Formal Training is Best than Informal Training for Employees

Free sample - Events which led to the Revolutionary War. translation missing

Events which led to the Revolutionary War. Events which led to the Revolutionary WarIn the last half of the 18th century, thirteen colonies ganged up in a political upheaval so as to break free of the colonial rule imposed by Britain giving rise to the United States. These states first rejected the overseas authority without representation expressed by the Parliament of Great Britain and went further to expel all Royal officials in their states. Each former colonial province established a Provincial Congress so as to form a self, internal government. In response, the British sent troops so as to recover these provinces. This marked the onset of the American Revolutionary War that lasted between 1775 and ended in 1783 when the last of the British troops surrendered and both parties signed Treaty of Paris. The States therefore chose to reject all acts of tyranny and control collectively instigated by the British monarchy in favor of self-rule, as stated in the July 1776 United States Declaration of Independence. There are various events that led to the American Revolution. In the events timeline, these events triggered and inspired the decision, cause and clamor for independence by the colonies at the time. Key among these was the Boston Tea Party and the Boston Massacre. Prior to this, most people in the states were content with how it was being run. The British governed through indirect rule which allowed the states a degree of their own identity. However, at the onset of 1764, a pamphlet, ‘The Rights of the British Colonies Asserted and Approved’ was written by James Otis. He argued that all colonists, be they black or white, deserved freedom and that American colonies, being the larger, could not revolve around the smaller England. This was the earliest clamor for independence. In that same year, Oxenbridge Thatcher wrote a pamphlet, ‘The Sentiments of a British American’ which furthered the arguments put forward by Otis such as taxation without representation. At that time however, there were very few radicals in support of independence. In 1764, several acts came into place. First, the British monarchy attempted to seize control of the America’s economy by putting into place the Currency Act which outlawed the printing of all money in the colonies and further nullified all the America-printed money. Secondly, the Sugar Act, which ensured colonists were taxed for sugar, coffee, wine and indigo, came into force. This was a means of the British Government to earn revenue so as to recover from the losses of the French-Indian War. This angered both merchants due to the arbitrary searches and other colonists since they were being taxed without representation. Several other pamphlets were published such as ‘The Right of Colonies Examined’ by Stephen Hopkins and ‘The Pennsylvania Gazette’ written by Benjamin Franklin. In March 1765, the Stamp Act came into force which required all colonists to buy a stamp wheneve r a document was to be printed. The colonies however revolted and the British Government responded by publishing the Declaratory Act in which total control of the colonies was expressed. In June 1765, the intolerable Quartering Act was published. It required colonists to pay and supply vital necessities to the British troops. This highly increased unrest especially as the army was deemed incompetent after the loss in the Chief Pontiac’s Rebellion. The anonymous publication of John Dickinson's ‘Letters from a Farmer in Pennsylvania, to the Inhabitants of the British Colonies’ in December 1767 awakened the colonists as to how the British Monarchy was hurting the colonies. In 1768, 4000 soldiers were dispatched to quell unrest though they served to fuel unrest even the more. This resulted in the Boston Massacre during which five people died. In July 1772, the situation blew over. Colonists were deeply angered by various Intolerable acts such as the Sugar Act which was strictly being enforced such that smuggling was impossible serving to anger the merchants the more. The ultimate Intoloretable act was the 1773 British Tea Act which gave the British East India Company the exclusive rights to import tea from the colonies, barring the merchant’s businesses. In response, the merchants organized the Boston Tea Party in which the entire tea cargo aboard a British ship was dumped into sea. The British Government respo nded by cancelling Massachusetts right of self-governance through the Massachusetts Government Act. In 1774, the colonists met under the Continental Congress so as to discuss on how Britain was oppressing the colonies. They resolved to stop all imports and put an end to slave trade. All merchants were not to raise prices or continue trading with Britain after the first of December. This was signed by the Congress president, Peyton Randolph which greatly infuriated the British Government. In March 1775, Parliament passed the New England Restraining Act that forced all merchants to trade with no other country except Britain hence restricting trade. Further, Parliament passed the Boston Port Act so as to force colonists to pay for losses incurred due to the Boston Tea Party. The colonialists were barred from entering the harbor but gravely accelerated the need for independence. This served as the start of the American Revolution and its utter success in 1783. This marked the onset of a radical clamor for change and the resultant unification of thirteen states which declared their independence from Britain in response to the acts of tyranny and the Intolerable Acts by the British. Â   : Axelrod, Alan. The Real History of the American Revolution: A New Look at the Past. 2009. Bailyn, Bernard. The Ideological Origins of the American Revolution. Cambridge, Massachusetts: Belknap Press of Harvard University Press, 1992. Jensen, Merrill. The Founding of a Nation: a History of the American Revolution, 1763–1776. Indianapolis, Indiana: Hackett Publishing Company, 2004.- . The New Nation: a History of the United States during the Confederation, 1781-1789. . New York : Random House Inc., 1950. Rdude. "Events Leading to the American Revolution." 19 Februaury 2002. Everything2. 16 November 2010

Love letter Essay Example | Topics and Well Written Essays - 500 words

Love letter - Essay Example I did not want things to become awkward between us, so I have been keeping my feelings inside. However, due to the strength of our friendship, I feel that I would be insulting you and our friendship if I did not confide in you about how I feel. We have been through so much together, growing up together, and my feelings for you have only increased over the years. While I would love something more to come from our friendship, if you do not return my feelings, then I would like your help in figuring out what I should do about these feelings that I have been having. Your friendship means a lot to me as it is; I would rather have you as just a friend, rather than nothing, so I am willing to make this work in whatever way you feel comfortable with, and that we can further benefit our friendship. I do not want my feelings to get in the way of an already amazing friendship. If you are willing to, I would also be willing to give us a try without others knowing. We can try out something more than a friendship under the radar, just until we can know if we can work this out or not. We could keep this on the down low until we understand more of what we want to do, and if we want to further our relationship. Again, if you are unwilling to do this, then I am up to working out something else with you. I would like to take our friendship to the next level, yet I also want to protect what is already there between us; your feelings in regards to this are very important to me, and I do not want to hurt them, nor do anything that might damage the friendship that we already have. My friendship for you has grown into a deep love and respect that I could never have thought possible. I would like to see something come of this, yet I am also willing to settle on the wonderful friendship that we have always had. You will always mean a lot to me, regardless of what you are to me – a

Evaluating Instructional Design Research Paper Example | Topics and Well Written Essays - 2000 words

Evaluating Instructional Design - Research Paper Example The three basic outlines for how to approach instruction are defined and given meaning in relationship with instruction. Fifteen principles are involved in the discussion of instructional design, and from these fifteen principles it is intended that seven will be further explored through examples of videos in which they have been violated. In learning how to appropriately use a theory it is often beneficial to see how it has been erroneously applied, or not followed. In looking at the principles of instructional design, it is valuable to see how others have failed to follow the ideas put forth and the effect that these missed steps have on the information that is intended. Merrill on Instructional Design M. David Merrill (2008) has been in the instructional design business for about 40 years. His opinion is that the internet has allowed for easy access to the public, but has created a glut of information dumps through which true instruction is ineffective. He assesses the glut of wor k as representative of an inability to create effective instruction at a broad level, with even professional organizations falling short of those principles that have been determined as necessary to create effective instruction. Merrill (2008) outlines three important aspects of designing learning. The first is the need to show people what is being instructed rather than just tell. Giving people an opportunity to practice what has been learned is more than just multiple choice questions. Getting them involved in more complex tasks is required for good learning. The final aspect of educating that is important for learning is motivation. Real learning comes when a student is able to do something that they were not able to accomplish before the education event, with a real world application being the reward so that they can do what they could not do before the instruction. Being able to do something new is the greatest motivational factor available to the instructor, according to Merri ll. He states that through demonstration, activation of practical application, then through the motivation of learning how to do something, the basics have been covered to improve instruction. Broken down to simple, one word explanations, a teacher must engage the student by showing, practicing, and doing. The emphasis on real world application seems to have a strong focus for learning practices, where abstract concepts are far more difficult to achieve than concepts that are applicable in the real world. Clark and Mayer (2011) break this idea down into farther into three additional types of teaching, the first being show and tell which is receptive, show and do which is directive, and teaching by problem solving which is guided discovery. However, these three concepts are based upon the idea that the student is motivated towards learning because they will be able to do something after the conclusion of the learning experience. The last two of these types of teaching are particularl y directed towards creating a system in which the student is given a form of a doable result from the instruction. Overview of 15 Principles of Instructional Design The discussion of education in relationship to instructional design is based upon the use of principles that guide instruction towards affecting the student to engage in learning. The first principle is alignment between activities and outcomes. In order to create effective learning, it is important

