, Tate Collection Displays: Transformed Visions [online] Available at: tate.org.uk/whats-on/tate-modern/display/transformed-visions [Accessed on 16 November 2012] Tate Modern, 2012, Museum Map [online] Available at: tate.org.uk/download/file/fid/20671 [Accessed on 18 November 2012] Think Exist, 2012, James Whistler Quotes [online] Available at: http://thinkexist.com/quotation/an-artist-is-not-paid-for-his-labor-but-for-his/1273394.html [Accessed on 17 November 2012] Works without available illustration: Hirschhorn, T., 2006, Candelabra with Heads (London: Tate Modern Collection Displays) Ruwedel, M., 1999, printed 2008, Crater #1 (London: Tate Modern Collection Displays) Schulz-Dornburg, U., 2003, From Medina to Jordan Border, Saudi Arabia (London: Tate Modern Collection Displays)

The language of lying - Noah Zandan Essays - Human Behavior

The language of lying - Noah Zandan Essays - Human Behavior "Sorry, my phone died." "It's nothing. I'm fine." "These allegations are completely unfounded." "The company was not aware of any wrongdoing." "I love you." We hear anywhere from 10 to 200 lies a day, and we spent much of our history coming up with ways to detect them, from medieval torture devices to polygraphs, blood-pressure and breathing monitors, voice-stress analyzers, eye trackers, infrared brain scanners, and even the 400-pound electroencephalogram. But although such tools have worked under certain circumstances, most can be fooled with enough preparation, and none are considered reliable enough to even be admissible in court. But, what if the problem is not with the techniques, but the underlying assumption that lying spurs physiological changes? What if we took a more direct approach, using communication science to analyze the lies themselves? On a psychological level, we lie partly to paint a better picture of ourselves, connecting our fantasies to the person we wish we we re rather than the person we are. But while our brain is busy dreaming, it's letting plenty of signals slip by. Our conscious mind only controls about 5% of our cognitive function, including communication, while the other 95% occurs beyond our awareness. And according to the literature on reality monitoring, stories based on imagined experiences are qualitatively different from those based on real experiences. This suggests that creating a false story about a personal topic takes work and results in a different pattern of language use. A technology known as linguistic text analysis has helped to identify four such common patterns in the subconscious language of deception. First, liars reference themselves less, when making deceptive statements. They write or talk more about others, often using the third person to distance and disassociate themselves from their lie, which sounds more false: "Absolutely no party took place at this house," or "I didn't host a party here." Second, liars tend to be more negative, because on a subconscious level, they feel guilty about lying. For example, a liar might say something like, "Sorry, my stupid phone battery died. I hate that thing." Third, liars typically explain events in simple terms since our brains struggle to build a complex lie. Judgment and evaluation are complex things for our brains to compute. As a US President once famously insisted: "I did not have sexual relations with that woman." And finally, even though liars keep descriptions simple, they tend to use longer a nd more convoluted sentence structure, inserting unnecessary words and irrelevant but factual sounding details in order to pad the lie. Another President confronted with a scandal proclaimed: "I can say, categorically, that this investigation indicates that no one on the White House staff, no one in this administration presently employed was involved in this very bizarre incident." Let's apply linguistic analysis to some famous examples. Take seven-time Tour de France winner Lance Armstrong. When comparing a 2005 interview, in which he had denied taking performance-enhancing drugs to a 2013 interview, in which he admitted it, his use of personal pronouns increased by nearly 3/4. Note the contrast between the following two quotes. First: "Okay, you know, a guy in a French, in a Parisian laboratory opens up your sample, you know, Jean-Francis so-and-so, and he tests it. And then you get a phone call from a newspaper that says: We found you to be positive six times for EPO." Second: "I lost myself in all of that. I'm sure there would be other people that couldn't handle it, but I certainly couldn't handle it, and I was used to controlling everything in my life. I controlled every outcome in my life." In his denial, Armstrong described a hypothetical situation focused on someone else, removing himself from the situation entirely. In his admission, he owns his state ments, delving into his personal emotions and motivations. But the use of personal pronouns is just one indicator of deception. Let's look at another example from former Senator and US Presidential candidate John Edwards: "I only know that the apparent father has said publicly that he is the father of the baby. I also have not been engaged in any activity of any description that requested, agreed to, or supported payments of any kind to the

