Music - an interactive art an Example of the Topic Arts Essays by

Music - an intuitive workmanship I believe music to be an intuitive craftsmanship, similar to an exchange. Intelligent as in I would get and react to it abstractly and effectively, in different various habits, contingent upon my states of mind and qualities, my taste and my social foundation, however above all else relying upon my reasonableness. I am particular, yet in addition varied in my melodic tastes: I can't state I have a most loved type or band. In any case, there is a whole of components that touch me specifically. Unbiasedly, music is known to join vocal or instrumental sounds for magnificence of structure or passionate articulation, typically as indicated by social measures of cadence, song, and, in most Western music, concordance. Need article test on Music - an intuitive workmanship subject? We will compose a custom article test explicitly for you Continue College Students Usually Tell EssayLab experts: Who needs to compose task for me? Article essayist experts exhort: Get Academic Writing At Reasonable Price With Us Modest Essays Cheapest Essay Collage Papers For Sale Essay Company Review What contacts me above all else is the mood. In this sense, I am a beat insane person and the sound of drums, battery, or base, or any basic rhythm or beat brought about by percussion, even in arbitrary examples (like atonal music or road sounds) makes an instinctive reverberation in my blood and humors. I recollect a statement from Richard Baker, expressing that cadence is characteristic for human condition, that the disclosure of melody (...) owed its starting point to a human motivation which lies a lot further than cognizant goal: the requirement for mood in life... In this sense I am particularly moved by kinds like African or Gypsy innate music, Trip bounce, downtempo, bolero (the most well known verse custom in Latin America, as per Morales) which give me an existential encounter by the manner in which the beat waves a story. Following the idea of cadence, there is the pitch coded by the sound recurrence. I am moved by low or bass frequencies, as Sergei Prokofiev's Op. 64 Romeo and Juliet, where the bass pitches give profundity and groundbreaking criticalness to the piece. I realize that low frequencies make the sound incredible and warm, while midrange frequencies give sound its vitality, rendering an extraordinary enthusiastic and story capacity to the pitch. Such sort of music can basically get helpful, I accept. What I call sound treatment is a treatment of strong mood and profound tones, which works in a purifying way, practically like an outside impetus for the feelings and even inventive drive. At long last, acoustics sets the spatial element of music. Basically, I feel that music is all around vivid for the person, itself lead by heartbeat, request and cadence. I have chosen this insignificant, however fundamental rundown: a solid beat (the more erratic the better), a lower pitch and an encompass framework sort of acoustics. I likewise need it to be genuine, plural, impulsive on the scholarly side. This makes music an indispensable huge other for me. References: Cook, Richard, Quotegarden, October 3, 2007 http://www.quotegarden.com/music.html .Britannica Concise Encyclopedia. Encyclopdia Bordwell, David; Thompson, Kristin. Film Art: An Introduction. New York: McGraw Hill, 2004. Britannica, Inc., 2006. Answers.com 03 Oct. 2007. http://www.answers.com/. Spirits, Ed. The Latin Beat. Cambridge : Da Capo Press, 2003. Owen, Harold. Music Theory Resource Book. Oxford: Oxford University Press, 2000. Stambler, Irwin. The Encyclopedia of Rock, Pop, and Soul. Fire up. ed. New York: St. Martin's Press, 1989.

