Sample Management Essay Essay Example for Free

Sample Management Essay Essay The major change in an organization consists in inclination towards customization versus standardization. As competitiveness grows, more rivals want to obtain bigger market shares. This way, customization becomes a very powerful tool that attracts customers much. In such an approach, managers have to take into account not customers’ needs and wants, as they used to before, but rather they should consider each customer separately. Of course, there are organizations that have to work for every customer individually, like advertising agencies, or barber’s shops, they literary cannot provide one and the same good or service for all customers, their business would then become unprofitable. Such kinds of organizations do not count. Great example of the ones that do count would be companies that produce clothes. Nike, as well as Levi’s has changed their approach tremendously over last years. Their intrinsic life of organization has been altered by the consumers’ demand of customized tangible goods. As a result, managers’ function has also been changed and has become more customer-driven. Prominent examples of customization were evident when both of the listed above companies offered unique services for every customer. One can observe at their website that every customer can pick his own color for shoes, not choose out from the offered list, and then have his name or unique id written on the side of each shoe. Another change that most of the organizations, as well as managers, experience is the change of the organizational structure. Since the primary tasks of an organization change, as discussed above, inner structure of the company also has to be changed, and that is where managers must perform the best they can. In order to manage employees properly, the basic step they have to implement is pick the most appropriate theory of organization, the model that suits their companies the most. This is usually not an easy task because one might consider contingency theory to be the most appropriate, while actually the best model in the situation would be systems theory. Furthermore, management theorists have developed another organizational theory that a manager would be likely to choose in today’s extremely competitive business world, and that is chaos theory, which is mostly on the natural randomness and chaos, or as it is often referred to enthropy. Bibliography 1. Burke, Warner. (2002). Organization Change: Theory and Practice. SAGE publications. 2. Davidson, Jeff. (2001). The Complete Idiot’s Guide to Change Management. Alpha Books.

Proposed Pipeline Route Analysis

Proposed Pipeline Route Analysis Site information Client Westhill Company Site Broadway, Worcestershire, United Kingdom Current land use and description Currently used for livestock grazing and private residential area. Development Proposed pipeline installation Conceptual site model Topography Uneven surfaces withsteep slope. Geology BirdlipLimestone Formation, Bridport Formation, Whitby Mudstone Formation, Marlstone Rock Formation, Dyrham Formation and Charmouth Mudstone Formation. Hydrology There are springs, seepages and groundwater discharge Hydrogeology BirdlipLimestone Formation- Moderate Aquifer BirdportSand formation. Landsliding and stability Characterised by ancient to recent landslides. Widely unstable area with visible earth movement. Historical land uses Evidence of agricultural land use by the presence of ridge and farrow and various drainage channels. Site model and geomorphology Multiple rotational landslips in the Whitby Mudstone formation. Marlstone rock formation shows mudslide movement and deposits. Cambering in the Birdlip Limestone formation. Recommendations Constraints Restriction of some potential accessible sites. Topography of the site. Proposedpipeline routing Proposed pipeline route is approximately 1.09km. This is subdivided into 3 zones. Limitations No geophysical, laboratory test were conducted. In March 2017, Motives Survey Services was commissioned byWesthill Construction Company to undertakea desk study and field survey report at Broadway, Worcestershire and produce a report to assist in their selection of a suitable pipeline route across the Cotswold escarpment. The pipeline route is to be laid in the east of Broadway, at Farncombe House, to the west of the Cotswold escarpment, at Hill Farm where it will enter a further network. The pipeline will be laid across variable geology susceptible to landslide and slope instability, therefore Westhill Construction Company requires a reliable desk study and the design of an invasive ground investigation revealing constraints that may be encountered on site. 1.1 Objectives The objectives of this investigation are: Undertake a desk study of available information to include analysis and interpretation of aerial photograph of the study area using Anaglyph. To assess potential ground hazards in the site Carry out a site walk over survey (Geomorphological mapping). Provide preliminary geotechnical information on the ground conditions in the site area. Develop a conceptual site model. Propose a potential pipeline route. 