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Owner's Equity Paper - Essay Example If either happens, Financial Statements of a business become invalid or forged. If we show both Earned and Paid Capital in the head of Earned Capital then our profit figure will be overstated and financial statements will lose their validity. Similarly, if Earned and Paid-in Capital are shown as an Investment, then assets will become overstated and again the financial statements of a company will lose their validity. These were the reason why we keep Earned Capital separate from Paid-in Capital. (2003) Both Earned and Paid-in Capital are important at their own place. Without either of them, the company cannot thrive or operate smoothly. No business can setup without the investment by shareholders or owners, similarly, no business can continue to exist unless it earning decent rate of profits. Therefore, both are really important for the formation and smooth running of the business. However, looking at both of them critically, one can state that it is the Paid-in Capital that is more important because only after a business is setup, it starts earning profit. So, without Paid-in Capital there would be no Earned Capital and hence Paid-in Capital has some merits over Earned Capital. Another reason for the importance of Paid-in Capital is the fact that a business can bear losses for some period and may continue to exist on Paid-in Capital. We can conclude that both Earned Capital and Paid-in Capital are equally important, but it is the Paid-in Capital which gets the lead out of the two . According to Wachowicz, Basic Earning is the simplest method to find out the earning per share that a firm has made over its outstanding shares. It is calculated by dividing net profit with number of shares outstanding. For e.g., suppose that a company earns a profit of $5 Million in a fiscal year. It has currently 10 Million Shares issued to shareholder. Its basic earning in this case

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Disadvantage of democracy Essay The primary disadvantages of democracy are a general lack of accountability, the prospect of personal interest becoming the predominant factor in decisions, and negative financial implications. A democracy lays the power to make decisions in the hands of the majority. This, ironically, places an emphasis on both individual and group power. A group controls the decision-making process, but an influential individual can control the group. The issue with democracy, in spite of the power of the people to control the decision-making process, is that there is no sense of accountability when the group makes a decision that turns out to be a bad one. Even particularly influential individuals in the group who may have persuaded the majority to vote for what led to the bad decision is free from blame because, ultimately, everyone in the group is responsible for his or her choice. 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Authorities May Lose focus As the government is bound to changes and modification after each election tenure, the authorities may function with a interim objective. Since they have to go through an election procedure after the conclusion of each tenure, they may lose focus on functioning effectively for the citizens and  instead might concentrate on winning elections. Hordes Have Influence A further disadvantage of democracy is that hordes can manipulate citizens. People may vote in support of a party under the pressure of the bulk. Constrained or influenced by the ideas of those around, an individual may not put across his/her accurate judgment. Democracy averts radicalism and encourages teamwork and synchronization. It also slows things down, stops those in authority doing what they wish regardless of the majority’s desires. Since the military incursion into the Nigerian political scene on January 15, 1966, all the woes of this country are placed on the military. Most Nigerians do not want to hear the word â€Å"military†. They see the military as synonymous with evil. But does the military symbolize evil? Colonel Muamma Gaddafi is a military officer who seized power from the Libyan Monarch in 1969. Colonel Muamma Gaddafi as a military leader, was able to transform Libya to the envy of the world so much that other nationals including Nigerians are queuing at the Libyan embassy for her visa. Under a military leadership in Libya, Nigerians are rushing to the country on a daily basis because the country has a lower inflation of 1% than that of Nigeria which is 20% and a per capita of $8,400 while Nigeria’s per capital is $50. If military regime is synonymous with evil, why are Nigerians running from a country that is under civil rule to a country which is under a military leader? Ghana, our neighbouring West African country was also transformed from a corrupt and poverty stricken nation it was, to a transparent and an accountable nation by a military officer, Flight lieutenant, John Jerry Rawlings. At the moment, Nigerians are running to live in Ghana because the country has improved tremendously in terms of economy and infrastructural development. Ghana has also attained democratic growth and stability having transited from one democratically elected government to another two times. However, let us now compare and contrast the difference between military and civil rules in Nigeria. Nigeria gained independence from Britain on October 1, 1960. Out of the 50 years of Nigeria’s existence as an independent  nation, the military has ruled the country for 29 years. Within the 29 years the military ruled the country, 3 years were used to prosecute the Nigerian civil war, between 1967 to 1970, this means the military actually spent 26 years to rule the country. Out of the 50 years of the nation’s existence, civilians have ruled for 21 years. So, the difference between the years the military have ruled the country and those of civilians nine years. The questions one is asking are, if the military has destroyed the country within the space of 29 years as claimed by the civil leaders, can’t the civil leaders repair it within a space of 21 years? How long does it take to repair what is damaged? What has the civilian leaders be able to remedy since they have been ruling the country? Since Nigeria returned to democracy in 1999, we are still hearing the same old song by politicians, â€Å"You know the military have destroyed the country and you know that it is not easy to repair what has been destroyed†. I find this excuse unacceptable to the Nigerian people because something that was destroyed can be repaired. For instance, Germany, France, Austria etc were devastated during the first and second World War but today they have rebuilt to enviable status. Of all the things the military destroyed, which of them has the civilian leaders been able to put right? Some politicians who are out to deceive the poor masses will say that â€Å"the worst civilian regime is better than military regime.