Accounting :: Free Essay Writer

I - A. â€Å" Representational faithfulness is accomplished when transactions and events affecting the entity are presented in financial statements in a manner that is in agreement with the actual underlying transactions and events† (CICA, Financial statement Concepts 1000.21 (a), 2003). It means that all of information in the financial statement such as numbers and descriptions must be factual. The independent auditors checked the computer ID tags on each piece of equipment to confirm the actual numbers, and for that reason Byrn Company observes the representational faithfulness that is one of subsets of reliability. I - B. â€Å"The consistency principle states that businesses should use the same accounting methods and procedures from period to period† (Harrison, Horngren, Lemon, & Lemon, 2004, p. 279) Hence the financial statement of Carroll Company violates the consistency principle. I - C. â€Å"The time-period concept ensures that accounting information is reported at regular intervals† (Harrison, Horngren, Lemon, & Lemon, 2004, p. 114). Still, the company believes that quarterly financial information can be issued whenever it is convenient for the accounting department, and they published its first three quarterly reports during the 10th month of the year. Consequently the financial statement of Dawn’s Data Enterprises violates the timeliness that is one of subsets of relevance. I - D. â€Å"The financial statement representation of a transaction or event is verifiable if knowledgeable and independent observers would concur that it is in agreement with the actual underlying transaction or event with a reasonable degree of precision. Verifiability focuses on the correct application of a basis of measurement† (CICA, Financial statement Concepts 1000.21 (b), 2003). Even though the comptroller of the bank knows the electric pencil sharpener may qualify as an asset by years of benefit expected, he decided that the cost of the sharpener should be expensed. As a result, the financial statement of the bank violates the verifiability that is one of subsets of reliability. I - E. â€Å"Information that helps users to predict an entity’s future income and cash flows has predictive value† (CICA, Financial statement Concepts 1000.20 (a), 2003). The company’s financial statements show ten years successful operation, and it helps Bill to invest in the company. The financial statement of Wilson Enterprises follows the predictive value and feedback value which is one of subsets of relevance. II - A. A dress shop purchases a $3,500 sewing machine to use for alterations. A dress shop’s assets increase amount of $3,500 because assets mean all resources owned by a business.

My Hobby Essay

Vegetable gardening as my favorite hobby Deepa George WGU February 20, 2013 Vegetable gardening as my favorite hobby Hobby is an entertaining activity which provides pleasure and recreation. It is a way of escaping from the stress and the monotony of one’s daily round of duties. Therefore, hobby is essential for the proper enjoyment of life. My favorite hobby is vegetable gardening because it provides me sense of pride, peace, and relaxation, promote healthy life style and save money on groceries. You should start gardening as your hobby because it provides you relaxation, keeps you physically healthy, and save money on grocery bills. First of all, a vegetable garden is an easy and effective way to provide a sense of pride and relaxation. I am fortunate to have a spacious backyard for the gardening. I have vegetables and crops such as peas, lettuce, greens, cabbages, root crops, squash, beans, corn, melons, cucumber, eggplant, pepper, and herbs in my garden in different seasons. Research shows that gardening promotes mental health by relieving stress and promoting a sense of accomplishment. Spending some time in the garden ease stress, keep you limber and improve your mood. Vegetable gardening is a wonderful pastime the whole family can enjoy. Allowing children to be involved in the gardening help them to develop an understanding of nature, sense of responsibility, and pride. Kids are more likely to taste vegetables they grow themselves. My five year old son is proud about our vegetable garden. He helps us with watering the plants, caring for the crop and harvesting the produce. He was extremely reluctant to eat fruits and vegetables buying from the market, but now he does not want to miss anything coming from our garden. When your daughter Sara was in my house, she enjoyed peeking under leaves in search of ripe fruits and vegetables. Hence, I am sure that she will be so happy to have her own garden. Growing your own food, build a sense of pride and satisfaction. Watching a seed sprout in front of your eyes to become food on your plate is gratifying. The commitment for garden rewards you with a feeling that you have brought something to life. It is truly exciting to go to your backyard and get a juicy, ripened tomato for a salad. Now the weather is turning warm and favorable for planting. You should make a vegetable garden with your favorite vegetables like tomatoes, cucumbers and jalapeno peppers. The stores like Lowes, Home depot, and local seed stores have varieties of seeds with planting instructions. I will help you with picking out plants, preparing raised beds and containers, and fertilization of plants. I would like you to enjoy the sense of pride, accomplishment and relaxation by gardening which brings you close to nature. Secondly, planting vegetable gardening keeps you and your family healthy. It provides fresh fruits and vegetables right at your fingertips. Everybody is seriously concerned about the safety of the food available in the market. When you grow your own food carefully and organically, you do not have to worry about the contamination of the vegetables. When they grow in your backyard, you are not able to resist them, and their vitamin content will be at the highest level as you eat them straight from the garden. Thus, gardening is a simple and an easy way to promote good eating habits. Furthermore, gardening is a good outdoor exercise. Planting, weeding, watering, and harvesting require a lot of physical activity. Tending vegetable garden burns calories and uses muscles. Studies have shown that one can burn 200 to 500 calories per hour by working in the vegetable garden. The activities in the garden will give you sufficient physical exercise to keep you physically healthy and mentally alert. Finally, you will save money on groceries when you begin to stock your kitchen with fresh produce from backyard. It will help you to save money on gas you use to get to the store. To save money, you should plant smart and grow the food you like to eat. Make sure you grow a lot of vegetables that you use regularly. Since you like the salad, you should plant plenty of salad greens to save money. You can preserve the produce and enjoy the goodness of fruits and vegetables long after the harvest is over. There are four common ways to preserve foods: canning, freezing, drying, and pickling. Last year, I preserved beans, tomatoes, cucumbers, carrot and sweet corn and used for the rest of the year. You can share the extra vegetables with your friends, or sell in the fresh vegetable market. Every year I donate extra vegetables to a food pantry, and it helped me to take the tax deduction for non-cash distributions. You can save the seeds from the best produces, and use for next year. Gardening is an investment that offers a good return. For example, I have spent two dollar for one packet of green bean seeds. Once I cover the cost of soil, fertilizers, and water, I got a return of around seventy five dollars. I suggest you to start gardening as your hobby that produces positive economic return. Conclusively, vegetable gardening provides relaxation by getting a person outside and exposing to natural air. Planning a garden and caring for the garden help the person to stay healthy and save money. For all these reasons, I encourage you to choose vegetable gardening as your hobby.