Night Creature Blue Moon Chapter 6 Free Essays

Cadotte’s voice broke into my contemplations. â€Å"You aren’t going to let me know, are you?† â€Å"Tell you what?† â€Å"Why you’re so inspired by a wanderer wolf totem.† â€Å"I’m inquisitive. We will compose a custom article test on Night Creature: Blue Moon Chapter 6 or on the other hand any comparative subject just for you Request Now † â€Å"Funny, yet you don’t appear the inquisitive type.† â€Å"You’re wrong.† I stood. â€Å"Number one on the ‘ what you should be a decent cop’list is interest. Else we wouldn’t continue asking every one of those irritating questions.† â€Å"Hmm.† He got up and walked around his work area, coming excessively close, swarming me once more. I preferred my own hover of space, and he was attacking it. Yet, to ease off would mean I was anxious, that he influenced me. I was and he did, yet why told him? Maybe one of my different traits was cantankerous determination. Nah. â€Å"So, should I call you?† I expanded. â€Å"C-call me?† There went my extreme young lady picture. â€Å"If I discover anything about the totem.† Obviously. The totem. Not me. Never me. Poof went my senseless female dream. â€Å"Yeah. Sure.† I uncovered a card with my different telephone numbers. He gazed at it, at that point lifted his eyes to mine. He was still excessively close. I was still not stepping back. â€Å"Jessie?† he mumbled. â€Å"Short for Jessica?† â€Å"As if.† Jessica was the name of a pink-cheeked, light haired, modest ballet performer young lady. He snickered. â€Å"I can keep this?† He flicked a finger at the totem, which stayed around his work area. I wavered. In spite of the fact that I hadn’t logged the thing into proof yet, I should. Regardless of whether it implied anything or not, who could state? Perhaps William Cadotte. â€Å"For now.† I snatched a plain bit of paper, jotted on it, at that point cut my finger at the base. â€Å"Sign this.† He got a pen and marked before asking, â€Å"What is it?† An attorney he wasn’t. â€Å"That’s proof. You simply finished paperwork for it, yet I’ll need the thing back.† â€Å"All right.† Quietness once more. Time to bid farewell. I wasn’t sure how. â€Å"I’ll be in contact. Jessie.† The manner in which he said my name made me review the sheen of his skin in the evening glow. The manner in which his muscles had undulated, the manner in which his hoop had influenced. When was the last time I’d had intercourse? Dreadfully long, from the bearing of my musings. Unreasonably long, since I couldn’t very review. Not the when, nor the why, I could scarcely review the who. I expected to recollect that Cadotte was a specialist advisor, that's it, before I made a greater idiot of myself than I previously had. I took a few to get back some composure and pulled out what organization habits I had. â€Å"Thanks for your time, Professor.† He took the hand I advertised. My psyche went all girlie once more. I needed to realize what those dim, long fingers could do; I needed to feel those huge, unpleasant palms against my skin. I needed to see everything I’ d seen the previous evening. Contact it, taste it, as well. â€Å"My companions call me Will.† He discharged my hand. Companions. Right. I was a moron. â€Å"I won’t,† I answered, at that point got away. Truly, my mom would be humiliated at my conduct. This time I would have concurred with her. There was no reason for discourteousness, past my own feeling of insufficiency and a minuscule piece of dread that held up hard and cool underneath my breastbone. William Cadotte horrified me, and I didn’t like it the slightest bit. So I lashed out. The need had been conceived in me quite a while in the past to hurt before I could be harmed, dismiss before I could be dismissed, leave before I could be left. I couldn’t change who I was inside, or out so far as that is concerned, out of nowhere become composed, beautiful, and glad for it. Don’t psychoanalyze me; I’ve been doing it without anyone's help for a considerable length of time. I’d had companions, yet I never let any get excessively close. I was continually hanging tight for them to turn on me as every other person had. I’d been enamored once, directly out of secondary school. The relationship had finished gravely. Likely in light of the fact that I’d been anticipating that it should. I knew what my identity was. A decent cop. A not too bad individual. In any case, a maverick. I wasn’t frightened of a lot, since I had so little to lose. Which was only the manner in which I loved it. I’d been disclosing to myself this for quite a long time, trusting it, as