Marketing Article Example | Topics and Well Written Essays - 250 words - 1

Marketing - Article Example For this reason, a survey was conducted among the customers of three travel agents in Indonesia. In total, 215 customers participated in the survey. The survey aimed to reveal the relationship between the marketing mix and the consumer decision making especially in regard to travel agents. After analyzing the findings using three different methods of analysis, Satit et al. (2012) came to the result that only two from the 4P’s of marketing mix influence customer decision making in the particular sector: product and price. 3) The article addresses a particular aspect of marketing, the marketing mix. It should be noted that the mode of marketing mix chosen in the above study is the 4P’s, i.e. product, price, place and promotion. At the next level, the article discusses the potential value of the 4P’s for the consumer decision-making process. In other words, not all aspects of 4P’s are explored, but just the relationship of 4P’s with the above process. At the same time, the use of 4P’s as a marketing tool is evaluated specifically in regard to travel agents in Indonesia. Although a specific industry is involved, the findings of the research, as presented in the above article, could be used for understanding the value of 4P’s in other industries also. 4) Through this article I have learned that marketing mix can be valuable in a high range of industries; still, the level at which marketing mix can contribute in the development of each industrial sector is not standardized. For example, in the case of travel agents, only two elements of marketing mix have been proved to be powerful to influence the consumer decision making process: product and price. In other words, marketing mix can serve as a tool for promoting business performance. But before adopting this tool for achieving such target it would be necessary to review the

Measuring Performance Essay Example | Topics and Well Written Essays - 2500 words

Measuring Performance - Essay Example It comprises of Strengths, weaknesses, Opportunities and threats. Strengths are internal factors that can be concluded as advantages to the business (current advantages). Factors such as a focused management, hardworking employees, low costs are positive points for the firm. For Jengo Ltd, a high regard for their clothes by the customers is an impressive point for the future of the business. Weaknesses are internal factors as well that maybe termed as disadvantages for the firm (current disadvantages). Negative factors like a poorly trained workforce, ageing equipment etc need to be evaluated for a solution to arise. For Jengo Ltd, the failure to produce budgets or forecasts for the financial year hints weak planning on the part of the management. However, Opportunities are potential areas for expansion of the business (advantages that can arise in the future). These areas are obtained after an external audit in the market the firm operates in. Identifying new markets, expansion of t he product portfolio and favorable government policies amalgamates in outdoing competitors. Moreover, threats are not to be forgotten while forecasting future business plans (problems that may arise in the future). These usually comprise of the macro environment factors that alter the economic environment, strength of the competition, globalization etc. Jengo Ltd should be careful about changing customer demands as it operates in a highly uncertain business. SWOT analysis draws the primary sketch for foreseeing the future for any business. It is an effective way of gathering information and generating interest in the business activities quickly, mostly used to plan the marketing strategy (Hall, D et al. 2004) Factors in the macro environment effect decisions by the top management. Demographic change, government laws, trade barriers etc are some examples of macro change (Varoufakis, Y. 2007). These factors can be categorized by the PESTEL (political, economic, social, technological, environmental, and legal factors). Political developments regionally, nationally and internationally might effect a business’s strategy. Political decisions can change vital areas of the company such as education for the employees, health benefits, infrastructure, and subsidies for instance. Economic factors may involve the effect of consumer demand patterns, willingness to spend, inflation, fiscal and monetary policies, exchange rates, fixed and variable costs, and changes in the labour market on the business. Businesses may also need to plan out the effects of government policies to haul out the country from a recession (Hall, D et al. 2004). Changes in social trends can create competitive advantages for businesses. Falling birth rate, ageing population, increase in life expectancy can all effect a business. An ageing population would mean a shift in the sort of products demanded and more pensions paid to employees. Pressure groups can also force a business decision leading to serious consequences. Technology uplifts products and processes. Online shopping, bar coding, CAD and CAM are all technological advancements that aid in the advent of superior products. Furthermore, environmental factors might include a legislation to control pollution or views of certain groups about the ingredients of the product. Major climatic changes due to global warming have significantly impacted many industries and external factors related to a