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

Marketing Communications Plan for Wanglaoji Herbal Tea Essay

Marketing Communications Plan for Wanglaoji Herbal Tea - Essay Example The objective of the present study is to prepare a strategic internal marketing communications plan for Wanglaoji Herbal Tea. A previously completed context analysis helped in identifying key internal and external issues, which will be discussed in the next section. Taking cue from the context analysis, strategic communications plan will be conceptualized with respect to present marketing conditions, distribution and market space and promotional objectives of Wanglaoji Herbal Tea. 1. The tea market is dominated by five brands, Tetley, PG Tips, Lipton, Betties and Taylors and Himani. Currently, Tetley is the market leader with 27 percent share (Research and Markets, 2014). Even though Wanglaoji Herbal Tea is gaining popularity among health drinkers, the current market is still low compared to normal tea makers. 2. As a result of increasing awareness among consumers regarding health benefits and negative effects of excessive caffeine or tea, more number of established tea and coffee brands are entering into the herbal tea market, intensifying competition for Wanglaoji (Armstrong and Kotler, 2012). 3. Big companies such as, Tetley and Coca-Cola, pose threat to Wanglaoji as they have captured high share of market and have the advantage of sophisticated and big budget marketing and communications plan. 4. The advertising expense of Guangzhou is higher than average industry, which might be a constraint while entering the English market. The company has limited capital to invest in the English market. Hence, the company is at present unable to spend on big-budgeted campaign, which might be a weakness, when compared to the high budgets of other beverage companies present in the UK market. 5. Organizational identity is another issue identified during internal context analysis. While Wanglaoji Herbal Tea is a well-known and recognized brand

Tennessee WilliamsCat on a Hot Tin Roof Essay Example | Topics and Well Written Essays - 1000 words

Tennessee WilliamsCat on a Hot Tin Roof - Essay Example The author develops a series of both intrapersonal and interpersonal conflicts, which sustains the story to completion. The plot begins with the Brick trying to recapture his glory days as an athlete. He is in a drunken state and therefore loses his control and fall thus obtaining an injury that leaves him dependent on crutches. This depicts underlying conflicts in the life of the play’s main character. The scene reveals his dissatisfaction with his marriage a major trend that compels him to alcoholism. Meanwhile, Big Daddy, Brick’s father, is being discharged from the hospital and the event coincide with his sixty-fifth birthday thus prompting his extended family to organize him a grand birthday party. The grand birthday become s major issue in the play as every character becomes absorbed in the organization thus concealing the underlying differences among the characters. The author does not develop a tragedy in the story; he appreciates the difference among the character but simply develops conflicts from such. The author strives to maintain a jovial mood in the play with the characters enjoying themselves. At first is Brick having a fun moment on the track trying to relive his high school years then the scenes shift to the organization of the grand birthday party for Big Daddy. The party is a great success and manages to conceal the disease the old man is suffering from. By covering the disease in deceit, the characters seek to maintain the jovial mood of the play, which is unlike in tragedies where characters live sorrowful lives. The conspiracy is revealed and the entire family later learns that Big Daddy is suffering from cancer. The news depresses the family for a while but they eventually heal. In fact, the news compels Brick to reconcile with his father thus solving their differences. By reconciling their differences, the two characters liven the mod of the play