well. So for what reason did I out of nowhere feel forlorn and tragic in the day? I left the college and came back to the station, trusting Dr. Bozeman may have left a message, or even the report. I’d have would be wise to karma trusting the sun would ascend in the west. I documented my own report, at that point logged the proof and put it in the proof room, leaving the paper Cadotte had marked with the rest. Since my day of work didn’t start for a few hours and I hadn’t eaten anything of late, I came back to my loft, where I made a little pizza, watched sitcoms, and did whatever it takes not to think about the case for some time. At the point when it was the ideal opportunity for work, I changed into my uniform and came back to the station. I was scarcely in the entryway before Zee began yelling. â€Å"Hell and tarnation, what were you doing at that school today, girl?† â€Å"Hello, Zee. Ideal to see you, too.† â€Å"Fuck that. You could have been killed.† â€Å"I wasn’t. Get over it.† She flickered. I was normally increasingly respectful to her mind-sets †or rather mind-set: she just had one and it was awful. I realized she had good intentions. Zee may cuss like a development specialist, however her bygone era childhood made her hold the F-word for genuine concerns. She’d been stressed over me. I relaxed, hung over the counter, and got a faceful of smoke for my difficulty as Zee polished lighting her next cigarette off the stub of the last one. â€Å"Don’t you have some place to be?† she inquired. I gazed at her. She frowned back, not in the soul to be conciliated †by words, at any rate. I’d get her a donut and espresso 60 minutes. Nothing said â€Å"I’m sorry† like singed mixture and caffeine. â€Å"Any messages for me?† â€Å"Did I give you any?† â€Å"Uh, no.† â€Å"Unless First and Second Shift botched once more, what does that mean?† Zee never alluded to different dispatchers by name. Until they’d worked here as long as she had †and nobody ever would, or could †they hadn’t earned the privilege to a name. â€Å"I surmise that implies I have no messages.† Damn, I’d need to hound Bozeman’s each progression tomorrow. â€Å"Sometimes you are unreasonably brilliant to your benefit, princess.† Zee walked out on me. I left reasoning I’d better carry back two doughnuts and espresso with cream on the off chance that I needed to ever get into Zee’s great graces again. The night was uneventful †a decent change from the one preceding. I recollected that Clyde had requested that I converse with Brad and Zee, which I did. In the wake of eating both the doughnuts and drinking the entirety of the espresso, Zee consented to the knowledge of keeping her mouth shut about Miniwa’s little issue. Brad didn’t need pay off, only a danger, which had consistently been my claim to fame. I returned home on schedule for a change, dozed until two, and set out toward the ME’s office. Dr. Bozeman ought to have had the opportunity to look at in any event one of his bodies, if not both. Ought to have. Would have. On the off chance that he’d had any bodies. â€Å"What is going on here?† I yelled over the astounding noise made by Clyde, Dr. Bozeman, and his itty-bitty secretary. My manager pushed the other two out of his way. â€Å"The bodies are gone.† â€Å"What?† â€Å"That’s what I said. At the point when Bozeman arrived at the beginning of today, no bodies. They could have been gone since yesterday for all we know.† He scoured his eyes. â€Å"This just makes my day.† â€Å"They couldn’t get up and run off.† I looked at the secretary. â€Å"Right?† She disregarded me. I couldn’t state that I accused her. I restored my thoughtfulness regarding Clyde. â€Å"What happened?† â€Å"No thought. However, we’d better find out.† Clyde allured me away from the others. â€Å"Jessie, you aren’t going to like this, however before you detonate, hear me out.† I didn’t like it as of now, yet I shrugged, so he proceeded. â€Å"The DNR is sending somebody to murder the wolf.† I flickered, grimaced, shook my head. I was unable to have heard that right. â€Å"But didn’t you let them know? That is to say, how might anyone be able to from away be greater at chasing these timberlands than †?† I severed. â€Å"You?† â€Å"Well, better believe it. You’ve consistently sent me when we experienced creature difficulty before.† â€Å"I know, and I’m sorry as damnation about it, however I must choose between limited options. You know how the DNR is, particularly about their wolves. They’re sending a Jdger-Sucher.† â€Å"A what?† â€Å"That’s tracker searcher in German.† Clyde lifted one expansive shoulder. â€Å"It’s what he calls himself.