1.2 Site Information Table 1.1 Report Brief description Site name Cotswold escarpment Site location Site is situated at Broadway, Worcestershire, United Kingdom (see Figure 1). Site topography Uneven surfaces with steep slopes Grid reference SP099372 Broadway village lies between 80m and 100m OD on the west facing scarp slope at the foot of Cotswold escarpment. The area is extensively used for farming and agriculture (Malcom et al, 2000). The site area is located on the escarpment slope facing east of Broadway village.Previous studies in site area have extensively delineated areas of slope instability, including relict landslides, which may have been initiated under periglacial climatic conditions 1.3 Sources of Information used for this study Sources of information used in preparation of this report are presented in Table 1.2 below. Table 1.2: Information Sources Information sources Description Sources reference Environment Agency Surface Water Map. To identify flood warning areas on site The Environment Agency, Flood Risk Map. Copyright and Database right 2017. Environment Agency Ground Water Vulnerability map. To determine vulnerable aquifers on the site The Environment Agency, Ground Water Vulnerability Map. Copyright and Database right 2017. Edina Digimap Base map for geomorphological mapping Edina Digimap 2017, Copyright and Database right 2017. Edina Digimap Hydrogeology map showing aquifer productivity on the site. Data extracted from Edina Digimap 2017, Copyright and Database right 2017. Edina Digimap Ordinance Survey Map for the site. Showing site location. Edina Digimap 2017, Copyright and Database right 2017. Edina Digimap Geological Survey Map Showing the geology of site. Edina Digimap 2017, Copyright and Data base right 2017. Edina Digimap Historical Map, showing the past history of the site Edina Digimap 2017, Copyright and Data base right 2017. ILWIS Lidar maps for terrain evaluation using aerial photography Environmental Agency map, Copyright and Data base right 2017. 2.1 Geology The bedrock geology of the site area is summarized in Table 2.1. This comprises of a sequence Lower Jurassic marine clays, sands and limestone including the Charmouth Mudstone Formation, Dyrham Formation, Marlstone Formation and Whitby Mudstone Formation (Barron et al., 2002). These rocks are overlain by limestones of the middle Jurassic inferior Oolite Group, which cap the escarpment above Broadway. The strata are gently dipping although cambering and faulting have produced local variations (Malcom et al, 2000). These formations are under the Lias Group. The Lias Group is characterised by mudstones interlayered with limestones and it is very fossiliferous. The main clay bearing formations are theCharmouth Mudstone and Whitby Mudstone Formations (Ambrose 2001). A geology map of this area is presented in AppendixB. Table 2.1: Geology (afterBaron et al, 2002) Formation Previous terms Description Birdlip Limestone Formation (Inferior Oolite Group) Lower Inferior Oolite Oolitic and sandy ferruginous LIMESTONE Birdport Sand Formation Cotswold Sands Fine to medium grained SANDSTONE Whitby Mudstone Formation Upper Lias Clay Comprises of dark grey CLAY with some oolitic LIMESTONE Marlstone Rock Formation Middle Lias Marlstone Rock Comprises of strong brown closely jointed Oolitic and fossiliferous LIMESTONE Dyrham Formation Middle Lias Comprises of moderately weak orange brown SANDSTONE and SILTSTONE with subordinate bands of SILT and CLAY. Charmouth Mudstone Formation Lower Lias Clay Comprises of dark grey CLAY with occasional bands of argillaceous limestone. Grades at depth into weak mudstone. 2.2 Hydrology and Hydrogeology 2.2.1 Hydrology and Flooding The environment agency map has rated the risk of flooding in the site area to be extremely low and there is no form of flooding risk from rivers, streams or springs in this area. This is vividly shown in appendix E. 2.2.2 Hydrogeology The groundwater vulnerability map of environmental agency classified aquifers as: Major Aquifer High Major Aquifer Intermediate Major Aquifer Low Minor Aquifer High Minor Aquifer Intermediate Minor Aquifer Low. The site area is classified by the environment agency to be of Minor Aquifer High and Minor Aquifer Intermediate. The Aquifer productivity zones are classified as: Aquifer Productivity Birdlip Limestone Formation Moderate Bridport Sand Formation Low 2.3 Aerial Photographic Interpretation Anaglyph was used to interpret the aerial photographs and to gather information for this report. The basic features interpreted with the use of the aerial photographs are in accordance with researched literature from past work on Broadway study area. Interpretation from both aerial photographs and field survey was used in completing the engineering geomorphological base map. Ground features interpreted from the aerial photographs are: Landslide form and Cambering Slope changes Ground mass movement Ridge and furrow 2.4 Historical Land Uses Extensive study of the historic Ordnance survey map was conducted to identify any geophysical and geotechnical properties considerations for the proposed pipeline route of site area. Historical map is presented in Appendix C. Maps and other sources of information has shown that Broadway land uses was mainly for Agricultural purposes and Quarries. Written documentation has been the primary source of evidence for understanding the farming during the Anglo -Saxon period. Apparently the richest source of information are the Anglo-Saxon charters which record grants of land and their attached boundary Clauses. The charters and boundary clauses contains evidence of early farming systems (Malcom et al 2000). Ridge and furrow in site shows past Agricultural activities. The quarry in the site area dates back 100-120 years ago as interpreted from the historic maps. 3.1 Field Survey In March, 2017 Geomorphological mapping was conducted on the site area. The mapping started on the 8th of March and ended on the 10th. Mapping was conducted by a group of Engineering Geologist led by Dr Andy Gibson, Dr Malcom Whitworthand Dr Steve Penn. The field equipments used for mapping of the area are: compass clinometer, mapping boards, ranging poles, measuring tapes, pencils, A3 ordnance survey maps, Lidar maps and aerial A3 maps. 3.2 Geomorphological Features Encountered A brief account of the geomorphological features encountered during the three days mapping are presented in the tables below(Table 3.1 to 3.3). Table 3.1 Day 1 Mapping (8th March, 2017) Weather Cloudy Time of Arrival 12:49pm Location Off A44 road next to the road leading to Broadway high street Geology Marlstone Rock Formation and Dyrham Encountered Features during mapping 1. Old mechanical quarry with three layers of marlstone rock formation. Highly weathered limestone with very closely spaced discontinuity, orange in colour and fossiliferous. 