College Case Essay Example for Free

College Case Essay As I near the end of my senior year, I reflect on the events of my life that have molded me into the person I am today. In 2005 my parent’s divorced several weeks after their 13 year anniversary. Only 10 years old at the time, I understood that I had the responsibility to set the example as the eldest child of two younger brothers. Although this was a challenging time for my brothers, being so young and confused, the three of us overcame it together. For a year it was tough to grasp the thought of our parent’s divorce, but we managed to make the best of it from then on. I lived primarily with my mother because of the location and convenience of my school. My brothers lived with my father about 45 minutes away. In the beginning of my 8th grade year in 2008, my mother remarried to a man named Chance, who she had only known for two months. Living with her for 3 years prior, I continued to through her new marriage. My bed was now the living room couch, and privacy was no longer an option. My freshman year was great. I had amazing friends and my grades were exceptional. It was during my sophomore year that things slowly seemed to fall apart. My grades declined, school attendance was unsteady, and socially I drifted from friends and teachers. At times my classmates would wonder why I’d miss so much school or why I couldn’t seem to focus during class. â€Å"I’m just tired,† I always said. â€Å"Don’t worry about me.† On the night of February 12, 2011 I received a call from my mother while staying the weekend at my father’s home in south Kona. Her voice shaky, she stuttered to ask the question I dreaded for 3 years. â€Å"Did Chance ever hurt you?† I said no as she repeated the question once again. â€Å"No† I said. She asked again, except this time she asked, â€Å"Do you promise on your sister?† My sister died of turner syndrom e in 1999. â€Å"I can’t do that mom,† I said, anticipating the consequences of my confession. What happened after that phone call was heart breaking. My very own mother refused to believe what I had told her. She even had the audacity to tell my family there was no way her husband could have done such things and refused to divorce him. From that night forward I lived with my father permanently. Three months after the disclosure I met with a detective in Kona, whom would investigate my case closely. My junior year was beginning and school became an obvious challenge. I continued to stay out of contact with my mother and her husband Chance. I received the support of my family, as well as my school counselor, who became well aware of my situation. It was the end of my junior year now and my mother still did not believe me. August 13, 2012 was my trial date at the Kealakekua courthouse. To my surprise, my mother was in the waiting room. I was very nervous, but knew that sticking to the truth of my story was the right thing to do. My family waited as I entered the courthouse. My prosecuting attorney did her best to prepare me for this day, knowing the difficulty of the process. I did what I had to do, and my parents and nana watched wide eyed as I exited the room. They rushed to my attorney and I awaiting an answer, as she said â€Å"we did it, it’s a true bill.† I was overwhelmed with relief, as I looked to my crying mother. She hugged me, and said â€Å"I’m sorry† as we departed. I knew that wouldn’t be the end of it. There would be more upcoming court dates to settle the sentence during my senior year. For about 3 years a household member was silently abusing me, but I finally found the courage to say something. I found strength in sticking to the truth of my story and never letting disbelievers tell me there will be no justice. From that day forward I promised myself that I would continue to pick myself up, never soaking in self-pity, and achieving my goals. I look back on these events with gratitude, knowing that because of what has happened to me, I will be able to help young, victimized girls by reaching out with open arms and guiding them through their hardships. I am humbled by these experiences and know that I have a purpose in this world to provide support throughout the community. I strive to live life through these values, as my perspective on life has brought me to realize the utmost importance of doing what is right. Sexual, physical, verbal, and all other forms of abuse are unacceptable and inhumane; however there can be justice if one is willing to fight for it. I am Leila-Marie Wong, proof that through strength and perseverance all can be endured.