Interpretation of Financial Statements Essay Example | Topics and Well Written Essays - 1750 words

Interpretation of Financial Statements - Essay Example With the help of this information one can compute financial ratios relating to liquidity, profitability, gearing and efficiency that help in assessing the financial performance of the company. ... 8594 33607 Acid-test ratio 0.97 1.13 Â   1.19 0.82 Â   Â   Â   Â   Â   Â   Cash and short term deposits 107 47.8 Â   13698 4660 Current Liabilities 758.1 713.5 Â   28594 33607 Cash ratio 0.14 0.07 Â   0.48 0.14 Â   Â   Â   Â   Â   Â   GEARING Â   Â   Â   Â   Â   Total equity 133.4 140.5 Â   66230 62166 Long term debt 802 906.4 Â   1316 575 Long-term debt to equity 6.01 6.45 Â   0.02 0.01 Â   Â   Â   Â   Â   Â   EBIT 529.8 478.3 Â   19782 17161 Interest expense 25.3 50.8 Â   374 307 Interest cover 20.94 9.42 Â   52.89 55.90 Â   Â   Â   Â   Â   Â   INVESTMENT Â   Â   Â   Â   Â   Price 2,053.00 1,177.00 Â   652.5 25.8 EPS 188.50 156.00 Â   32.6 29.6 P/E ratio 10.89 7.54 Â   20.02 0.87 Â   Â   Â   Â   Â   Â   DPS 66 55 Â   16.65 17.15 EPS 188.5 156 Â   32.6 29.6 Dividend payout 0.35 0.35 Â   0.51 0.58 Â   Â   Â   Â   Â   Â   EPS 188.5 156 Â   32.6 29.6 DPS 66 55 Â   16.65 17.15 Dividend cover 2.86 2.84 Â   1.96 1.73 Â   Â   Â   Â   Â   Â   DPS 66 55 Â   16.65 17.15 Price 2,053.00 1,177.00 Â   652.5 25.8 Dividend yield 3.21% 4.67% Â   2.55% 66.47% (Next Plc, 2010; Ted Baker, 2010). Financial analysis of Next Plc (NXT) & Ted Baker Plc (TED) Profitability- For the financial year 2010 the gross profit margin of both the companies has increased as compared to the last year. Ted Baker reported a gross profit margin of 58% in 2009 and this increased to 61% in the following year whereas Next Plc reported a margin of 27% in 2009 and it increased to 29% in the immediate year. The gross profit margin of the former is more than double that of latter; this implies that the management of Ted Baker has exercised efficient control over the operating costs. However the operating profit margin of Next Plc is marginally higher than Ted Baker Plc. For 2010 the former reported an operating profit margin of 15% as compared to12% by Ted Baker Plc. This suggests that