2. Evidence of recent flow. Flow occurring with tension cracks. Spring encountered during 3030 geomorphological mapping. Lobate feature was seen on the 3030 mapping area which is 14 to 18m long and 10m wide. Photography of features mapped for both locations is shown in Appendix G. Table 3.2 Day 2 Mapping (9th March, 2017) Weather Sunny and windy Time of Arrival 09:15am Location Off A44 road next toFish Hill Geology Whitby Mudstone Formation Encountered Features during mapping 1. Evidence of recentrotational land slide flow occurring. There was presence of tension crack suggesting age to be less than 10 years of age. 2. Evidenceof relictlandslide (Old rotational landslide). This is suggested to be 50 to 100 years old. 3. Spring pouring out large volume of water was found on the middle area of site.Evidence of Marlstone Rock Formation on site area, seen around tree roots. Photography of features mapped for the locations is shown in Appendix G2. Table 3.3 Day 3 Mapping (9th March, 2017) Weather Cloudy and Cold Time of Arrival 09: 20am Location Colliers knap and Farncombe House Geology Marlstone Rock Formation and Dyrham Encountered Features during mapping 1. Relict landslide (Old rotational landslide) were seen around Colliers Knap with presence of spring. 2. Bench area at Farncombe house which is made of Whitby Mudstone Formation. Tension cracks occurred in the bench area. Photography of features mapped for both locations is shown in Appendix G3. 4.1 Geological Ground Conditions Geologicalformations of the study area generally conforms to past research literature. This is shown on table 4.1. Table 4.1 Typical description of the geology formations and slope formations seen on the site study area. Formation Description Surface Morphology Birdlip Limestone Formation (Inferior Oolite Group) Comprises mainly OoidLIMESTONE, shell fragmental LIMESTONE and Sandy LIMESTONE Cambering and multiple rotational landslide. Steep scarp face (250m OD) Bridport Sand Formation Comprises of fine to medium grained SANDSTONE Landsliding and Cambering features. Whitby Mudstone Formation Comprises of dark grey micaceous mudstone with fossils preserved in pinkish ARAGONITE Gentle angle slope with remains of relict landslide (old rotational landslide). Marlstone Rock Formation Brown to grey variablyferruginous SANDSTONE containing limonitic Ooids Cap rock to mid slope lithological bench. Mechanical quarry present in a part of the formation. Dyrham Formation Comprises grey mudstone, with interbeds of highly micaceous, weakly cemented SILTSTONE or fine grained SANDSTONE Steep scarp faces below the lithological bench (marlstone rock formation). Occasionally extensive rotational landslides (seen at Colliers knap). Charmouth Mudstone Formation Dominated by dark grey CLAY with occasional bands of argillaceous limestone. Occurs down slope. Enveloped by superficial deposits. 4.2 Geomorphology The study area is predominant of rotational landslide, mainly of relict and few occurring recent rotational landslide. Othersections of study area comprises of translational slide and mudflows with tension cracks present on site. Spring and hummocky surfaces present on site. Detailed geomorphological features are shown in the base map. Data was gathered from desk study and field mapping of study area. A number of geomorphology and geological features can be seen in the study area. These are: Rotational landslide- Rotational landslide is predominant in the study area. At colliers knap there is an extensive rotational landslide down a lithologic bench, which is the marlstone rock bench. The geology of the bench area is marlstone rock formation and beneath it (gentle slope) is the dyrham formation. This have a potential to flow when triggered and this pose an area of concern for engineering work. Translational landslide- Translational landslide occurred at the south south part of the study area and also around the bench mark at farncombe estate. These are old relict translational landslide which comprises of active mudflows/slide flow. Tension cracks- Tension cracks are other common features in site area. This feature occurred at the bench mark leading to farncombe house and it is of Whitby mudstone formation. Tension cracks were also seen in other areas of recent landslide in the site. These cracks at the head of landslide suggests strongly that instability is imminent. It is not advisable for a pipeline route to pass through this area. Mudflow/Slide flow- Mudflow features occurred twice within the colliers knap area. The first flow occurred at about 10m north-east of the abandoned old quarry. Here, a 30 x 30 geomorphologic mappingwas conducted, spring was encountered with a northward flow direction. Whilst the second mudflow occurred just before the lithologic bench leading to farncombe house. Mudflow in the site is bound to extend over time. Generally the geomorphological features are vividly shown in the base map. Cambering- This feature occurred at the Broadway tower region which is located at the southern part of site area. There was a separation between two joints leading to downward movement of rock formation in opposite directions thereby forming a gull in the site. This was a restricted area. The plan and cost for intrusive investigation was completed with the use of the bill of quantities (UK specification for ground investigation). Bill of Quantities: Percussion boring ITEM DESCRIPTION UNIT QUANTITY RATE (Â £) AMOUNT (Â £) B Percussion boring B1 Transport/mobilisation of cable percussion rig and personnel to site and removal on completion of works nr Not required 300.00 300.00 B2 Set up, dismantle and move rig between boreholes each move 4 70.00 280.00 B3 Excavate starter pit each move 4 50.00 200.00 B4 Extra over for breaking out concrete etc. re-excavate starter pit each move 2 90.00 180.00 B5 Boring/advance by light cable percussion rig between ground level and 10m Per (m) 10m by 4 boreholes 20.00 800.00 B6 As item B5 but between 10m to 15m Per (m) 5m by 4 boreholes 25.00 500.00 B7 As item B6 but between 15m to 20m Per (m) 5m by 4 boreholes 32.00 640.00 D Trial pits and trenches D1 Transport machine, driver and qualified geologist to supervise, log pits, take reports and