† â€Å"Who?† â€Å"Edward Mandenauer. From what I hear he’s the Special Forces of wolf hunters.† â€Å"I can’t take my rifle and shoot this thing into the following county?† â€Å"I wish. In any case, this is out of my hands. The guy’s employed and here already.† He delayed and scoured the rear of his neck as though it hurt. â€Å"I was trusting you’d go to the workplace, drive him out to the scene. I won’t have the option to today.† â€Å"You’re joking, right?† â€Å"I once in a while kid, Jessie.† How evident. After five minutes I was at the station. First Shift was at the work area. For hell's sake, I didn’t even know her name any longer. Had I ever? I looked at the tag on her chest, however the word was excessively long and as well

Google Docs

Google Docs Typing in a Word document is great, but it is even cooler if you do the same work within a web browser. College students for as far as the eye can see use a very cool online resource by the name of Google Docs. The multibillion dollar company known as Google has gifted all of us with such a neat tool to write essays, work on group projects, or work on any kind of document. It is so important that every college student becomes comfortable with Google Docs. No matter what you are typing, Google Docs is all-important. Newsletters, essays, and pretty much anything else that can be put into words can be typed in your browser and saved in your Google Drive. One of the coolest things about Google Docs is that if you are collaborating with others on a Google Doc, you can see what they are doing to the doc while they are typing. This makes a group project so much easier because everyone can work together on something without even being in the same room. Google Docs also allows you to download and save to your computer anything that you have worked on. If youre in a time crunch and have to type something up, open a new tab and head over to Google Docs. I write all of this to say thank you to the good people at Google. I realize that there are many options for typing things up in college. but Google Docs is by far the most convenient. Jacob Class of 2019 I’m an Advertising student within the College of Media. My hometown is a place called Fairmount, Illinois, which is about 30 minutes from campus. I began my Illinois journey in the Division of General Studies.

The Importance of Free Trade in a Globalized World Economy Free Essay Example, 1250 words

The best way to improve the global economy is to enhance the chances of a more international trade. This is the main objective of forming the World Trade Organization and entering into trade agreements like GATT so that the member countries will be encouraged to enter into trade and commercial transactions more freely. Such a situation where there are increased commercial activities between nations improves the free flow of foreign exchange from one country to another. If the world economy is to be strengthened there should be an all-around economic growth in all the countries. This is possible only by encouraging free trade between the countries. The economic history of the world has witnessed the free flow of foreign exchange from the industrially advanced countries to the emerging economies in the form of Foreign Direct Investments for promoting various infrastructural facilities in the developing countries. China can be cited as one best example for the development of the world economy through free trade. With the rapid changes the country brought about in the country in the form of market economy reforms, the country was able to attract more foreign investments. We will write a custom essay sample on The Importance of Free Trade in a Globalized World Economy or any topic specifically for you Only $17.96 $11.86/pageorder now This has greatly facilitated the country to make an all-around improvement in its economic activities. With the growth in the economy, other nations identified a potentially large market for their goods and services in China and this has made the United States and other Western countries to expand the scope of their presence in China. This had automatically led to the flow of foreign exchange between countries both in the form of trade-related transactions and on capital accounts for investment purposes. The development of China and other third world countries can easily vouch for the importance of free trade to the global economy. Yet another important element of the global economy is the availability of adequate employment opportunities in all the countries across the world.