Innovation systems in tourism

Innovation systems in tourism Abstract This paper will talk about innovation system in tourism development by introducing an innovation model to attract tourism to destination. The model called attractor-based innovation system that is included different parts such as attractor, scene, scene-maker, scene-taker and the arrangement between tourist and other firms. The aim of the study is to scrutinize how the innovation system in tourism can promote tourism firms and extend an attractor-based tourism innovation system in the destination. The paper will examine implementation of such an innovation system in two examples of destinations around the world. The connection between scene-maker and scene-taker will investigate to realize the creation of local networks. The tourist development could depend on the connection between tourism and attractor-based innovation system in the region. Introduction Tourism industry is growing faster and faster every day and innovation system plays an important role in tourism development. In this paper, I introduce a model that called attractor-based innovation system that is included different parts such as attractor, scene, scene-maker, scene-taker and the arrangement between tourist and other firms. The innovation system focus on service products, market change, customer behavior and changing the processes, for instance replace new goods, services, organizations etc. The concept of innovation may focus on the process change although process will be connected to innovation systems. Innovation refers to the process of bringing any new, problem solving idea into use. Ideas for reorganizing, cutting cost, putting in new budgetary systems, improving communication or assembling products in teams are also innovations. Innovation is the generation, acceptance and implementation of new ideas, processes, products or services Acceptance and implementation is central to this definition; it involves the capacity to change and adapt (Hjalager cited in Kanter, cited from Hall Williams Hall and Williams, 2008 C.M. Hall and A.M. Williams, Tourism and innovation, Routledge, London (2008). ,2008, p 5). It has been investigated that innovation hypothesis promoted in connection with manufacturing segment can be implemented to service segment for instance tourism. Service innovations are seldom RD (Research and Development) based, but running by applied experiences. Innovation in services is incremental which means services and processes are rarely changed. Usually, the process of innovation for service firm is lesser than manufacturing firm because of smaller standard size. I will investigate that scene-taker as an organization and entrepreneur make an essential role in innovation systems in developing the scene. The purpose of the research is how the tourism innovation system may promote the development of tourism firms. Literature review It has been discussed that innovation hypothesis developed in connection with industrialized sector might be utilize in service sector for instance tourism industry (Gallouj, 2002; Vermeulen, 2002). There are some general features for service innovation in tourism, which depends on type of innovation in manufacturing sector (Boden and Miles, 2000). Innovation in services is coming to flexible aspects of innovation rather than practical manufacturing innovation. For instance, organizational and natural innovation is focusing on social issues rather than technological innovation in industries (Tether, 2005; Gallouj, 2002). However, innovation may depend on organizational change that related to association between complexes of firms, it also needs support from stakeholders (Sundbo et al., 2001). However, services and manufacturing have similarities in their basic structure for innovation system, for instance, innovation in product and process are more incorporated in services and service firms are structuring the innovation activities that mean they develop research and development sector. Service innovations are more focusing on developing Information Technology (IT) for service firms (Miles, 1993). I need to give clear definition of tourism in this part. Tourism comprises the activities of persons travelling to and staying in places outside their usual environment for not more than one consecutive year for leisure, business or other purposes. (Mattsson, Jan , Sundbo, Jon and Fussing-Jensen, Christjan cited in WTO, 1991) I need to clarify the meaning of tourism firms. According to Leiper (1999) The tourist industry consists of all those firms, organizations and facilities which are intended to serve the specific needs and wants of tourists. Developing research for tourism innovation has been limited. Hjalager (1997, 2002) has investigated innovation development in tourism sector and he has concluded that innovation policies must focus on other sectors, which are supporting sustainability concept. Poon (1990, 1993) has investigated diffusion of innovation in tourism sector and he examined the development of small firms in tourism. Sunbo (1998) and Jensen (2001) have studied the possibility of using network for small firms in tourism sector and they concluded that small firms in tourism part are less innovative than small firms in other sectors. Product and process innovation related to change in the product or process chain, which represent new products to customer or new service in specific destination or enterprise. In customer purchase decision, product and process innovations might play a significant role in tourism sector (Hjalager, 2010). Process innovations refer typically to backstage initiatives that aim at growing efficiency, production and flow. Technology investments are the anchor of typical process innovation, occasionally in mixture with reengineered layouts for manual work operations. Information and Communication Technology (ICT) has been the base of many process innovations in current decades, and it has involved a major strand of research interest with its own agendas and institutions (Buhalis Law, 2008). For instance, process innovation can be established permeating into visitor attractions for the targets of crowd organize. Process innovations which address energy consumption and climate impacts are on the future program for many types of tourism enterprise and not least transportation (Peeters, Gà ¶ssling, Becken, 2006). Experts have considered science and technology as driving forces for innovation, but they recognize environmental factors such as market changes and political issues as contributors. It has concluded that market demand is a major point-de-fix in typical tourism research, and is clearly considered the single most significant driving force for innovation ([Buhalis, 2000] and [Hall and Williams, 2008]). Process innovations occur broadly in tourism. With an example from winter sports that scrutinize how ski lift capacity is a serious factor in process efficiency and that selection of technology for that reason is critical. Airports implement a variety of technologies that guarantee the mobility of people, baggage, goods and information, in order to improve the challenges of transportation. During recent years, and for a number of purposes, new types of technology have entered airports, for instance, iris-recognition and X-raying ([Cydesdale , 2007] and [Sheller Urry, 2006]). According to Pine Gilmore (1999), Experiences are a fourth economic offering, as distinct from services as services are from goods, but one that has until now gone largely unrecognized. Goods are tangible products that companies standardize and then inventory and services are intangible activities performed for particular client. (Pine Gilmore, 1999, P: 2-9) The concept of innovation system emphasizes the innovation and learning features of the systems. Usually, a system engaged in a type of cluster, special firms, public institutions and other actors that are participate in an interaction system (Porter, 1990; Maskell, 2001). In this system, knowledge is diffused and association recognized, in cooperation enhancing the innovation activities of the firms involved. The innovation system might be considered as a learning system ( Maskell, 2001). The common notion of an innovation system as performed to the tourism segment suggests a system that is more insecurely coupled than in industrialized and other services (Jensen, 2001; Jensen et al., 2001; Hjalager, 2002) and might more properly be termed a network. However, the notion of an attractor-based innovation system in tourism sector that I will recommend in this paper is different from the common innovation system approach performed to tourism. It is more precise since it identifies an obvious originator of the innovation system for instance the attractor and the scene-maker and it introduce development process in the model for instance a scene-taker taking over from the scene-maker and making local networks. Accordingly, an attractor-based tourism model is one example of the common innovation system in tourism sector. After reviewing literature related to innovation system in tourism, the aim of the study will be to expand an innovation model in tourism that has been called attractor- based innovation system. It will continue by investigating two case studies around the world. I have chosen them since I could easily find out the attractor in the cases. I will carry on by introducing different mechanism of the model. The study will focus on investigating the operation of such an innovation model in the long term according to economic and social aspects. I propose to make a comparative analysis between the cases and investigating the operation of the model in different situation and in variety of destination. Introducing an attractor-based innovation system model The tourism development, which is, growth in proceeds and revenue and qualitative regeneration, needs innovations. The tourism development in a region may not exactly belong to innovation by a particular tourism firm. Somewhat, it can be dependent on other surrounding factors in the particular area. This geographical area may not, be seen absolutely as a special destination. However, the purpose of the study has not been to investigate destinations features, but in the tourism innovation systems such as the attractor based innovation system must not be limited to just one destination. According to destinations meaning, the system can be physically dispersed to comprise several destinations or only a part of a destination. In order to investigate the model I need to focus on both innovation and entrepreneurship. The entrepreneurs develop the innovative courage and the essential structures, procure the knowledge and maybe project capital. Therefore, entrepreneurship is the main requirement for innovation. A community entrepreneur could be defining as a social leader who is constructing networks in the best way. According to figure 1, the model of attractor-based tourism innovation system is constructed: attractor, scene, scene-maker, scene-taker and cooperative networks between the scene-taker and tourism firms. I will focus on one purpose of the model that called scene-taker, who plays an important role to maintain the system. Nevertheless, I will carry on by explaining components of the model. The attractor is defined as an event, movement, association or the like that absorbs people to the destination. Attractors generate attention; it is not necessary for them to have special connection with tourism. For instance, the head offices of a famous business or a famous sporting event like (Mattsson, Jan, Sundbo, Jon and Fussing-Jensen, Christjan, 2005) The Olympic Games generate large numbers of visitations. Another example could be a music festival in special destination in limited time that we call it cultural or entertainment event. The attractor transformation happens when it is connected to a situation, what I have called a scene. It includes giving the attractor a clear place and identity in the destination. The main framework for the whole experience of visitors may happen when the attractor is transfigured into a scene. Therefore, the scene is a symbol for the way the attractor integrated with its surrounding situation and conceptualized. The scene-maker is the person who is creating the scene and he investigates the possibilities of applying the attractor for improved visitation. Since the scene-maker establish and conceptualizes the scene, he can be an innovator. He could be an entrepreneur, he may not maintain the scene and he may not be part of tourism section or he may not profit from the generated scene individually. The scene-maker can be an individual, or an organization, a personal firm or a community. A scene-taker is a part of models function, which can be an individual, a personal firm or a community that is capable to take over and continue from that of the scene-maker. The scene-taker has entrepreneurial personality no matter even if it is a person or an organization. The scene-taker is determined and efforts to maintain the scene. The Scene-takers operations may make profit for personal tourism firm by becoming component of a collaborative network rising on the scene. Propositions connected to model of attractor-based tourism innovation system listed below: All components of the model must be present to ensure economic and social viability. The scene-taker is the most crucial function. A scene must have been created before the transition from the scene-maker to the scene-taker can take place. If a scene-taker is present, tourism firms get more business if they make an active effort to utilize the scene. Successful utilization of the attractor (positive effects economically or socially) requires innovation in the tourism firms. Successful utilization of the attractor (positive effects economically or socially) requires a collaborative network between the tourism firms. Conservatism of tourism firms in relating to local firms in other sectors impedes attractor utilization. (Mattsson, Jan, Sundbo, Jon and Fussing-Jensen, Christjan, 2005) Case studies I have chosen two case studies which are called James bond island in Thailand and the Book town Hay-on-Wye in United Kingdom. I will explain two cases to understand function of the innovation system and relation between scene-making and scene taking parts. The main reason for case selection was the attractor entity. In the case of Hay-on-Wye, an entrepreneur develops his idea to become a traditional trader. Accidentally he became an owner of the big book collection. Therefore, he started to sell second-hand books and he made the city like book town. He became a major book trader and he promoted the proposal of book towns worldwide. In the James Bond Island case, a local tour operator got used the name of James bond as a trade name for boat trips to this island in Thailand. He used the reality that a scene in one James Bond film had produced in this island. The following data according to cases and respondents opinion has been collected. According to table 1, we understand how the model according to proposition dealing with economic and social condition. Data collected according to interviewing respondents and they were asking to talk about specific incidents relevant to different parts of model. Respondents must have experiments about events that they were asking about that. The focus was on the connection between events, attractor and other parts of model. For instance, events on how the scene-maker produced the scene from the attractor and relevant to the events situation shifting from scene-maker to scene-taker. Examining the prepositions According to preposition 1, an attractor-based model has had positive result in both cases that means attractor as the main part of the model has made business improved. According to preposition 2, the model has had positive effect. The scene-taker can be an individual or organization that in both cases has been an entrepreneur. Relevant to preposition 3, which is focusing on shifting from scene creation to a scene-taker has been successful in both cases. Therefore, in James Bond Island and Hay-on-Wye a scene has been created. According to preposition 4, the positive activity of the firms has not relied. Regarding proposition 5, for the case of James Bond Island, the innovation actions of tourism firms has been positive and in the case of Hay-on-Wye there is no innovation action. About preposition 6, in both cases there is shared association between tourism firms but no connection between tourism firms and other firms. In conclusion, the preposition 7 which in conservatism within tou rism firms and other parts have been positive in both cases. Therefore, the scene-taker has a significant effect in innovation system. Innovation depended on positive effect of the attractor in the model. Conclusion Bibliography Boden, M. and Miles, I. (Eds) (2000) Services and the Knowledge-Based Economy (London: Continuum). Buhalis, D. (2000). The tourism phenomenon: the new tourist and consumer. In C. Wahab, C. Cooper (Eds.), Tourism in the age of globalization (pp. 69-96). London: Routledge. Buhalis, D., Law, R. (2008). Progress in information technology and tourism management: 20 years on and 10 year after the Internet the state of the eTourism research. Tourism Management, 29(4), 609-623. Clydesdale, G. (2007). Ski development and strategy. Tourism and Hospitality Planning Development., 4(1), 1-23. Gallouj, F. (2002) Innovation in the Service Economy (Cheltenham: Elgar). Hall, C. M., Williams, A. M. (2008). Tourism and innovation. London: Routledge. Hjalager, A. (1997) Innovation patterns in sustainable tourism-an analytical typology, Tourism Management, 1, pp. 35-41 Hjalager, A. (2002) Repairing innovation defectiveness in tourism, Tourism Management, 5, pp. 465-474. Hjalager, A.-M. (2010). A review of innovation research in tourism. Tourism Management, 31(1), 1-12. Jensen, C. F. (2001) Den innovative adfà ¦rd i oplevelsesintensive virksomheder. Et strategisk perspektiv i turisme [Innovative behaviour in experience intensive firms. A strategic perspective in tourism]. Report 01:2 (Roskilde: Roskilde University, Centre of Service Studies). Jensen, C. F. et al. (2001) Innovation stendenser i dansk turisme [Innovation tendencies in Danish tourism]. Report 01:1 (Roskilde: Roskilde University, Centre of Service Studies). Leiper, N. (1999) Are destinations the heart of tourism?, Current Issues in Tourism, 4, pp. 390ff. Poon, A. (1990) Flexible specialization and small size-the case of Caribbean tourism, World Development, 1, pp. 109-123. Maskell, P. (2001) Towards a knowledge-based theory of the geographical cluster, Industrial and Corporate Change, 4, pp. 921-943. Mattsson, Jan , Sundbo, Jon andFussing-Jensen, Christjan(2005) Innovation Systems in Tourism: The Roles of Attractors and Scene-Takers, Industry Innovation, 12: 3, 357 381. Miles, I. (1993) Services in the new industrial economy, Futures, 4, pp. 653-672. Peeters, P., Go ¨ ssling, S., Becken, S. (2006). Innovation towards tourism sustainability: climate change and aviation. International Journal of Innovation and Sustainable Development, 1(3), 184-200. Planning A, 38, 207-226. Pine, B.J. Gilmore, J. H (1999) Experience Economy Harvard Business School Publishing (ISBN 9780875848198). Poon, A. (1993) Tourism, Technology and Competitive Strategies (Wallingford: CAB). Sheller, M., Urry, J. (2006). The new mobilities paradigm. Environment and Porter, M. (1990) The Competitive Advantage of Nations (London: Macmillan). Sundbo, J. (1998) The Organization of Innovation in Services (Copenhagen: Roskilde University Press). Sundbo, J. et al. (2001) Innovation in service internationalisation: the crucial role of the frantrepreneur, Entrepreneurship and Regional Development, 13, pp. 247-267. Tether, B. S. (2005) Do services innovate (differently), Industry and Innovation, 12(2), pp. 153-184. Vermeulen, P. (2002) Organizing Product Innovation in Financial Services (Nijmegen: Nijmegen University Press). WTO (1991) Recommendations of Tourism Statistics (Madrid: WTO).