bulk sampling Per day 3 days 1350.00 4050.00 F Cone Penetration Testing F1 Mobilisation of rig per day on-site and reporting Per day 3 days 2000.00 6000.00 E Probing E1 Probing Per day 3 days 800.00 2400.00 Sub-total 15350.00 Bill of Quantities: Sampling ITEM DESCRIPTION UNIT QUANTITY RATE (Â £) AMOUNT (Â £) J Sampling J1 Take small disturbed samples (1kg) with split-barrel tubes from ground level to depth of 10m (at every 2m) Per sample 5 per borehole (20) 2.00 40.00 J2 Take 100mm undisturbed samples from ground level to 15m (every 3m) Per sample 5 per borehole (20) 18.00 360.00 J3 Take 45kg bulk disturbed samples not exceeding 10m depth below ground level Per sample 5 per borehole (20) 5.00 100.00 J4 Take representative water samples Per sample 5 per borehole (20) 5.00 100.00 Sub-total 600.00 Bill of Quantities: In-situ testing ITEM DESCRIPTION UNIT QUANTITY RATE (Â £) AMOUNT (Â £) H Standard Penetration Test (SPT) H1 SPT from Ground level to 15m Per borehole 4 boreholes 12.50 48.00 H2 Permeability Test H 2.1 Permeability-Falling head (Head modified) for up to 4 days 4 boreholes 58.00 232.00 H3 Point Load Test H 3.1 Point Load 4 boreholes 65.00 260.00 H4 Shear box Test H 4.1 Shear box 4 boreholes 330.00 1320.00 Sub-total 1860.00 Bill of Quantities: Instrument ITEM DESCRIPTION UNIT QUANTITY RATE (Â £) AMOUNT (Â £) I Standpipe I1 Install standpipe 50mm diameter Per metre 10m per borehole (40) 15.00 600.00 I2 Protective cover re above and re-instatement Per each standpipe 4 100.00 400.00 Sub-total 1000.00 Bill of Quantities: Laboratory testing ITEM DESCRIPTION UNIT QUANTITY RATE (Â £) AMOUNT (Â £) K Classification Tests K1 Determination of Moisture Content Nr 4 4.00 16 K2 Determination of Liquid Plastic Limits and Plasticity Index Nr 4 27.50 110 K3 Bulk/Dry Density Nr 4 15.00 60 K4 Particle Size Distribution Sand and Gravel Nr 4 26.50 106 K5 Particle Size Distribution -Fine Grained Soils Nr 4 30.00 120 K6 Soil Chemical Test K 6.1 Organic content Nr 4 20.00 80 K 6.2 Soluble Sulphate content (Soil- 2:1) Nr 4 16.00 64 K 6.3 Soluble Sulphate content (Water) Nr 4 16.00 64 K 6.4 pH value (Soil)

The Great Gatsby Essay -- essays research papers

The Great Gatsby Essay  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Discuss Nick Carraway’s character. How reliable is he as a narrator? What aspects of his character make him an effective narrator? Nick Carraway is not only a character in the novel The Great Gatsby, he is also the narrator. This is very important because it makes him a central figure, like Gatsby. He is so involved in the plot that he becomes quite important and significant in the story. The whole novel is told by Nick and in a way he discovers his own development throughout the events of the book. As Nick says of himself, he is â€Å"both within and without.† This is related to the fact that he is both a character and a narrator in the story. It gives a great success as to how Gatsby’s story is told. Nick is a young man from Minnesota who moves to New York in the spring of 1922 to learn about the â€Å"bond business.† The bond business refers to Nick’s choice of career as an investment broker. He rents a house in West Egg, which is in Long Island; a wealthy area inhabited by the rich people. Nick lives next door to a man named Jay Gatsby, which throws magnificent parties every Saturday night. Nick is different to the other residents of West Egg. He went to Yale and has social connections in East Egg (His cousin Daisy and Tom Buchanan), another area of Long Island home to the well-known upper class. The first paragraphs show Nick’s qualities. His father always told him to not criticize anyone because...

Americas Flawed Constitution :: American History

America's Flawed Constitution Right from the beginning of it’s creation the constitution of the United States has been a shaky document. The very basis for it being there was in fact illegal. The story of American politics starts with the Declaration of Independence. This document was brilliantly written by Thomas Jefferson and compacted all of the great ideas of enlightenment into one short easy to read paper. The declaration stated all of the ideals the new American nation would strive for. A constitution was needed as a way in which to fulfill those goals. The articles of confederacy were created as that constitution. However, they were weak, because no state wanted to give away any of their powers, and so the articles eventually failed. That is when the modern day constitution was starting to form. The Articles of Confederacy stated that in order to change any part of the document all thirteen states must agree to the change. Therefor a meeting was called so that they could amend the failing articles. However, representatives from two of the states did not show up. Even though not all states were represented the meeting started and the first vote was to totally throw away the Articles of Confederacy. The constitution wasn’t formed yet and it was already a flawed document. Because not all states were represented when the articles required it, the constitution was an illegal document. The delegates working on the constitution new that they needed a stronger document, because the articles proved too weak, but it still needed to please all of the states. This was impossible. So what ended up happening was the new ducocument became more and more vague. The only way to create a document that would pass was to make a document which didn’t really solve any problems but make each state believe that there problems would be fixed. This was accomplished by making it so that it was too vague to offend anybody but you could read into it. This made for a document that would be seriously flawed because people would be able to read into it too much. It could not work. The Constitution of the United States of America was too vague to work. The way the constitution was written it gave power to four parts: the congress, the executive branch, the judicial branch, and the states. Because it was so vague it did not really define which powers went where (with a few exceptions).