Ludwig Mies van der Rohes New National Gallery, Berlin

Ludwig Mies van der Rohes New National Gallery, Berlin The closest Ludwig Mies van der Rohe got to realising his vision of the column-free pavilion? Was this final expression of his ideas of canonical significance for 20th Century architecture? The New National Gallery in Berlin was Ludwig Mies van der Rohes last design. Throughout his career he had been employing the same central ideas he was concerned with to most of his designs, gradually developing and refining them. In order to understand his last building, said to embody successfully all the ideas he was most passionate about, it is important to see how these evolved from building to building over the years. Then one can consider this final expression of his ideas as a result of a lifetimes worth of work and assess it in terms of its significance in Modern Architecture. Since the 1920s, Ludwig Mies van der Rohe had been focusing on evolving two types of forms which could be adapted to a range of situations; the skeletal framed building with small cellular spaces ideally designed for office and apartment buildings and the single volume pavilion where a larger completely flexible space is needed. At a time of rapid and continuous change, it made sense for Mies van der Rohe to develop the latter, the infinitely flexible space. Contrary to the largely known notion by Louis Sullivan that form follows function, Mies believed that buildings should be designed with the least amount of fixed elements so as to be as flexible as possible and ready to adapt as their functional requirements change over time. His designs since 1921 are a demonstration of his quest for flexible space. He was pursuing open and flowing rather than closed and cellular. The New National Gallery is widely considered the most developed expression of such a space. In this project, Mies had the opportunity to create the infinitely flexible interior but also incorporate two more of his most important notions; appropriate and visible structure and fluidity between interior and exterior. Miess most central principles synthesized into a single pavilion of powerful scale and presence. Miess journey from his first buildings to the embodiment of his most significant ideas in the New National Gallery was anything but a straight line. However, there were significant steps that marked the development of his idea of the column-free pavilion. These significant stages were outlined by Miess pupil and future associate Peter Carter. The idea of an open and flowing space first materialized in the house designs of Frank Lloyd Wright where living areas are fairly open and interconnected. Wrights open plan designs excited architects all over Europe. However, it was Mies who took the idea of the de-cellurization of the building further. His sequence of space-liberating designs from about 1920 onwards changed the way in which architects thought. Miess Brick Country House was his first development of the free-plan interiors that Frank Lloyd Wright had introduced. It was a long way before the creation of the completely unobstructed interior space, but an important move in this direction, as in this project Mies started subdividing the interior by free standing walls rather than conventional ones. He only let walls to meet as L or T junctions to allow the interior space to flow freely from one room to the other and out into the landscape. Although this merely constituted the first step in his pursuit of open flowing space, Mies van der Rohe had already taken the concept of spatial continuity and fluidity much further than anything proposed by Wright. Though he had started removing interior walls, the exterior of the Brick Country House remained solid. The next step towards his open flowing space was abolishing the division between interior and exterior space. The opportunity to apply this was the Barcelona pavilion; one of the most influential designs of the 20th Century. In this project, Mies transformed practical, conventional walls into abstract planes freely disposed as in a De Stijl composition. In the De Stijl movement, artists simplified visual compositions with the use of primary colours and straight horizontal and vertical lines. In the Barcelona pavilion, walls are not functional in the conventional way. Instead of supporting the roof and separating specific rooms, these planes loosely define space. What is also unclear and undefined in this project, is the division between the interior and the exterior space, another important step towards his open-flowing space. After substituting load-bearing walls with slender columns, the next step to the Miesian transparent pavilion was to remove columns from the interior completely and placing them on the outside perimeter of the building. This would render possible the interior to be completely unobstructed from any fixed elements and theoretically make it totally flexible. This was first seen in his Concert Hall project in 1942. Lastly, in the Farnsworth House in Plano, Mies van der Rohe would dematerialize completely the outer walls of the pavilion so as to push the concept of transparency sandwiched between two horizontal planes. Mies van der Rohes long series of experimentation had as a result the development of a general architectural form, the column-free Miesian pavilion. The pure glass-walled version of the column-free Miesian pavilion would provide the parti for the New National Gallery in Berlin. The commission for a new art gallery in Berlin was an opportunity for Mies to finally build the single-volume clear-span pavilion in its purest form which he had never been able to build before. He was commissioned to construct a much needed permanent home for the modern art collection in the Western part of the then divided city. Though half the size and population of West Berlin, the Eastern part