Wordsworth: Tintern Abbey And Lyrical Ballads :: essays research papers

Born in 1770 at Cockermouth in the heart of the Lakes District in England. William Wordsworth grew up in a rustic society and his beautiful and ageless poetry often reflect this. Wordsworth’s mother died in 1778 and in 1779 he was sent to grammar school in Hawkshead. Wordsworth’s father died in 1783, leaving his uncles as guardians. They tried to guide him towards a career in law or in the church and he was accepted into Cambridge in 1787. Wordsworth was uninspired to work towards a career he had little interest in and subsequently his grades, which bordered on the average, reflected this. Before completing his final term of college Wordsworth went for a walking tour of Europe and finally received his degree in 1791 but had no direct plans for his future. He returned to France in 1791 and stayed a full year, during this time became an enthusiastic advocate of the French Revolution. Money concerns forced him to return to England and he was unable to return to France unt il 1802 due to war breaking out between the two countries. In 1795 two things happened that ultimately changed the course of Wordsworth’s life. In August of 1795 a young friend whom Wordsworth had been nursing died of tuberculosis and left him a grant of 900 pounds. His friend had hoped that with this money Wordsworth would be able to devote his life to poetry, and in August of 1795 Wordsworth met Samuel Taylor Coleridge. Over the next two years their friendship would grow and in 1797 William Wordsworth and his sister Dorothy moved to Alfoxden House, which was only a few miles from Coleridge’s home. The creative partnership between these two young poets would eventuate in the first publishing of Lyrical Ballads. The publication of Lyrical Ballads represented a turning point for English poetry. It was released anonymously on October 4th, 1798 and the learned old guard of literary England was mostly unaware that a form of â€Å"literary revolution† had taken place. Previous ages had considered the aim of poetry to be used as a tool to change people’s behaviour or as a learning mechanism. Wordsworth launched the Romantic Era of poetry and paved the way for many of the romantic poets that came after him. John Keats and Percy Bysshe Shelley to name but two. Coleridge encouraged Wordsworth to write a preface to Lyrical Ballads. A preface that would explain the work contained within the collection.