What Really Is A Hacker? :: essays research papers

What Really is a Hacker? There is a common misconception among the general public about what constitutes a hacker and what hacking is. Hacking is defined as "gaining illegal entry into a computer system, with the intent to alter, steal, or destroy data." The validity of this definition is still being debated, but most individuals would describe hacking as gaining access to information which should be free to all. Hackers generally follow some basic principles, and hold these principles as the "ethical code." There are also a few basic "Hacker rules" that are usually viewed by all in this unique group. The principles that hackers abide by are characteristic of most people who consider the themselves to be a hacker. The first, which is universally agreed upon is that access to computers should be free and unlimited. This is not meant to be a invasion of privacy issue, but rather free use of all computers and what they have to offer. They also believe that anyone should be able to use all of a computers resource with no restrictions as to what may be accessed or viewed. This belief is controversial, it not only could infringe upon people's right to privacy, but give up trade secrets as well. A deep mistrust of authority, some hackers consider authority to be a constriction force. Not all hackers believe in this ethic, but generally authority represents something that would keep people from being able to have full access and/or free information. Along with the "ethical code" of hackers there are a few basic "hacking rules" that are followed, sometimes even more closely then there own code. Keep a low profile, no one ever suspects the quite guy in the corner. If suspected, keep a lower profile. If accused, simply ignore. If caught, plead the 5th. Hackers consider a computer to be a tool and to limit its accessibility is

Critical thinking process Essay

Critical thinking often involves the creation of alternative plans, solutions, approaches, etc. , then comparing original with the alternatives. Creative thinking requires some critical evaluation during and after the creative phase. Critical thinking depends upon that little known and seldom discussed characteristic of the human nervous system—self-reflexiveness. Usually it also depends upon that remarkable human creation and tool—self reflexive language. Humans not only know about their environment, they know that they know; they can think about how they think, evaluate their evaluations. Languages, too, have this self-reflexive characteristic. They enable us to talk about talk, to make statements about statements, to write books about writing books. The self-reflexiveness of language and the human nervous system provide us with an open minded system: we can make statements about statements, indefinitely; we can react to our reactions to our reactions indefinitely. At no point can we say, â€Å"That’s the last word on the subject† or, â€Å"No further reaction is possible† (since, in doing so, we have said more, reacted further). However, believing that we have said the last word may cut of the self-reflexive process. This open ended, self reflexive system makes it possible for us to conduct scientific research, write poetry, plan enterprises, spin out complex tales of fiction—or spread rumours, spin webs of delusion and talk ourselves into insanity or war. Which we will do depends in part upon our motivation, but also upon our understanding of the thinking process and some aspects of the working of the nervous system. General semantics provides a meta-linguistic or ‘second order’ approach to critical thinking. It enables us to use self-reflexiveness systematically to monitor on-going evaluations. The principles and devices it provides call attention to either-or and ‘allness’ statements, to inferences treated as facts, to overgeneralizations, to statements unrestricted in time, to overly-simple statements of causality, etc. The tools work, whatever the order of abstraction, whatever the source of the statement (Johnson, 1991). How language empowers or limits the expression of our thoughts. Along with most of his contemporaries, Blair defines language in terms of a relationship between signs and thoughts: â€Å"Language †¦ signifies the expression of our ideas by certain articulate sounds, which are used as the signs of those ideas† (cited 1:98). Elaborating on this interdependence, he asserts that â€Å"when we are employed†¦ in the study of composition, we are cultivating reason itself. True rhetoric and sound logic are very nearly allied. The study of arranging and expressing our thoughts with propriety, teaches to think, as well as to speak, accurately†¦ so close is the connection between thought and the words in which they are clothed† (Ulman, 1994). Language can empowers and limit the expression of our thoughts. Talking about something that reinforces it, therefore say what you want to be true. Language has power, and by knowing this, you can select words that allow others to hear and understand you. Certain words provide a way of maintaining the focus of what you want. They can assist you to be in the state of mind that you desire. Looking for positive language patterns, gives your brain the opportunity to find alternative ways expressing your experiences to yourself and others. These tools get you off automatic pilot and in control. Having choice means you can regulate how an experience will affect you. You can choose to use your old patterns of expression which produces certain results, or use empowering language to give you different results. Now it can be you who decides. Labels limit is another concept that we’re dealing with here. When we label something or someone, we put a meaning on it that can limit our awareness, experience, and understanding. Labels are a form of beliefs, and like all beliefs, they filter our perceptions. Our beliefs only allow us to be conscious of things that are in agreement with them, and we unconsciously filter everything else. It can be tremendous evidence of the opposite to penetrate the belief filters. But with negative labels, the effects can be very destructive (Kaufman, 1998). The role of critical thinking in persuasion. What is the value of critical thinking? When someone else writes or speaks a peace of reasoning, they are trying to persuade us of something. Persuasion is an attempt to get us to believe something. People want us to believe things so that we will act in certain ways. Action requires some effort. There are choices involved. We could be doing something else. Because of this, it is very useful to be able to evaluate reasoning, for some pieces of reasoning should be accepted while others should not be accepted. If persuasion occurs in advertising, we could be doing many other things with our money. Take buying a car, for example. A lot of money can be involved, so what kind of car to buy can be a pretty big decision. Whether to marry a certain person or which of a couple of job offers to take are still bigger decisions. Almost every reader will eventually get some serious illness. There may be several different treatments available. One’s comfort, health, even ones life may depend on the decision as to which treatment to undertake. To make these decisions well, we will need to gather our own reasons to support various alternative conclusions. At that time, we could make an irrational decision, or a sheep like decision to follow some other person’s advice. The values of critical thinking, specifically how to recognize and evaluate reasoning, are the following: †¢ It help us arrive at true conclusions and therefore †¢ it increases our knowledge. †¢ It should help us make better decisions. †¢ It should help us persuade others and †¢ explain truth to them. †¢ Contribute to a happier life (Cogan, 1998). References Johnson, K. G. (1991). Thinking creatically: a systematic, interdisciplinary approach to creative-critical thinking. Englewood: Institute of General Semantics. Kaufman, R. A. (1998). Anatomy of Success. New York: Ronald A Kaufman. Robert Cogan. (1998). Critical thinking: step by step. Boston: University Press of America. Ulman, H. L. (1994). Things, thoughts, words, and actions: the problem of language in late eighteenth-century British rhetorical theory. New York: SIU Press.