included most of the cultural institutions and the historic centre of the city. It was in this context that the Culture Forum was designed. It was going to be a cluster of buildings dedicated to culture and the fine arts to replace the institutions that had fallen in the eastern part of the post-war city. The New National Gallery was going to be part of it and would epitomize the integration of West Berlin and West Germany into the democratic capitalist system of the West. The site for the new gallery was Kemperplatz, an area between Potsdammer Strasse and the Tiergarten that had once been a busy centre of Berlin life before being destroyed by wartime bombing. Apart from the church of St. Matthews of 1846, nothing was left standing after the war and this unused land that remained would provide the site for the development of Berlins new Culture Forum. The driving idea behind the gallery was the creation of a minimalist, steel and glass, column-free pavilion which would stand as a noble monument in the townscape. In his pursuit for a monument-like feel and uncompromising symmetrical composition, Mies referred to ancient temples such as the Parthenon. The gallery would later on be aptly named and largely known as the temple of light and glass. Once built, it would create a dramatic contrast to the other buildings of the Kulturforum by Hans Scharoun. Whereas Scharoun was much more expressionist, Mies opted for austere geometrical forms that show the structure of the building and let it stand out from, but also connect to its surroundings. Amid the visual tumult of Berlins Culture Forum there reposes a single island of order and tranquillity, the New National Gallery. Mies may have wanted continuity and fluidity between the pavilion and its surroundings. Nonetheless, it was never meant to hide in Berlins busy life, but as previously mentioned, it had to have a monumental form. This prerequisite, along with the inclination of the land encouraged the idea of setting the gallery on a large open terrace. The experience of reaching the entrance further intensifies the gallerys monument-like feel. Wide steps guide the visitor who begins to feel slightly separated from the surrounding city. The feeling intensifies as the visitor walks towards the back and the sloping site starts to fall away on either side. By then, the pavilion sits well above street level, and almost has the tranquillity of the top of a hill and has therefore become psychologically detached from the everyday bustle beneath. This method of detaching a building from its surroundings and raising it as if on a pedestal was often used by Mies van der Rohe, starting with his first project, the Riehl house. This method also gives the building a sense of calm, again referring to the ancient temple on the top of a hill. Sitting on the large open terrace, surrounded by sculptural works of arts, is Miess minimalist pavilion. It is the pinnacle of Miess idea of free space. He eliminated interior columns completely to allow for a large unobstructed space for artists to exhibit their work without any limitations in terms of space. Mies van der Rohe followed the notion he introduced in Barcelona pavilion and any fixed elements in the interior space of the gallery have no load-bearing function. The Tinos marble-faced columns in the New National Gallery provide for ventilation and roof drainage and the gallery is supported by eight slender cruciform columns placed on the outside of the pavilion, two on each side. By completely removing solid walls, Mies wanted to symbolise that space extends beyond the boundaries of the interior. The large spans of glass are set far back from the edge of the roof thus creating the effect of a floating plane. The unique open space created on the upper floor is mainly used for temporary, travelling exhibitions, and is ready to be modified according to changing needs, whilst all the permanent collections are safely hidden in the lower level, away from natural light. The steel and glass podium sits on a colossal subterranean stone pedestal. Though not visible, the lower level is perfectly proportional to the podium above. The lower level, apart from accommodating for the whole of the permanent collection, also includes all of the buildings functional spaces including support and utilitarian rooms. Closed on three sides, the lower floor only opens on the west side, to reveal a quiet outdoor sculpture garden. The garden is enclosed by grey granite walls which separate it from the surrounding bustling city. The floor, paved in granite slabs is another example of Miess pursuit of a flexible space. The slabs are laid loosely on the gravel, ready to be moved into new arrangements if required. With the outdoor garden, Mies created an oasis of calm in a bustling metropolis. Mies van der Rohe firmly believed in appropriate structure. A building, he was convinced, should be a clear and true statement of its times and in the case of the New National Gallery its time was characterised by advanced industrialism. For Mies van der Rohe, a buildings structure should be true to the materials and processes of its time, but also poetic and visible through the building, rather than obscured behind decorative features. Like many architects after the First World War, he wanted to bring the advantages of industrialized production methods to his architecture. He was interested in finding a new material which would allow most parts of the building to be manufactured in a factory, to ensure better quality and eliminate on-site labour. One of the most important features of a design that hoped to achieve transparency sandwiched between two horizontal planes, was the roof. Mies van der Rohe designed a monumental roof which he wanted to have as if floating above the large spans of clear glass. The design was a difficult issue to be negotiated with engineers