Nike of Samothrace

| Jani Smith| Ancient Cultures 212| | March 18, 2013| | Winged Victory Contents Introduction2 Discovering2 Hellenistic architecture and style2 Composition and atmosphere2 Genres and audience3 Conclusion4 Introduction One of the best known works of Hellenistic sculpture is Nike of Samothrace, now located in the Louvre museum in Paris. It is a demonstrative, and powerful sculpture which encapsulates everything great about Ancient Greece. The sculpture is made of Rhodian marble, stands 2. 45 meters tall and 2. 35 meters wide including its wings (Burn, 2004, p. 9). Nike’s sculptor is not well known, however it is presumed to have been constructed by the sculptor Pythokritos (Pollitt, 1986, p. 114) during the early second century BC. Discovering Nike was discovered in 1863 by the French consul and amateur archaeologist Charles Champoiseau, in the sanctuary of the Great Gods at Samothrace where it was originally set up. Nike is traditionally associated with the victories that was ob tained by the Rhodian fleet over the Antiochos III off Side and Myonnesos in 190/89 BCE (Ridgway, 2000, p. 50).The base of the statue is in the form of a ship’s prow (Pollitt, 1986:113), and the goddess is represented as if she has just alighted on the ship, with her wings still beating and her drapery fluttering in the wind. Hellenistic architecture and style This breath taking sculpture was created in the period when baroque style developed. The characteristic features include acanthus column bases, modillion cornices, Corinthian capitals with S-shaped spirals, segmental pediments, half–pediments and curved entablatures (Bugh, 2006:171).Baroque sculptures are well known for their powerful and immense size, the twist and turn of their body theatrically in space, frequently clad in drapery that is in motion or semi-transparent (Pollitt, 1986:114) Composition and atmosphere A sense of drama is created through the sculptor’s combination of skill at naturalism and his ability to manipulate the elements of the work. The goddess’s wings are widely spread behind her, she leans forward with her right leg and her torso tilted for balance (Burn, 2004: 90).Her wings, legs and torso create a sequence of boldly opposing diagonals that enrich the idea or impression she gives of being in motion. She becomes a dramatic study of conflicting forces and counter-forces, as she leans forward against the wind (Ridgway, 2000:155). Her breasts, abdomen, right leg, and left thigh is revealed almost as if they were nude by the drapery that is clinging with thin, long, and uneven ripples. Not only heavy but also dynamically irregular shapes and bunches are formed by excess fabric.Between her legs is a long, uneven arc of cloth that accentuates its motion and implies the counter-force of the wind against her beautiful curved body (Burn, 2004:90). The sculpture draws attention to this downward arc with a swath of drapery that hovers frontward from the goddessà ¢â‚¬â„¢s left hip. The drapery then collides in a V-shape with a longer swath at her pelvis. The fabric at the back soars out behind her in rigid crests. This gives an uneven effect of the drapery, the wind whipping the cloth, similar to the sea below her, into irregular peaks and troughs (Ridgway, 2000;155). The goddess’s wings are very naturalistic.It contributes to the chaotic, uneven and energetically active tone of the statue. The goddess pushes her wings back as far as possible, and extends them to their full length (Ridgway, 2000:155). It seems as if she is mimicking the behaviour of a bird that is about to land. If one observe her wings closely, from where their crests bent to where they joint half-way, then to their outspread and the textured feathers, it looks like an enlarge copy of Zeus’s eagle’s wings (Pollitt, 1986:116). However there is a difference, which is the lacking of the regular, fan-like arrangement in a bird’s wings.The Nikeâ€℠¢s wings are put mysteriously arranged at odd and overlapping angles to one another, very similar to the folds of the drapery (Ridgway, 2000:155). Though it appears naturalistic, the wings deceive the sculptor’s awareness in the creation of irregular patterns to propose straining and immediate action. The wings thrown out against the real wind creates an effect of imminent landing. This naturalism and exaggerated irregularity develops a sense of actuality and urgency. With her fine detailed wings and corporeal body, this unearthly being is one of the most astonishing Hellenistic art works to be seen (Ridgway, 2000:150).Genres and audience Hellenistic art is a marked by craft, technical virtuosity. Certain theatrical sense was one of the fundamental characteristics of this time. There was a fondness for dramatical settings, surprizing, and mysterious inner space (Pollitt, 1986:7). Hellenistic baroque sculptures of the third century wanted to immortalize the heroes’s vic tories. These art pieces encaptured the fortune and trails of heroes in moments of crises, designed to dazzle its audiencethrrough their sheer technical virtuosity (Pollitt, 1986:7).The sculptures were created with a specific viewpoint in mind, most importantly to â€Å"sway the soul† (psychagogia) (Bugh, 2006:172). There is a transitory story in each sculpture and each sculpture emphasizes a specific moment. The dramatic contrasts, exaggerated and distorted forms, the heightened expressions of emotion ads on to the message conveyed by the sculptor (Fowler, 1989:32). To understand them, the viewer must recapture the primeval fascination that the artist drew on in order to endow each of his creations with their own strength and impact.Conclusion Due to the lack of references in extant texts, the Nike of Samothrace’s political and historical background remains obscure. Looking at this master piece of art work, it almost seems as if the strong wind and waves from below ar e threatening to overwhelm her (the state). Nike of Samothrace’s primary purpose might have been metaphorical, acting as a â€Å"Ship of State,† guiding the state through dangerous waters (Ridgway, 2000: 153). Whatever the purpose of the sculpture was originally meant to be, it will continue to be a mysterious piece of art work.Works Cited Bugh, G. R. 2006. The Cambridge Companion To THE HELLENISTIC WORLD. New-York, USA: Cambridge University Press. Burn, L. 2004. Hellenistic Art FROM ALEXANDER THE GREAT TO AUGUSTUS. Los Angeles, USA: The British Museum Company. Fowler, B. H. 1989. THE HELLENISTIC AESTHETIC. Wisconsin, USA: The University of Wisconsin Press. Pollitt, J. (1986). Art in the Hellenistic Age. New-York, USA: Cambridge University Press. Ridgway, B. S. 2000. Hellenistic Sculpture II, The styles of ca. 200-100B. C. Wisconsin: The University of Wisconsin Press.

Color Psychology In Marketing The Complete Guide [Free Download]