Applying Value Added Intellectual Coefficientness to Businesses - Free Essay Example

Sample details Pages: 4 Words: 1065 Downloads: 7 Date added: 2017/06/26 Category Business Essay Type Analytical essay Did you like this example? For the purposes of this study, Intellectual Capital is defined as the sum of all intellectual material, knowledge, information, intellectual property, and experience that can be put in by a company to create wealth (Pulic). As such, this definition attempts to encapsulate all aspects of the term intangible assets, a fact that would be made further clear when the individual components of VAIC (Value Added Intellectual Coefficient) are analysed. Developed by Pulic in 1998, VAIC is a developing tool used as a performance measure for comparison of companies and also as a predictor of company performance. Don’t waste time! Our writers will create an original "Applying Value Added Intellectual Coefficientness to Businesses" essay for you Create order According to Pulics method, VAIC is modelled as the sum of the following three efficiency terms: Human Capital Efficiency (HCE) Structural Capital Efficiency (SCE) Capital Employed Efficiency (CEE) Each companys own knowledge, skills, values, and solutions can be tangibalized into value in the market, which in turn affects the competitive advantage, and increases the productivity and market value (Pulic, 2002) These intangible assets together form the intellectual capital (Yalama and Coskun, 2007) Intellectual capital is an intellectual material, knowledge, information, intellectual property, and experience that can be put to create wealth(Stewart, 1997). Leadbeater (1999) mentioned that only about 7 percent of Microsofts stock market Value was accounted by tangible assets, whereas, the remaining 93% of the companys value was created by intangible assets. Kamath(2007) has analyzed the Intellectual and Physical capital value creating ability of the Indian banki ng sector by using VAIC for the 5-year period, and has then discussed the effect of intellectual and physical capital performance on value-based performance Kamath(2008) has studied the relationship between intellectual capital components and traditional performance measures, such as, pro ¬Ãƒâ€šÃ‚ tability, productivity, and market valuation between 1996 and 2006, in the drug and pharmaceutical industry in India. Intellectual Capital Measurement Methods Several methods have been developed to measure Intellectual capital, such as, Market Capitalization Approach, Direct Intellectual Capital Measurement Approach, Scorecard Approach, Economic Value Added Approach VAIC Approach Methodology A 2 step process was followed in this project Calculation of the intellectual capital performances of the IT companies using VAIC Effects of VAIC and its components on the organizational performance were analyzed using multiple regression analyses The first step: Calculating Value Added VA: Prior to computing the three efficiencies, it is necessary to calculate the value addition capability of a company ith a given amount of financial and intellectual capital. Chang (2007) gives the formula for VA as follows: VA = Gross Margin Sales Administrative Expenses + Labour Expenses As evident from the formula, employees are viewed not as expenses but as investments that drive future growth. This philosophy is consistent with the modern treatment of human capital. Human Capital Efficiency: This component of VAIC attempts to capture how much VA created by a unit of money is spent on employees. HCE = VA/HC where HC = total salary and wage expenditure for the company Capital Employed Efficiency: This term captures the VA created by a unit of money spent on capital expenditures CEE = VA/CE Where CE = book value of net assets for the company Structural Capital Efficiency: Structural Capital is a construct designed to include proprietary software systems, distribution networks, supply chains, brand, organization management process, and customer loyalty. It is the difference between a companys total value added and its human capital. SC = VA HC and SCE = SC/VA After calculating the three efficiency terms, VAIC is calculated as VAIC = HCE + CEE + SCE Dependent Variables The dependent variables in the regression analysis are the tradition measures of company competence. A list of these measures and their associated definitions is provided below: Market valuation Market Valuation is the ratio of market capitalization to book value of common stocks(Chan,2009) Pro ¬Ãƒâ€šÃ‚ tability Pro ¬Ãƒâ€šÃ‚ tability is the ratio of operating income-to-book value of total assets (Chan, 2009) Productivity Productivity is the ratio of total revenue to book value of total assets (Chan, 2009) Return on