but also a chance for the architect to bring the post-war industrialised production methods in this project. The roof, being massive, was made in sections. Its thickness is constant and always visible. What varies between sections is the quality of the steel which changes according to the level of pressure sustained by each section. The roof is a fine example of Mies van der Rohes pursuit of true structure. The ceiling, with no false ceiling added to it, also incorporates a black grid of beams which is used as an exhibit surface when the gallery hosts light exhibitions. The colossal roof, 1200 tonnes of steel, was put together and raised in one day. As a whole, the gallerys sharp geometrical structure is a sharp contrast to Scharouns neighbouring Berlin Philharmonic, built only a few years before. Whereas Scharoun was much more expressionist and concealed his structure with organic shapes, eliminating any kind of symmetry, Mies van der Rohe opted to show the structure in every possible way. All these structural and compositional elements form Mies van der Rohes pavilion, his last great design and one of the most important buildings of modern architecture. The New National Gallery may succeed magnificently as a work of art in itself but it has been criticised widely as an exhibition space. In his pursuit of the column-free clear-span pavilion Mies may have compromised certain aspects of the gallery and its functionality as an exhibition space. Whilst the lower ground galleries and the sculpture garden fulfil their purposes admirably , the pavilion above disappoints in significant ways. In the upper floor, light floods the pavilion from its glass walls on all sides and can be regulated by white curtains on three sides. Theres also a lighting system in the roof with warm diffuse light. However, in exhibition spaces, diffused indirect lighting from above is more ideal, modifiable by blinds and electric light only if necessary. The sideways illumination in combination with the lighting from above fails badly. Pictures are inadequately lit and there is a strong glare compromising the visitors comfort in viewing the artwork. The curtains partially eliminate the glare but compromise the gallerys visual transparency which is its strongest feature therefore defeating the purpose of the large spans of glass walls. In his drive for the translucent pavilion, Mies seems to have compromised the viewers comfort and experience of viewing the exhibited artwork. Moreover, the upper pavilion which Mies was so determined to create as a multifunctional space, is not as successful. Though its large-scale is suitable for exhibiting large objects and the side-lighting lights such objects beautifully, the space is unsuitable for smaller paintings. Smaller paintings are lost in the grand scale of the pavilion. It seems that Mies van der Rohes vision of the column-free pavilion fails as an exhibition space. Ironically, the lighting and grand-scale of the upper floor seem to restrict the spaces use to certain types of exhibitions, rather than adding to the infinitely flexible space that Mies van der Rohe envisioned. As a result, this infinitely flexible space turned out to be unfriendly for exhibiting art but Mies was unapologetic. It is such a huge hall that of course it means great difficulties for the exhibiting of art. I am fully aware of that. But it has such potential that I simply cannot take those difficulties into account. He considered the gallery a closed form, perfect in itself and would not allow any modification that would alter its perfectly symmetrical form. For example, when it was proposed to extend the flower floor to gain functional space that was very much needed for the gallery, a change that would in actual fact be invisible, Mies van der Rohe refused to ruin the careful proportions between the two floors. The lack of substantial functional space, and the unwillingness to do anything about it, further demonstrates that Mies compromised the buildings functionality as an exhibition space in his effort to create the perfectly proportional Miesian pavilion. Though the upper floor may not be perfectly suitable for exhibiting and viewing paintings, it is the gallerys primary architectural expression. The building is the result of many gradual steps in Mies van der Rohes journey towards the column-free pavilion and is considered a shining symbol of modern architecture. Here is a 20th Century icon of timeless serenity and composure, its functional imperfections forgotten as one contemplated its majesty as a monument and symbol. The way it sits on its site, its simple yet careful composition, along with its visible structure and use of materials make it a true Berlin monument which expresses the spirit of the industrial time in which it was designed and built. From a must-see tourist attraction and symbol of Berlin in post stamps, to a home for 20th Century European art, Mies van der Rohes last project and all the ideas it embodies represents one of the most important buildings of 20th Century architecture. Buildings such as this will refresh us by awakening all the more mans deep desire for poetic serenity and structural honesty. Ludwig Mies van der Rohe is largely considered as one of the pioneering masters of modern architecture. In every building his intentions are straightforward and his concepts of truth to structures, materials and harmonious composition are stated clearly. By this point in his career, he had developed the ideas he was most passionate about and incorporated them into the New National Gallery. It is with this project that Mies van der Rohe managed to create the column-free pavilion he had been striving for the most of his career. It stands as a monument in its context and embodies his most important principles, thus rendering it as a building of great significance for 20th century architecture.