Color Psychology In Marketing The Complete Guide [Free Download] In content marketing, color is an emotional cue. In an ocean of content marketing, color can help yours stand out. Its what  gets your audience to see what you want them to see, feel what you want them to feel, and to do what you want them to do. Which hues  you choose can  also affect usability  and  whether content is  readable it or not. This is what makes  understanding color psychology so important for the success of your content. However, poor  color choice can also negatively change the impact of your message. Get it wrong, and your great content and your amazing call to action  will be easily ignored. Even NASA is concerned about color;  enough so that they provide free online resources  to help non-designers choose just the right shades. After reading this post, youll understand basic color theory and psychology. Plus, weve included a free hex color chart to make  picking the right colors with easy with any design tool. Ready to become an expert? Lets jump in! Table of Contents: Basics of Color Theory Primary Colors Secondary Colors Tertiary Colors Pure Color Tints Shades Tones The Complete Color Wheel Using Contrast Choosing Color Combos Using Complementary Colors Addressing Color-Blindness Using Split-Complementary Colors Using Analagous Colors Using Monochromatic Colors Using Triangle, Rectangle, and Square Colors Psychology of Colors in Marketing Red Orange Yellow Green Blue Purple Pink Brown Gold Black White Bright Colors Cultural Colors Word Associations With Color Preferences by Gender Mood and Emotions Brand Recognition TestingThe Know It All Guide To #ColorPsychology In Marketing + The Best Hex Chart Let's Start With The Basics Of Color Theory Understanding how color works isn't just for artists dipping their hands into paint and pigments all day long. Anyone in marketing needs to understand the basics of color theory because no matter what you are using color in your content. Back To Top Primary Color Primary colors are the three colors that make all other colors. They are red, blue, and yellow. These three colors can be used to create the next level of colors, called the secondary colors. Exceptions, of course, abound when it comes to talking about primary colors. If you're talking color theory in regards to light, your primary colors would be cyan, magenta, and yellow. Let's not forget CMYK for print and RGB for screens or monitors. And, when mixing paint, it matters what particular pigment you're using to get that red in order to come up with the proper new color. But let's keep this simple and stick with red, blue, and yellow. Back To Top Secondary Color Secondary colors are purple, green, and orange. They are created using the primary colors. If you look on the color wheel, you'll find the secondary colors in between two primary colors. Color Guide: red + blue = purple blue + yellow = green red + yellow = orangeBack To Top Tertiary Color Tertiary colors take  secondary colors one step further. They are the "two-name" colors, such as red-purple, red-orange, yellow-green, etc. They are created by adding more of one primary color than the other creating not a true secondary color. It ends up being closer to the primary color. Back To Top Pure Color Primary, secondary, and tertiary colors, without the addition of white, black, or a third color, are pure (or saturated) colors. They are intense, bright, cheery, and untainted colors. These are the colors of children's toys, daycare decor, and summer clothes. Back To Top Tints When white is added to a pure color, you get a tint. Some people refer to these as pastel colors. They are lighter and paler than a pure color, and not as intense. Tints range from slightly whiter to almost-white. Back To Top Shades When black is added to a pure color, you create a shade. These darken and dull the brightness of pure colors, and range from slightly darker to almost black. Back To Top Tones When gray (black + white) is added to a pure color, you create a tone. You often hear people saying that a color needs to be "toned down", meaning it's too intense and they want to drop the level of intensity. Adding black and white in different amounts to a color subdues the intensity quickly. Back To Top The Completed Color Wheel Whew! So there we have it: a complete color wheel with primary, secondary, and tertiary colors, plus their tints, shades, and tones. You can see how it all fits together on the color wheel below. Cool colors are all on the left side of the wheel, in the blues and greens. The warm colors are all on the right side of the wheel, in the yellows and reds. Now that you understand color theory and the color wheel, you can start to use color purposefully in your content marketing. Back To Top Using Contrast Correctly With  Color When it comes to color techniques, the use of contrast is particularly important, and it's probably the one that will lead you to butt heads with your designer the most. Contrast is how one color stands apart from another. It's what makes text or objects distinguishable from the background. High contrast is when colors easily stand apart from each other. Low contrast is when they don't. Often, people assume a difference in color is what creates contrast, but that's not true. You might have two colors that are completely different  but have no contrast at all because  their tone is the same. To test out your colors contrast, turn them into grayscale and review their contrast. Colors, in their pure form, have inherent differences in how light and dark they are. Yellow is bright, for example, while blue is darker. Yellow  and orange  have little contrast with each other, despite being different colors. When different colors have the same tone (level of gray as you  just learned), they will not have much contrast, either. It isn't enough to simply pick two different colors when making decisions about contrast. Using High And Low Contrast Generally, high contrast is the best choice for important content, because it is most easily seen. Dark on light or light on dark–it's the easiest to read. It might not be exciting, but it is readable. One word of caution, though: If everything is high contrast, nothing stands out and it's tiring on the eye after a while. (e.g. Think of black computer screens with bright green text.) Designers often prefer low contrast techniques. They like to make things look beautiful, but beautiful isn't always the best for readability. Tone-on-tone similar colored combinations are very popular and while their subtlety is quite attractive, they are also difficult for people to read. Pro Tip: Try to find the balance between beautiful color schemes, and legibility for optimal clarity in your visuals. In order to use similar colors, while getting the contrast you desire, create a color scheme with both complementary and analogous colors. What's that? Let's keep reading! Choose #colors and contrast that is readable. Beautiful content that can't be read is a fail....Back To Top Choosing Color Combinations The color wheel can help you choose great color combinations for your call to action button, your infographics, and your lead collection pop-up. Keeping your color combinations simple will help you in the long run. A study from the  University of Toronto  showed on how people using  Adobe  Kuler revealed most people preferred simple color combinations that relied on only 2 to 3 favorite colors. People like simplicity; it makes your content easier to understand if they don't have to interpret it through many colors. And remember, color has meaning  so each color adds or takes away from your message. Too many colors make for a confusing message. So how do you choose those 2 or 3 colors? The color wheel can help. Using Complementary (Opposite) Colors Complementary color combinations make things stand out. Complementary colors are "opposite" colors. They are opposite of each other on the color wheel, meaning the one color they lack is that one opposite of them. They are geographically and color-wise the opposite, and provide a kind of visual tension because they are so opposed to each other. You might even notice that some of your favorite sport teams use  complementary colors. From football to hockey, opposite colors are used for some great color combinations. Blue is the opposite of orange. Red is the opposite of green. Yellow is the opposite of purple. Opposites attract! When the human eye sees a painting full of different kinds of greens, any bit of red is going to stand out amazingly well. Why? Because red is the opposite color of green. When the eye has been looking at a lot of the same color, it wants to see the opposite for a visual break. Using complementary colors is the easiest way to get something to stand out. Use them with caution to keep your content from being too visually jarring. You don't want 50% orange and 50% blue because neither color wins and it causes distress to the eyes. Pro Tip: pick a primary color as your main color, and then accent it with its complement color for more of a 7:3 ratio. This provides a beautiful color pairing, but also lets your eyes break on the opposite color. Let's look at the homepage as an example. What colors do you see? It's mainly  blue, but our most important button, the "Get Started Free Now" button, is orange. Orange  is the opposite color of blue. In a sea of dark blue,  your eye is going to naturally notice orange  faster than any other color. We also ensured that the orange button contrasted from the dark blue to make it even more visually present. Back To Top Caution: Addressing Color Blindness A quick word of caution:  Red and green, two complementary colors, present a sticky problem. Some people have  color blindness and cannot distinguish between certain colors, and red and green are a common problematic combination.Colors with heavy amounts of red and green in them get bungled up, too. Did you know that Facebook is blue because Mark Zuckerberg is red-green colorblind? He sees blues the best. The above example shows the three types of color blindness: Deuteranope, protanope, and tritanope. Similar to Mark who sees blue best, it's no wonder why blue is one of the more popular colors as it stretches even beyond color blindness. To help with color blindness when using  complementary colors, remember there must be high contrast. Try to never use a color solely as the information source. Include text in graphs and infographics whenever possible as well. High contrast and additional text  will ensure that even when color blindness is present, your visuals will be both readable and enjoyable to see. Back To Top Using Split Complementary Colors If you want to use three colors instead of just two, using split complementary color schemes is a way to capitalize on the power of complementary colors but add a third color to your palette. To use it, you'll choose one color as your base color, and then the two colors adjacent to its opposite. For example, if we decided to choose green as our main color, we'd look across the color wheel for its complementary color, red. Then, look to the two colors directly beside it. Now, we have green, red-orange, and red-purple for a perfect split complementary color scheme. A split complementary color scheme doesn't have quite the same level of tension that a complementary color scheme does, but it's still visually exciting for your eye. It also adds a level of variety to your color scheme that can be used in a very dynamic, meaningful way. Back To Top Using Analogous Colors Analogous colors sit next to each other on the color wheel. They are "related", a kind of family of colors that creates pleasing and relaxed visuals. They aren't jarring, opposite, or clashing. They also don't stand out from one another. Analogous colors can create subtle and beautiful content, but you may need to add  a complementary color to get any particular item to stand out. Back To Top Using Monochromatic Colors Monochromatic colors are a single color, with its tints, shades, and tones. They are even more soft and subtle than analogous colors since it's a color palette based on one single color. Monochromatic colors work great when paired with a single complementary color. On the website, we use monochromatic blue  colors with orange  for the content we want to get noticed. Most designers- when using complementary colors- pair a rich collection of monochromatic colors with a single complementary color. Pair a rich collection of monochromatic colors with a single complementary #color #design Back To Top Using Triangle, Rectangle And Square Colors It isn't difficult to create color combinations that stretch the boundaries of the easy power of complementary opposites and the related analogous and monochromatic palettes. All you need is a triangle, rectangle, and a square. A triangle (triad) is a color combination made of three colors that are evenly spaced around the color wheel. A rectangle (tetradic) is a color combination made of four colors that are made up of two complementary pairs. A square is similar to a rectangle palette, but the two sets of complementary pairs are colors evenly spaced around the circle. These three combinations can be visually noisy if you're not careful. The best application is to use one color as the dominant color, and the others for highlighting content. The triangle combination is particularly vibrant; three is a "stable" number and using three colors is visually stabilizing. Back To Top The Psychology of Colors in Marketing Color is an essential tool because it has an impact on how we think and behave. Color directs our eye where to look, what to do, and how to interpret something. It puts content into context. It helps us decide what's important and what's not.  