† But is it always true that the worst civilian regime is better than military regime? Politicians are also quick to say that â€Å"at least we can talk now that we are in a civilian regime and that we could not talk during the military administrations.† I found this argument very amusing because our mouths were not muzzled by the military during their administrations. I make bold to say that we spoke more during the military administrations than we do today because then we all saw the military as our common enemy and were united to fight against them. There were so many civil society organizations such as National Democratic Coalition (NADECO) which was headed by late Pa Adekunle Ajasin, Campaign for Democracy headed by late Dr. Beko Ransom Kuti, Civil Liberties Organization headed by former President of Nigerian Bar Association ( NBA ), Olisa Agbakoba (SAN), Afenifere, the Yoruba socio- cultural group headed by late Pa Abraham Adesanya, Association of Senior Staff Union of Uni versities, headed by the INEC Chairman, Professor Atahiru Jega, Petroleum and Natural Gas Senior Staff Association of Nigeria (PENGASSAN ), headed by Chief Frank Ovie Kokori etc. These civil society groups spoke openly against the ills of the military and sent them back to the barracks. At that time too, journalists engaged in revolutionary journalism which made the press very vibrant and added impetus to the voice of the masses. During the military era, television and radio stations were mostly owned by both states and the federal governments. DAAR communications, owner of African Independent Television and Ray power Radio station and Minaj television and FM radio station which started in 1994 were the only privately owned broadcast organizations in the country, the rest belonged to both the states and federal governments. Would the governments have allowed the masses to use their media to criticize them? There is no government that allows such a thing in any part of the world. Let us assume that we did not talk during military administrations, what have we achieved since 1999 that we have been talking? Have those who claimed to be representing us both in th e State Houses of Assembly and the National Assembly ever taken our advise? We said the National Assembly should pass the Freedom of Information Bill into law, have they done it since it was introduced into the house? We said the Justice Mohammed Uwais recommendations on Electoral Reform be adopted by the National Assembly, have they adopted them? The Federal Government has earmarked #6.6 billion towards the celebration of Nigeria’s 50th anniversary, which the masses condemned in totality, yet the Federal Government is bent on wasting such amount of money on the celebration of failure. Will the States and Federal Governments ever listen to the masses? We said the huge allowances our so call representatives are receiving should be reduced, did they agree to reduce their allowances? A senator receives #45 million allowance quarterly, while each member of the House of Representatives receives #27.2 million allowance quarterly. Each senator receives #500 million constituency development allowance yearly which is not accounted for. Their salaries and other benefits are not included these allowances. Is there justification for such huge allowances considering the fact that they sit for 180 days in a year? Can we say with a sense of pride that the lives of Nigerians have improved positively since we returned to democracy in 1999? Let me make it clear that democracy is not just about having freedom to talk, it goes beyond mere talking. Democracy is about quality leadership that translates  into accelerated development and growth in all areas of human aspirations. Democracy goes beyond just having civilians in government. Any administration, be it military or civil government that cannot better or improve the lives of the people is a monumental failure. The main purpose of governance is to coordinate and harness the wealth of the people for an effective development that will enhance the standard of living of the people. Have we seen such achievements and development since 1999? Let us compare and contrast civil administrations since 1999 till date and military administrations from 1985 till 1999 when the military handed over the reins of power to civilians. We shall start this comparison with the economy. Before the civilians took over government in 1999, a 50 kg bag of rice was sold for N2,500, today it is selling for N8,000. A small bag of beans that was sold for N1,800, now sells for as much as N7,000. Is this not outrageous. Before the commencement of the Obasanjo’s regime in 1999, Nigerians were able to eat twice daily. Morning and night, which was popularly called one –zero-one. At present, most Nigerians eat once daily, which is popularly called zero one- zero. Is this not regression? If the agricultural sector is well funded and productive, why are prices of foodstuffs on the increase? The unemployment rate has gone up drastically because many industries are closing down while some are relocating to our neighbouring countries due to lack of regular supply of electricity. The Obasanjo’s regime in 1999, inherited 3,500 megawatts of electricity from the military, today it has reduced to a mere 2,500 megawatts for a population of 150 million people. The problems of industries and other organizations that consume large quantity of electricity are compounded as a result of the high cost of petroleum products such as petrol and diesel. These products are used to power generators which provide alternative power for industries. As at the time Nigeria return to democracy in 1999, the prices of petroleum product were cheap. But before ex-president Olusegun Obasanjo, who also doubled as petroleum minister, left office in 2007, he had increased the prices of these products eleven times. A litre of kerosene that cost N9.00 in 1999, now sells for N125.00. Petrol that cost N11.00 at that time, now goes for N65.00 while diesel that cost N10.00 then now sells for N120 per litre.