Invisible Man Essay: Importance of Setting -- Invisible Man Essays

The Importance of Setting in Invisible Man      Ã‚  Ã‚   The Liberty Paint Factory in Ralph Ellison's Invisible Man provides the setting for a very significant chain of events in the novel.   In addition, it provides many symbols which will influence a reader's interpretation.   Some of those symbols are associated with the structure itself, with Mr. Kimbro, and with Mr. Lucius Brockway.      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚   The first of many instances in these scenes that concern the invisible man and the symbolic role of white and black in the novel is when the narrator is sent to the paint factory by the young Mr. Emerson to try to find a job.   Mr. Emerson, however, only sends him out of pity.   The narrator arrives and immediately notices the huge electric sign that reads "KEEP AMERICA PURE WITH LIBERTY PAINTS".   Later on, the reader will learn that Liberty Paint is famous for its white paint called none other than "Optic White".   In effect, the sign advertises to keep America pure with whites and not just white paint.   Next, the invisible man must walk down a long, pure white hallway.   At this time he is a black man symbolically immersed in a white world, a recurring idea of the novel.      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚   After receiving his job, the narrator goes to meet Mr. Kimbro.   In this scene, Kimbro teaches the narrator how to make the ordinary white paint into "Optic White":   Ten drops of a black formula must be mixed in to the white paint, of which the surface is already brown.   The narrator does not understand this, and inquires about it, only to be insulted by Mr. Kimbro.   Mr. Kimbro, in no way what so ever, wants any of his workers to think.   He just wants them to obey.   So the invisible man, although still unable to comprehend this idios... ...d Mr. Lucius Brockway all help portray this image to its fullest, while contributing to the rest of the novel.    Works Cited and Consulted Bellow, Saul. "Man Underground" Review of Ralph Ellison's Invisible Man. Commentary. June 1952. 1st December 2001 Available: http://www.english.upeen.edu/~afilreis /50s/bellow-on-ellison.html Ellison, Ralph. Going to the Territory. New York: Random House, 1986. Fabre, Michel. "In Ralph Ellison's Precious Words." Unpublished Manuscript. 1996. 30 November. <http://www.igc.org/dissent/archive/ Ellison/early.html Howe, Irving. "Review of: Ralph Ellison's Invisible Man" Pub. The Nation. 10 May 1952. 30 November 1999. <http://www.english.upenn.edu/~afilreis/50s/howe-on-ellison.html. O'Meally, Robert, ed. New Essays on Invisible Man. Cambridge; New York: Cambridge University Press, 1988.       Invisible Man Essay: Importance of Setting -- Invisible Man Essays The Importance of Setting in Invisible Man      Ã‚  Ã‚   The Liberty Paint Factory in Ralph Ellison's Invisible Man provides the setting for a very significant chain of events in the novel.   In addition, it provides many symbols which will influence a reader's interpretation.   Some of those symbols are associated with the structure itself, with Mr. Kimbro, and with Mr. Lucius Brockway.      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚   The first of many instances in these scenes that concern the invisible man and the symbolic role of white and black in the novel is when the narrator is sent to the paint factory by the young Mr. Emerson to try to find a job.   Mr. Emerson, however, only sends him out of pity.   The narrator arrives and immediately notices the huge electric sign that reads "KEEP AMERICA PURE WITH LIBERTY PAINTS".   Later on, the reader will learn that Liberty Paint is famous for its white paint called none other than "Optic White".   In effect, the sign advertises to keep America pure with whites and not just white paint.   Next, the invisible man must walk down a long, pure white hallway.   At this time he is a black man symbolically immersed in a white world, a recurring idea of the novel.      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚   After receiving his job, the narrator goes to meet Mr. Kimbro.   In this scene, Kimbro teaches the narrator how to make the ordinary white paint into "Optic White":   Ten drops of a black formula must be mixed in to the white paint, of which the surface is already brown.   The narrator does not understand this, and inquires about it, only to be insulted by Mr. Kimbro.   Mr. Kimbro, in no way what so ever, wants any of his workers to think.   He just wants them to obey.   So the invisible man, although still unable to comprehend this idios... ...d Mr. Lucius Brockway all help portray this image to its fullest, while contributing to the rest of the novel.    Works Cited and Consulted Bellow, Saul. "Man Underground" Review of Ralph Ellison's Invisible Man. Commentary. June 1952. 1st December 2001 Available: http://www.english.upeen.edu/~afilreis /50s/bellow-on-ellison.html Ellison, Ralph. Going to the Territory. New York: Random House, 1986. Fabre, Michel. "In Ralph Ellison's Precious Words." Unpublished Manuscript. 1996. 30 November. <http://www.igc.org/dissent/archive/ Ellison/early.html Howe, Irving. "Review of: Ralph Ellison's Invisible Man" Pub. The Nation. 10 May 1952. 30 November 1999. <http://www.english.upenn.edu/~afilreis/50s/howe-on-ellison.html. O'Meally, Robert, ed. New Essays on Invisible Man. Cambridge; New York: Cambridge University Press, 1988.      