That's precisely why, as a content marketer, you need to understand what colors mean  to people. While color psychology has been studied and analyzed over time, the psychological impact of color is still moderately subjective. We don't all react the same way to colors, as we all have previous experiences with colors from significant events, cultures, people, and  memories. However, there are a few generalities about how people respond to color, and that's what we're going to look at. Back To Top The Color Psychology of Red Red is a very powerful, dynamic color that reflects our physical needs whether to show affection and love, or to portray terror, fear,  and survival. Red is also a very energizing color that can portray friendliness and strength, but can also be demanding and show aggression depending on its context. Overall, if you're looking to have a really powerful presence or get someone's attention fast, red is your go-to color. Just remember to use it sparingly to avoid the extreme negative reactions it can so easily awaken. Red is commonly seen: Stop lights, Valentine's Day, and horror films. Back To Top The Color Psychology of  Orange Orange has a very interesting psychological meaning as it combines red's power and energy with yellow's friendliness and fun. The mix makes orange  a good representation of  physical comfort in our warmth, food, and shelter. (It even stimulates our appetite so watch out if you're hungry!) Orange is also known to be a color of motivation, lends  a positive attitude, and general enthusiasm for life. Overall, orange is great for bringing comfort in tough times, and creating a sense of fun or freedom in your visuals. Orange  is commonly seen:  Fruits, sporting events, and board games. Back To Top The Color Psychology of  Yellow Yellow is the epitome of joy, happiness, cheerfulness, optimism- you name it. Anything happy is almost always yellow. The wavelength of yellow is particularly long, making it  have one of the most powerful psychological meanings, while also being the easiest color to visibly see. (Did you know yellow is the first color infants respond to?) Whenever you need to lift someone's spirits, increase their confidence, or provide inspiration, use yellow. However, avoid using yellow too much because it's also known to  make us more critical causing self esteem issues, fear, or anxiety. Find the right balance of yellow to motivate rather than bring others down. Yellow  is commonly seen:  Traffic crossings and signs, smiley faces, and window-front displays. Back To Top The Color Psychology of  Green Green is a color of balance and harmony. It lends us a clearer sense of right from wrong since green  incorporates  a balance of both the logical and emotional. Green is one of the most-seen  colors in nature reflecting life, rest, and peace. It  is also a sign of growth, whether that's in a physical object like plants  or in our income and wealth. Overall, if you're looking to portray health,  rest, and to relieve stress, green is your color. While green does have minor negative aspects like over-possession and materialism, it has a more positive affect than most other colors. Green  is commonly seen:  Nature, economic exchange,  health-based stores, and restaurants. Back To Top The Color Psychology of  Blue Blue is known for its trust and dependability. It's reliable, responsible, and mentally soothing. For that reason alone, it's one of the most-liked colors across the entire world. Unlike red, blue lends a more mental reaction rather than physical that allows us to destress, calm down, and think of the most ideal situation. Unfortunately, it also is one of the last colors to be seen, and can be perceived as distant, cold, or unfriendly if used it great amounts. Overall, blue is a well-liked color that can bring a sense of calmness and trust when building relationships, especially in marketing. Blue  is commonly seen:  Workout facilities, hospitals, and spas. Back To Top The Color Psychology of Purple Purple is most commonly known for its imagination and spirituality. It possesses the energy and power of red, with the stability and reliability of blue, making it a perfect balance between the physical and spiritual. Purple is often used to show luxury, loyalty, courage, mystery, and magic. It's a very intriguing color as it soothes, but also presents space for mystery and new ideas. This is why creativity is most often associated with the color purple. When using purple, avoid using it too often as it can also cause too much introspection or distraction as thoughts begin to wonder. Purple  is commonly seen:  Magic shows, fairy tales, and luxury products. Back To Top The Color Psychology of  Pink Pink is a softer, less intense version of red that creates a sense of compassion and unconditional love. While it's a very physical color, it soothes rather than stimulates, making it a perfect color for caring, understanding, and nurturing those in need. Pink is a sign of hope. It  is also known to be very romantic as it shows empathy and sensitivity. If too much pink is used, it can be very draining, show a lack of power, and even immature. Overall, pink can be a great counter-option to the color red when used appropriately. Pink is commonly seen:  Cancer patients, little kid objects, and bathroom  products. Back To Top The Color Psychology of Brown Brown, while maybe not the most visual stimulating color, is a great sign of structure, security, and protection. Whether it's family, friends, and material possessions, brown offers constant support. It's also a very serious, down to earth color you  can use where black might be too intense. The downfall to brown is that it's the most safe color and can seem reserved, scheduled, and boring. Overall, use it when necessary, but don't depend on it too  heavily. Brown  is commonly seen:  Campgrounds, home furnishings, and coffee shops. Back To Top The Color Psychology of  Gold Gold has quite a few different meanings depending on your culture. Across the world, though, gold consistently represents some variation  of charm, confidence,  luxury, and treasure. It  also can have an element of friendliness, abundance, and prosperity that is naturally attractive. Too much gold, however, can seem egotistical, proud, and self-righteous. Similar to colors like brown and black,  try to use gold more sparingly to highlight rather than be the main attraction. Gold  is commonly seen:  Luxury products, rings, and trophies. Back To Top The Color Psychology of  Black Black is a color of sophistication, seriousness, control, and independence. Although, it can also be used to show evil, mystery, depression, and even death. Black is  a very reserved color that completely lacks any light  as its an absence  of all the colors. It likes to stay hidden, in control, and separate from others. For this reason, black is a great color for high contrast and easy legibility. Unfortunately, since its a very powerful color, too much black can cause sadness and overall negativity so use it sparingly and in your text more so than the visuals itself. Black is commonly seen:  Professional attire, luxury products, and limos. Back To Top The Color Psychology of  White White is color that is complete and pure,  making it a perfect example of purity, innocence, cleanliness, and peace. White can also represent  new beginnings, providing a blank slate, and gives refreshment for new ideas. Since white has an equal balance of all the colors, it can exemplify several meanings, with equality outweighing them all. White is a great color for simplicity, cleanliness, and idea creation; however, avoid using too much white as it can cause isolation, loneliness, and emptiness. White  is commonly seen:  Weddings, website backgrounds, and doctor's waiting rooms. More Scientific Findings of Color Back To Top Bright Colors Faber Birren, a 20th-century color researcher and author of  Color Psychology And Color Therapy, discovered something interesting about general color groups. He  found that bright light and bright colors promoted "big muscle" activity, while softer and deeper colors promoted mental and visual tasks better. He also discovered that red stimulates our nervous system while blue relaxes it. Red and related colors also caused people to overestimate the passage of time  while cooler colors like green and blue were the reverse. That means that: Bright colors promote physical activity  but make the passage of time seem slower. Cooler and softer colors are better for mental activity and make the time seem to fly by.Cooler and softer #colors are better for mental activity and make the time seem to fly by!Back To Top Cultural Color Color also means different things in different cultures. According to researcher Joe Hallock "Eskimos use 17 words for white as applied to different snow conditions, where in the Northwest United States there are only 4 or 5." Every culture understands a color differently. It has a role to play in religion, politics, ceremony, and art. The culture your audience is in affects how they understand deeper meanings of color. Even the context you use the color in affects the meaning of color. For example, in India, red means purity, while in the U.S. it denotes passion and specific holidays. Back To Top Word Connections To  Color In a survey, people were asked to choose the color they associated with particular words. Trust:  Most chose the color blue (34%), followed by white (21%) and green (11%) Security:  Blue came out on top (28%), followed by black (16%) and green (12%) Speed:  Red was overwhelmingly the favorite (76%) Cheapness:  Orange came first (26%), followed by yellow (22%) and brown (13%) High Quality:  Black was the clear winner (43%), then blue (20%) High Tech:  This was almost evenly split, with black the top choice (26%) and blue and gray second (both 23%) Reliability:  Blue was the top choice (43%), followed by black (24%) Courage:  Most chose purple (29%), then red (28%), and finally blue (22%) Fear/Terror:  Red came in first (41%) followed by black (38%) Fun:  Orange was the top choice (28%), followed closely by yellow (26%) and then purple (17%) Blue is clearly a color people are positively drawn to, but beyond that, little else can be said. Depending upon the context of the rest of your content, black can mean high quality and trust, or it can mean fear and terror. It can't do it on its own, but surrounded by your content, a color choice can bump up your intended meaning a notch. Blue is one of the most preferred colors, with the most positive connotations. #color #creativityBack To Top Preferred  Colors By Gender Compiling the results of many studies, the Kissmetrics blog came up with an excellent infographic  on how men and women experience and react to color differently. Men and women have different color preferences. According to both the Kissmetrics blog and  Hallock: Blue is the favored color by both men (57%) and women (35%), though it is more heavily favored by men. Men dislike brown the most while women dislike orange the most. Colors that were disliked were also seen as "cheap." Men tolerate achromatic colors (i.e. shades of gray) better. Women preferred tints while men preferred pure or shaded colors. A majority of men (56%) and women (76%) preferred cool colors in general. Orange and yellow grow increasingly disliked as both genders get older. Women see more colors than men, generally. They are more aware of slight color differences within a color range. This may explain why men simply call the color blue...blue. Women, on the other hand, see cerulean, sky, teal, turquoise, and all sorts of varieties of blue. Perhaps it is a combination of being able to visually see more differentiation and considering it worthy of a more specific name. Perhaps men are better able to tolerate both colorless and bright color palettes because they aren't as sensitive to the nature and nuances of the color as women seem to be. Did you know that women see more colors than men? #color #contentmarketingWhat does this mean for you? Well, is your audience mostly men or is it women? What age are they? Do the colors you're using in your content marketing attract or repel that audience? If your audience is women, in particular, you must carefully choose colors that are not too raucous. If you are selling a luxury product, you want to avoid colors that are seen as cheap. Back To Top Mood Colors And Emotions (Infographic) There are a few generalized understandings of what specific colors often mean to a large cross-section of people, with each color having negative and positive emotions associated with it. Back To Top Color Brand Recognition How people behave when they see color has a direct effect on your conversions. Will they click the button on your CTA? Will they read your pop-up graphic? Will they notice your email subscription box? According to the Institute for Color Research, people make a judgment about your content in  90 seconds or less. And, up to 90% of that judgment in that brief amount of time is influenced by the colors they see.  Blogger Neil Patel gives further proof of how colors affect your conversion rate, revealing that 85% of consumers base buying decisions on color, and that full-color ads in magazines get recognized 26% more often than plain old black and white ads. In fact, color helps people recognize your brand by up to 80%. It's important to choose your color carefully, and stick with it. When it comes to getting people to click a button or sign up, it's not a question of which color is magic and makes it happen all the time. It's a question of passive and active colors, of high and low contrasts, and of opposites, like our example where the orange  button stood out from the blue. And it's a question of which color tested best for you. Recommended Reading: How To Create A Marketing Strategy That Will Skyrocket Your Results By 9,360% Back To Top Testing Your Best Colors: A Case Study The color combination of orange and blue is a powerful one. It's fairly safe in respects to color blindness, and repeatedly gets favorable marks by people as a combination. But is it enough to just pick a great combination? Not at all; you need to know how to use those colors individually. Let's look at and our Facebook promotions as an example. We've created several designs over the last year, some  with a blue backgrounds, and others  with orange backgrounds. The promotions with the orange backgrounds  consistently made people  more likely to click than those with the blue backgrounds! It made sense, though. Think about Facebook. It is a predominantly blue network, and so our orange image stood out more than our blue image did. This doesn't mean that orange is the color you must use. It means we tested our two colors and found that orange worked the best Test your colors to find out which colors will make people click into your content more often.It means we tested our two colors and found that orange worked the best for us on Facebook. It might even vary from social network to social network so make sure that you do your own testing. What worked on Facebook might look different than Twitter. You need to find out if your red button beats your green button (as Hubspot discovered) on your own. The color of the rest of the page, your content, and the placement objects will make your results different from what someone else has discovered. Back To Top Now You're A  Color Psychology  Expert! Color in general is fascinating to study, from both a theory and psychological standpoint. From Newton, Goethe, Itten, Hering, Young-Helmholtz, Birren, or  Mà ¼ller  (yes, there have been many theories on color throughout history),  the lowly color wheel has been considered and reconsidered again and again. The effect color has on us and our behavior has been studied repeatedly. When it comes to choosing colors, you must test.  You cannot know how your audience will respond to your colors in your content and layout without creating thoughtful A/B tests to determine which color combinations and placements generate the most leads and traffic in your content.