You Suck: A Love Story Chapter 2~3

Chapter Two The Last Poop â€Å"So that was it?† â€Å"Yep.† â€Å"Never again?† â€Å"Nope.† â€Å"Not ever?† â€Å"Nope.† â€Å"I feel like I should save them or something.† â€Å"Would you just flush and come out of there.† Chapter Three I am Poor and My Cat Is Huge Jody walked a step or two behind Tommy, just watching him, as they made their way up Third Street toward Market. She was watching his reaction to his new senses, giving him some room to look around, whispering hints about what he was experiencing. She'd gone through this herself only a couple of months ago, and she'd done it without a guide. â€Å"I can see the heat coming off the streetlamps,† Tommy said, looking up and spinning as he walked. â€Å"Every window in every building is a different color.† â€Å"Try to just look at one thing at a time, Tommy. Don't let it overwhelm you.† Jody was waiting for him to comment on the aura that each person was giving off. Not a heat aura, more of a life force. So far they'd only seen healthy red and pink ones – not what she was looking for. â€Å"What's that noise, like running water?† Tommy asked. â€Å"That's the sewers running under the street. All that stuff will fade after a while – you'll still hear it, but you won't notice it unless you focus.† â€Å"It's like a thousand people are talking in my head.† He looked around at the few pedestrians who were out on the street. â€Å"Televisions and radios, too,† Jody said. â€Å"Try to focus on one thing, let the rest fall back.† Tommy stopped, looked up at an apartment window four floors up. â€Å"There's a guy up there having phone sex.† â€Å"Figures you'd zero in on that,† Jody said. She focused on the window. Yes, she could hear the guy panting and giving instructions to someone on the phone. Evidently he felt the caller was a dirty little slut and therefore needed to apply varieties of hot salsa to her body. Jody tried to hear the voice on the other end of the phone, but it was too faint – the guy must have been wearing a headset. â€Å"What a freak,† Tommy said. â€Å"Shhhh,† Jody said. â€Å"Tommy, close your eyes and listen. Forget the salsa guy. Don't look.† Tommy closed his eyes and stood in the middle of the sidewalk. â€Å"What?† Jody leaned against a â€Å"No Parking† sign and smiled. â€Å"What's just to the right of you?† â€Å"How do I know? I was looking up.† â€Å"I know. Focus. Listen. Two feet from your right hand, what is it?† â€Å"This is dumb.† â€Å"Just listen. Listen to the shape of the sound coming from your right.† â€Å"Okay.† Tommy squinted, showing he was concentrating. A couple of androgynous students dressed in black with severe hair, probably from the Academy of Art on the next block, walked by and barely gave them a look until Tommy said, â€Å"I can hear a box. A rectangle.† â€Å"Acid noob,† said one of the students, who sounded like it might be a guy. â€Å"I remember my first trip,† said the other, who was probably a girl. â€Å"I wandered into the men's room at the Metreon and thought I was in a Marcel Duchamp installation.† Jody waited for them to pass then asked, â€Å"Yes, a rectangle, solid, hollow, what?† She was a little giddy now, bouncing on the balls of her feet. This was better than buying shoes. â€Å"It's hollow.† Tommy tilted his head. â€Å"It's a newspaper machine.† He opened his eyes, looked at the newspaper box, then at Jody, his face lit up like a toddler who has just discovered chocolate for the first time. She ran into his arms and kissed him. â€Å"I have so much to show you.† â€Å"Why didn't you tell me?† Tommy asked. â€Å"How could I? Do you have words for what you're hearing? For what you're seeing?† Tommy let her go and looked around, took a deep breath through his nose, as if checking the bouquet of a wine. â€Å"No. I don't know how to say these things.† â€Å"See, that's why I had to share this with you.† Tommy nodded, but looked a little forlorn. â€Å"This part is good. But the other part†¦Ã¢â‚¬  â€Å"What other part?† â€Å"The foul, dead, blood-drinking part. I'm still starving.† â€Å"Don't whine, Tommy. Nobody likes a whiner.† â€Å"Hungry,† he said. She knew how he felt, she was feeling some of it herself, but she didn't know how to solve the feeding problem. Tommy had always been her go-to blood guy; now they were going to have to hunt. She could do it, she had done it, but she didn't want to do it. â€Å"Come on, we'll figure this out. Don't pout. Let's go watch people on Market Street. You'll like it.† She took his hand and dragged him up the street toward Market, where rivers of tourists, shoppers, and freaks were flowing up and down the streets and sidewalks. Rivers of blood. â€Å"Everyone smells like whiz and feet,† Tommy said, standing on the sidewalk in front of a Walgreens drugstore. It was still early in the evening and the convention crowd from the hotels was flowing down the sidewalks like a great migrating herd, looking for dinner or a watering hole. Out on the edges, hustlers, homeless, and hangers-on worked their angles, playing the secret path of eye contact to the pocket, while the herd defended itself by paying rapt attention to their companions, their cell phones, or a spot on the sidewalk twelve feet ahead. â€Å"Feet and pee,† Tommy continued. â€Å"You get used to it,† Jody said. â€Å"Is there a clean pair of underwear anywhere on this street?† Tommy shouted. â€Å"You people are disgusting!