equity Return on equity is the ratio of net income to total shareholders equity (Chan, 2009) Control variables: Firm leverage and  ¬Ãƒâ€šÃ‚ rm size were used as control variables in this project, to remove the effects they might produce on the dependent variables in the regression models Firm Leverage It is calculated as the ratio of total debt to book value of total assets Firm Size It is calculated as the natural logarithm of market capitalization, are designated as control variables in order to remove their effects on the dependent variables in the regression models. A composite view of the model is presented in the diagram: Data Collected (collated view presented in attached excel file) The following companies were chosen from the IT sector. The financial data from Capitaline database for the last 5 years for each of these companies was used to construct a panel data-set: Wipro HCL Mphasis Tech Mahindra Patni Satyam Infosys Polaris TCS Oracle Regression Results The linear OLS multiple regression was conducted on the software R. The dependent variables were Profitability, Productivity, Market Value and Return on Equity. The independent variables were VAIC, HCE, SCE, CEE with Firm Size and Firm Leverage as Control Variables. Two models were evaluated for each dependent variable, one in which the independent variables (apart from the control variables) were HCE, SCE and CEE and another in which the independent variable was VAIC. Below we present the results of the regression. Regression of Productivity CEE is the only significant parameter while HCE, SCE, size and leverage have p values greater than 0.05 and hence insignificant. The coefficient of determination is 45% and CEE explains 34% of the variability in productivity. When we use VAIC as the independent variable, the percentage explanation is just 23%. Regression of Profitability CEE, HCE and SCE are all significant in the regression of profitability. The model explains 91.1% of the variability in profitability with CEE explaining 61.4% and SCE explaining 14.2% of the variability. . When we use VAIC as the independent variable, the percentage explanation is just 80%. Regression of Market Value Firm size is the only significant predictor of market value. The coefficient of determination is 38.8% of which firm size determines 26% of the variability. When using VAIC, the model has an explanation rate of 37.3% Regression of Return on Equity The coefficient of determination for the regression of Return on Equity is 91.4%. CEE, HCE, SCE and firm leverage are all significant estimators. CEE explains 61.2% of the variability while HCE explains 5.5% and SCE explains 15.6% of Return on Equity. When using VAIC, the coefficient of determination is 75%. Conclusion Uses Limitations

The Vampire Diaries The Struggle Chapter Six Free Essays

Stefan sat in the Gilbert living room, agreeing politely with whatever it was Aunt Judith was saying. The older woman was uncomfortable having him here; you didn’t need to be a mind reader to know that. But she was trying, and so Stefan was trying, too. We will write a custom essay sample on The Vampire Diaries: The Struggle Chapter Six or any similar topic only for you Order Now He wanted Elena to be happy. Elena. Even when he wasn’t looking at her, he was aware of her more than of anything else in the room. Her living presence beat against his skin like sunlight against closed eyelids. When he actually let himself turn to face her, it was a sweet shock to all his senses. He loved her so much. He never saw her as Katherine any more; he had almost forgotten how much she looked like the dead girl. In any case, there were so many differences. Elena had the same pale gold hair and creamy skin, the same delicate features as Katherine, but there the resemblance ended. Her eyes, looking violet in the firelight just now but normally a blue as dark as lapis lazuli, were neither timid nor childlike as Katherine’s had been. On the contrary, they were windows to her soul, which shone like an eager flame behind them. Elena was Elena, and her image had replaced Katherine’s gentle ghost in his heart. But her very strength made their love dangerous. He hadn’t been able to resist her last week when she’d offered him her blood. Granted, he might have died without it, but it had been far too soon for Elena’s own safety. For the hundredth time, his eyes moved over Elena’s face, searching for the telltale signs of change. Was that creamy skin a little paler? Was her expression slightly more remote? They would have to be careful from now on. He would have to be more careful. Make sure to feed often, satisfy himself with animals, so he wouldn’t be tempted. Never let the need get too strong. Now that he thought of it, he was hungry right now. The dry ache, the burning, was spreading along his upper jaw, whispering through his veins and capillaries. He should be out in the woods – senses alert to catch the slightest crackle of dry twigs, muscles ready for the chase – not here by a fire watching the tracery of pale blue veins in Elena’s throat. That slim throat turned as Elena looked at him. â€Å"Do you want to go to that party tonight? We can take Aunt Judith’s car,† she said. â€Å"But you ought to stay for dinner first,† said Aunt Judith quickly. â€Å"We can pick up something on the way.