The Transformation of Liberalism

The Transformation of Liberalism Liberalism is a force that has produced change from the birth of this nation to the politics of today. Liberal tenets have been a basis of thought and action in American politics since well before the signing of the Constitution. Certainly, liberalism has had to transform in order to remain a legitimate force throughout the years. When considering this transformation, one may ask whether or not the ideas and goals of classical liberalism have been lost in the conversion into modern liberalism. In order to answer this, the areas of freedom, the role of government, human nature, and the function of law should be addressed. While this may not be a complete register of change in liberalism, research into these subjects can provide strong indications toward the nature of this transition. Objectively, the evidence suggests that many of the ideas of classical liberalism were either abandoned or changed fundamentally when America entered the modern era.Franklin Delano Roosevelt, 1933. Lietuv iÃ… ³: Frankl...FreedomThe idea of freedom has been a paramount concern of liberalism throughout history. Consider the classical ideas of religious freedom, the right to resist and the inherent right of every individual to be independent. These were some of the main focuses of classical liberalism in early America.On religious freedom, seventeenth century minister Roger Williams wrote:'... All Civill States with their Officers of justice in their respectiveconstitutions and administrations are proved essentially Civill, and therefore not judges, governours or defendours of the spirituall or christian state and worship.' (Volkomer, 50)This quote is notable because it illustrates the early liberal ideas of religious freedom by stating that government officials have no right to pass judgment on religious practices. In furtherance of his views, Williams founded a colony at Plymouth and contributed to the development of religious tolerance in the new world. Religious tolerance...

Process Analysis Essay on The Paperwork Approach versus HR Functions A

Process Analysis on The Paperwork Approach versus HR Functions Automation - Essay Example The organization adopts the null hypothesis that it is policies rather than approaches which determine organizations productivity. As such, the essay develops a critical analysis through which to evaluate the individual theory against the organizational null hypothesis.Currently, the organization applies the null hypothesis that there exists no productivity impact based on the management approach used. Therefore, the hypothesis is established on the assumption that an organization’s policy influences its productivity and future market success. The global market system is changing with increasing global competitions from both local and international organizations. There is a need to develop systems and practices to increase global market presence and competitiveness. To this end, the organization argued that one of the strategic approaches through which to achieve increased competition was through the reduction of the overall costs of production in the organization. Also, the o rganization adopted the need to reduce infrastructure development and installation costs required in the development and adoption of modern technology. As Heineman and Greenberger (85) stated, although this approach reduces organizational management costs in the short run period, this hypothesis can be disapproved in the future. For instance, the application of an automated HR system would reduce the overall errors and mistakes encountered when calculating and evaluating restive employee rewards and financial amounts owed by the venture. Thus, this reduces the error costs incurred by organizations in the industry.

Modernism and Postmodernism Research Paper Example | Topics and Well Written Essays - 1250 words

Modernism and Postmodernism - Research Paper Example The researchers of modernism have always noted a special interest of its members in creating new forms, defiantly opposed to the harmonic forms of classical art, as well as emphasis on the subjectivity of the modernist worldview. The first modernists are the people of the late 19th century raised by the general crisis of European culture. Many of them rejected the methods of social and political radicalism in the change of lifestyle, but they were all ardent supporters of the spiritual revolution, which, in their view, was inevitably born by the crisis of the old world. Spiritual revolution, as a new quality of consciousness and a new concept of life, demanded a new ideological platform. This platform was formulated on the basis of Henri Bergson’s intuitionism, Nietzscheanism, Edmund Husserl’s phenomenology, Sigmund Freud’s and Carl Jung’s psychoanalysis, Soren Kierkegaard’s and Martin Heidegger’s existentialism. The works of these authors no t only cemented the ideological platform of modernist art searches in the period, but allowed this artistic school to act retrospectively, capturing the events of preceding culture, and prospectively, leaving the field for experiments in the future (postmodernism). Modernism, fighting for liberation and renewal of forms in art, could not exist without common ties with the history of culture, recognizing in this way the principles of historicism in its own trend: â€Å"the creation of a usable past was a key means of both coming to terms with and keeping at bay the pressures and the alleged chaos of the modern world at the turn of the twentieth century†.... ly confronted with the further development of the qualities generated not by modernism, but by the Romantic era of the French Revolution and radical sentimentalism of Johann Herder and Gotthold Lessing. This, for example, is the emphasis on the place of the individual consciousness in life in the cosmos. However, the romantic individualism of the 18th century and modernist individualism are fundamentally different phenomena. In romanticism the individual was either the owner of all spiritual riches of the universe, or this individual grieved about the unavailability of absolute values and universal ideals not denying the possibility of their existence. Modernists, on the contrary, recognized the insolubility of these issues, came to a denial of the spiritual and moral â€Å"absolutes.† At the same time, they tried to revive the myth-creating method, which, in their opinion, was able to restore the integrity of the organic and human life in a single cosmological system by the m eans of art. The poetry of modernism had a deep sympathy to the ideas of a new, mystical ideas and myth. In the effort to speak the language of new images the symbolists did not reject the traditions of classical poetry, but on the contrary, tried to build a new language based on ancient archaic images. Modernist poets paid a lot of attention to classical mythology (Paul Valery, Thomas Eliot), national folkloric characters (William Yates), ancient esoteric teachings and their modern modifications, like theosophy or anthroposophy (Yates, for example, created his own mystical system). The foundation of the modernist prose was laid by the Austrian writer Franz Kafka. According to him, the whole world order is most tragic and hostile to man, who is powerless and doomed to suffer. Plots of Kafka’s