† â€Å"Would you settle down,† Jody said. â€Å"People are looking. They think you're crazy.† â€Å"Which makes me different, how?† She looked up the street – for the three blocks she could see there were about three people per block shouting at passersby, wild-eyed and angry, and obviously bat shit. She nodded. He had a point, but then she snatched his shirt collar and pulled his ear down to lip level. â€Å"The difference is that you aren't living anymore and it's not a good idea to attract attention to yourself.† â€Å"Which is why you chose to wear that delightful ensemble from the skank-wear collection at Hoes-N-Thangs?† â€Å"You said you liked it.† Jody had become a little more provocative in her dress since becoming a vampire – but she saw it more as an expression of confidence, not a means to attract attention. Was it a predator thing? A power thing? â€Å"I did – do like it, but every guy who passes is staring at your cleavage. I can hear their heartbeats go up. Did you have to turn to mist to get into those jeans? You did, didn't you?† A tap on Tommy's shoulder. A young man in a white, short-sleeved dress shirt and a black tie had sidled up to him, holding out a pamphlet. â€Å"You sound troubled, brother. Maybe this will help.† The pamphlet proclaimed rejoice! on the cover in big green letters. Jody covered her mouth and turned away so the guy wouldn't see her giggling. â€Å"What?!† Tommy said, turning on the guy. â€Å"What? What? What? Can't you see I'm trying to discuss my girlfriend's – uh – well, those.† Tommy gestured to Jody's shoulder, which was now where those had just been. â€Å"Show him, Jody,† Tommy said. Jody shook her head and started to walk away, her shoulders shaking with laughter. â€Å"There's a message here,† said the tie guy. â€Å"It can bring you comfort – and joy.† â€Å"Yeah, well, I was trying to show you some examples of that, but there she goes with them.† â€Å"But this is a joy that goes beyond physical – â€Å" â€Å"Yeah, like you'd know,† Tommy said, cupping his nose and mouth as if covering a sneeze. â€Å"Listen, I'd love to discuss this with you, buddy, but right now you have to GO HOME AND WASH YOUR ASS! You smell like you're smuggling a stockyard back there!† Tommy turned and strode after Jody, leaving the tie guy blushing and crumpling his pamphlet. â€Å"It's not funny,† Tommy said. Jody was trying so hard not to laugh, she snorted. â€Å"Yes, it is.† â€Å"Can't they see we're damned? You'd think they could tell. At least you. We are damned, aren't we? » â€Å"No idea,† Jody said. She hadn't really thought about it. â€Å"Didn't cover that in your advanced vampire course with the old guy?† â€Å"Forgot to ask.† â€Å"No problem,† Tommy said, with no effort at all to suppress sarcasm. â€Å"Minor detail. Anything else you might have forgotten to ask?† â€Å"I thought I'd have more time, for follow-up,† Jody said. â€Å"I didn't realize that the man I love was going to bronze us that first night.† â€Å"Yeah – well – okay. Sorry.† â€Å"Where's the trust?† Jody said. â€Å"You killed me,† Tommy said. â€Å"Oh, there you go again.† â€Å"Please, folks. I need a dollar,† said a voice from the left. Jody looked down to see a guy sitting against the granite wall of a closed bank. He was dirty beyond age or race, sort of grimy to the point of shine, and on his lap was an enormous long-haired cat. There was a cup on the sidewalk in front of him and beside it a hand-printed sign that read I AM POOR AND MY CAT IS HUGE. Tommy, who was still fairly new to the city and hadn't learned to look past this sort of thing, stopped and started digging in his pocket. â€Å"That is sure a huge cat.† â€Å"Yeah, he eats a lot. It's all I can do to keep him fed.† Jody nudged Tommy, trying to get him back into the pedestrian flow. She liked that he was a nice guy, but it could really be irritating sometimes. Especially when she was trying to teach him the profundities of being a creature of the night. â€Å"Mostly fur, though, right?† Tommy asked. â€Å"Mister, this cat weighs thirty-five pounds.† Tommy whistled and handed the guy a dollar. â€Å"Can I touch him?† â€Å"Sure,† the guy said. â€Å"He doesn't care.† Tommy knelt down and poked the cat gently, then looked up at Jody. â€Å"This is a huge cat.† She smiled. â€Å"Huge. Let's go.† â€Å"Touch him,† Tommy said. â€Å"No thanks.† â€Å"So,† Tommy said to the cat guy, â€Å"why don't you give him to a shelter or something?† â€Å"Then how am I supposed to make a living?† â€Å"You could print up a sign that says ‘I'm poor and I lost my huge cat'? That would work on me.† â€Å"You may not be the best sample,† said the cat guy. â€Å"Look,† Tommy said, standing now and digging into his pocket. â€Å"I'll buy the cat. I'll give you, uh, forty – â€Å" The cat guy shook his head. â€Å"Sixty – â€Å" Furious head shaking†¦ Tommy untangled bills from a wad he'd pulled out of his pocket, â€Å"One hundred – â€Å" â€Å"No.† â€Å"And thirty†¦ two – â€Å" â€Å"No.† â€Å"And thirty-seven cents.† â€Å"No.† â€Å"And a paper clip.† â€Å"No.† â€Å"That's a great offer,† Tommy insisted. â€Å"That's like four bucks a pound!† â€Å"No.† â€Å"Well screw you, then,† Tommy said. â€Å"I don't feel sorry for you and your huge cat.† â€Å"You can't have your dollar back.† â€Å"Fine!† Tommy said. â€Å"Fine!† said the cat guy. Tommy took Jody by the arm and started to walk away. â€Å"That's a huge cat,† he said. â€Å"Why were you trying to buy it? We're not supposed to have pets in the loft.† â€Å"Duh,† Tommy said. â€Å"Dinner.† â€Å"Yuck.