Fishes :: essays research papers

There are two classes of fishlike creatures in the Chordate Phylum. The first is Chondrichthyes Class, which comprises mainly of Sharks and Rays. The seconds is the common Bony fishes of the class Ostechithyes. The apparent similarities between each speech are only skin deep. They have similar dapperly solely because of convergent evolution and not because of any close evolution connection. There paired fins can identify class Chrondrichthyes, which comprises namely of sharks and rays, their completely cartilaginous skeletons and biting jaws characteristic of the group. Chrondrichthyes are mainly carnivorous, and the sharks have highly adept senses for vision, olfaction, and hearing. They even posses a system of microscopic organs which can detect changes in water pressure around the shall. Sharks do not possess gills flaps like a fish so a shark must continuously move in order to obtain enough oxygen to survey. The large teeth of a shark are evolutionarily derived from jagged skin scales. Which are apparent on shark’s ancestor’s Placodermi class. The digestion system of a shark contains a “spiral valve'; intestinal system, which increases the surface area and lengthens the time food is digested in the unusually short intestine system of a shark. Sharks sexually reproduce. Unlike a shark, rays have flattened bodies so they can hide themselves in the sa nd at the bottom of any shallow water area and wait for a meal. Rays also have a whiplike tail for defense and jaws, which it uses to crush mollusks and crustaceans. Class Osterrichhthyes has the most separate species of any vertebrate class. Unlike their oceanic cosines Bony fish have a skeleton made from calcium phosphate and a slimy skin covered by bony armorlike scales. Fish of the Osterrichhthyes class have gill flaps call an operculum. On the side of there head which have flaps that move while the fish is stationary drawing in water which the fish can convert into oxygen. An unusual characteristic of bony fish is that they can control their density and this control their buoyancy by means of a unique swim bladder. Fish system of flexible fins in another adaptation the fish have made. Unlike sharks bony fishes fertile externally and even in the Osterrichhthyes Class there is great variation in reproductive techniques. There are two distinct subclasses of fishes, Ray finned and fleshy finned, each has a common ancestor. Though divergent evolution the ray finned fish have become a separate class from the fleshy finned.