† â€Å"It's a stopgap,† Tommy said. â€Å"You know that the Masai of Kenya drink the blood of their cattle with no apparent ill effect to the cow.† â€Å"Well, I'm sure it violates our lease if we get a cow.† â€Å"That's it.† â€Å"What's it?† â€Å"A lease.† Tommy swung her around and brought her back to the cat guy. â€Å"I want to rent the cat,† Tommy said. â€Å"You could use a break and I want to show the huge cat to my aunt who is an invalid and can't come down here.† â€Å"No.† â€Å"One night. One hundred and thirty-two dollars and thirty-seven cents.† The cat guy raised an eyebrow, the grime over that eye cracked a little. â€Å"One fifty.† â€Å"I don't have one fifty, you know that.† â€Å"Then I want to see the redhead's hooters.† Tommy looked at Jody, then back at the cat guy, then back at Jody. â€Å"No,† Jody said calmly. â€Å"No,† Tommy said indignantly. â€Å"How dare you suggest it?† â€Å"One hooter,† countered the cat guy. Tommy looked at Jody. She gave him the wide, green-eyed expression that she would have described as I will slap you so far into next week that it will take a team of surgeons just to get Wednesday out of your ass. â€Å"No way,† Tommy said. â€Å"The redhead's hooters are not on the table.† He grinned, looked back at Jody, then looked away, really fast. The cat guy shrugged. â€Å"I'll need some kind of security deposit, like your driver's license – â€Å" â€Å"Sure,† Tommy said. â€Å"And a credit card.† â€Å"No,† Jody said, pulling her jacket closed and zipping it up to her neck. â€Å"Nothing kinky,† said the cat guy. â€Å"I'll know.† â€Å"Going to show him to my aunt, and I'll have him back tomorrow, this time.† â€Å"Deal,† said the cat guy. â€Å"His name is Chet.† â€Å"You first,† Tommy said. They stood in the great room of their loft on either side of the futon, where the huge cat, a crossbreed between a Persian, a dust mop, and possibly a water buffalo, was actively shedding. Tommy had decided that he was going to be very cool about the whole blood-drinking thing, despite the fact that he was so amped he felt as if he could run up and down the walls. In fact, he wasn't sure that he couldn't run up and down the walls, that was part of what was freaking him out. Still, since coming to San Francisco a couple of months ago, he had spent entirely too much time overreacting, and he wasn't going to do it now – not in front of his girlfriend. Not at all, if he could help it. â€Å"You should go first,† Jody said. â€Å"You've never fed before.† â€Å"But you gave the old vampire some of your blood,† Tommy said. â€Å"You need it.† It was true, she had given the vampire her blood to help heal him from the damage Tommy and his friends had caused by blowing up his yacht and so forth, but he hoped she would say no again. â€Å"No, no, no, after you,† Jody said, with a very bad French accent. â€Å"I insist.† â€Å"Well, if you insist.† Tommy leapt to the futon and bent over the huge cat. He wasn't sure how he was supposed to go about this, but he could see the healthy red life aura around Chet, and he could hear his little kitty heart pounding. There was a crackling noise inside of his head, like someone was popping bubble wrap in his ear canal, and then there was pressure on the roof of his mouth, painful pressure, and more crackling. He felt something give and two sharp points poking his lower lip. He pushed back from the cat and grinned at Jody, who yelped and jumped back a step. â€Å"Fangth,† Tommy said. â€Å"Yes, I can see that,† Jody said. â€Å"Why'd you jump? Do they look thupid?† â€Å"You startled me, is all,† Jody said, looking away from him like he was an arc welder or a total eclipse and full eye contact might blind her. She waved him on. â€Å"Go, go, go. Be careful. Not too hard.† â€Å"Right,† Tommy said. He grinned again and she shied away. Tommy turned back, braced the cat, who seemed much less freaked by this process than the two vampires in the room, and bit. â€Å"Thuppt, thuppt, ack!† Tommy stood up and started brushing at his tongue to remove cat hair. â€Å"Yuck!† â€Å"Hold still,† Jody said, going to him and brushing the loose, damp cat hair away from his face. She went to the kitchen counter and came back with a glass of water and a paper towel, which she used to wipe at Tommy's tongue. â€Å"Just use the water to rinse. Don't swallow it. You won't be able to keep it down.† â€Å"I'm not going to thwollow it, my mouf is full of cat hair.† Once he had rinsed, Jody picked the last of the hairs from his mouth, and in doing so, she pricked one of her fingers on Tommy's right fang. â€Å"Ouch.† She pulled her finger away and put it in her mouth. â€Å"Oh, jeez,† Tommy said. He pulled her finger out of her mouth and put it in his. His eyes rolled back in his head and he moaned through his nose. â€Å"Oh, I don't think so,† Jody said. She grabbed his hand and bit into his forearm, attaching herself to him like a remora to a shark. Tommy growled, flipped her around, and threw her facedown on the futon, his arm still in her mouth. She flipped her hair to the side and he sank his teeth into her neck. She screamed, but the shriek was muted, bubbling out on Tommy's bloody forearm. Chet, the huge cat, hissed and bolted across the room, through the bedroom door, to wedge himself under the bed, as the sounds of straining leather, tearing denim, and screaming predators filled the loft. The irony, that it sounded like a huge catfight, was completely lost on the huge cat.