A Linear Regression Model

A Linear regression model with one explanatory variable is called a Simple linear regression, that is it involves 2 points: single predictor / explanatory variable and the response variable, which is the x and y coordinates in a Cartesian plane and finds a linear function a non-vertical straight line that, as precisely as possible it predicts the dependent variable values as a function of the independent variables. The term simple refers to the fact that the response variable is related to one predictor. The regression model is given as Y=?0+?1 + ? and they are two parameters that are used estimate the slope of the line ?1 and the y- intercept of the line ?0. ? is the random error term.BackgroundRegression analysis is a vital statistical method for the analysis of medical data. It makes it possible for the identification and characterization of relationships among multiple factors. It also enables the identification of prognostically relevant risk factors and the calculation of risk scores for individual prognostication, this was made possible by English scientist Sir Francis Galton (1822–1911), a cousin of Charles Darwin, made significant contributions to both genetics and psychology. He is the one that came up with regression and a pioneer in using statistics to biology. In his study One of the data sets that he considered consisted was the heights of fathers and first sons. He wanted to find out whether he can predict the height of a son based on the father height. Looking at the scatterplots of these heights, Galton saw that the was relationship which was linear and increasing. After fitting a line to these data using the statistical techniques, he observed that for fathers whose heights were taller than the average, the regression line predicted that taller fathers tended to have shorter sons and shorter fathers tended to have taller sons.PurposesSimple linear regression could be for example be purposefully when we Consider a relationship between weight Y (in kilograms) and height X(in centimeters), where the mean weight at a given height is ?(X) = 2X/4 – 45 for X > 100. Because of biological variability, the weight will vary for example, it might be normally distributed with a fixed ? = 4. The difference between an observed weight and mean weight at a given height is referred to as the error for that weight. To discover the relationship which is linear, we could take the weight of three individuals at each height and apply linear regression to model the mean weight as a function of height using a straight line, ?(X) = ?0 + ?1X . The most popular way to estimate the parameters, intercept ?0 and slope ?1 is the least squares estimator, which is derived by differentiating the regression with respect to ?0 and ?1 and solving, Let (xi , y i ) be the Ith pair of X and Y values. The least squares estimator, estimates ?0 and ?1 by minimizing the residual sum of squared errors, SSE = ?(y i – ? i)2, where y i are the observed value and ?i = b0 + b1xi are the estimated regression line points and are called the fitted, predicted or â€Å"hat† values. The estimates are given by b0 = ¯y – b1  ¯x and b1 = SSXX / SSYY, and where  ¯Xand  ¯Y are the means of samples X and Y, SSXX and SSYY being their standard deviation values and r = r(X,Y) being their Pearson correlation coefficient. It is also referred to as Pearson's r, the Pearson product-moment correlation coefficient, is a measure of the linear between two variables X and Y Where X is the independent variable and Y being the Dependant variable as stated above. The Pearson correlation coefficient, r can take a range of values from -1 to +1. A value of 0 suggests that there is no association between the two variables X and Y. A value greater than 0 indicates a positive association that is, as the value of one variable increases, so does the value of the other variable. Before using simple linear regression analysis it is always vital to follow these few steps: Choose an independent variable that is likely to cause the change in the dependent variable Be certain that the past amounts for the independent variable occur in the exact same period as the amount of the dependent variable Plot the observations on a graph using the y-axis for the dependant variable and the x-axis for the independent variable review the plotted observations for a linear pattern and for any outliers keep in mind that there can be correlation without cause and effect.ImportancesSimple linear regression is considered to be extensively useful in many practical applications and methodologies. Simple linear regression functions by assuming that the variables x and y have a relationship which is linear within the given set of data. As assumptions are and results are interpreted, persons handling the analysing role in a such data will have to be more critical because it has been stu died before that there are some variables which inhibit marginal changes to occur while others will not consider being held at a fixed point. Although the concept of linear regression is one complex subject, it still remains to be one of the most vital statistical approaches being used till date. Simple linear regression is important because it has be wildly being used in many biological, behavioural , environmental as well as social sciences. Because of its ability to describe possible relationships between identified variables independent and dependent , it has assisted the fields of epidemiology, finance, economics and trend line in describing significant data that proves to be of essence in the identified fields. More so, simple linear regression is important because it provides an idea of what needs to be anticipated, more specially in controlling and regulating functions involved on some disciplines. Despite the complexity of simple linear aggression, it has proven to be adequately useful in many daily applications of life.ReferencesFahrmeir L, Kneib T, Lang S. 2nd edition. Berlin, Heidelberg: Springer; 2009.Regression – Modelle, Methoden und Anwendungen.{ https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2992018/}Carpenter JR, Kenward MG. 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Pennsylvania State University. Retrieved 2016-10-17.{http://www.statisticshowto.com/probability-and-statistics/correlation-coefficient-formula/}Williams, M. N; Grajales, C. A. G; Kurkiewicz, D (2013). â€Å"Assumptions of multiple regression: Correcting two misconceptions†. Practical Assessment, Research ; Evaluation. 18 (11).{ https://en.wikipedia.org/wiki/Ordinary_least_squares}