† Elena meant they could pick up something for her, Stefan thought. He himself could chew and swallow ordinary food if he had to, though it did him no good, and he had long since lost any taste for it. No, his†¦ appetites†¦ were more particular now, he thought. And if they went to this party, it would mean hours more before he could feed. But he nodded agreement to Elena. â€Å"If you want to,† he said. She did want to; she was set on it. He’d seen that from the beginning. â€Å"All right then, I’d better change.† She glanced through the doorway, to the empty living room, and said, â€Å"It’s all right. They’re almost healed already. See?† She tugged her lacy collar down, twisting her head to one side. Stefan stared, mesmerized, at the two round marks on the fine-grained skin. They were a very light, translucent burgundy color, like much-watered wine. He set his teeth and forced his eyes away. Looking much longer at that would drive him crazy. â€Å"That wasn’t what I meant,† he said brusquely. The shining veil of her hair fell over the marks again, hiding them. â€Å"Oh.† â€Å"Come in!† As they did, walking into the room, conversations stopped. Elena looked at the faces turned toward them, at the curious, furtive eyes and the wary expressions. Not the kind of looks she was used to getting when she made an entrance. It was another student who’d opened the door for them; Alaric Saltzman was nowhere in sight. But Caroline was, seated on a bar stool, which showed off her legs to their best advantage. She gave Elena a mocking look and then made some remark to a boy on her right. He laughed. Elena could feel her smile start to go painful, while a flush crept up toward her face. Then a familiar voice came to her. â€Å"Elena, Stefan! Over here.† Gratefully, she spotted Bonnie sitting with Meredith and Ed Goff on a loveseat in the corner. She and Stefan settled on a large ottoman opposite them, and she heard conversations start to pick up again around the room. By tacit agreement, no one mentioned the awkwardness of Elena and Stefan’s arrival. Elena was determined to pretend that everything was as usual. And Bonnie and Meredith were backing her. â€Å"You look great,† said Bonnie warmly. â€Å"I just love that red sweater.† â€Å"She does look nice. Doesn’t she, Ed?† said Meredith, and Ed, looking vaguely startled, agreed. â€Å"So your class was invited to this, too,† Elena said to Meredith. â€Å"I thought maybe it was just seventh period.† â€Å"I don’t know ifinvited is the word.† replied Meredith dryly. â€Å"Considering that participation is half our grade.† â€Å"Do you think he was serious about that? He couldn’t be serious,† put in Ed. â€Å"Ray? Oh, Ray. I don’t know, around somewhere, I suppose. There’s a lot of people here.† That was true. The Ramsey living room was packed, and from what Elena could see the crowd flowed into the dining room, the front parlor, and probably the kitchen as well. Elbows kept brushing Elena’s hair as people circulated behind her. â€Å"What did Saltzman want with you after class?† Stefan was saying. â€Å"Alaric,† Bonnie corrected primly. â€Å"He wants us to call him Alaric. Oh, he was just being nice. He felt awful for making me relive such an agonizing experience. He didn’t know exactly how Mr. Tanner died, and he hadn’t realized I was so sensitive. Of course, he’s incredibly sensitive himself, so he understands what it’s like. He’s an Aquarius.† â€Å"With a moon rising in pickup lines,† said Meredith under her breath. â€Å"Bonnie you don’t believe that garbage, do you? He’s a teacher; he shouldn’t be trying that out on students.† â€Å"He wasn’t trying anything out! He said exactly the same thing to Tyler and Sue Carson. He said we should form a support group for each other or write an essay about that night to get our feelings out. He said teenagers are all very impressionable and he didn’t want the tragedy to have a lasting impact on our lives.† â€Å"Oh, brother,† said Ed, and Stefan turned a laugh into a cough. He wasn’t amused, though, and his question to Bonnie hadn’t been just idle curiosity. Elena could tell; she could feel it radiating from him. Stefan felt about Alaric Saltzman the way that most of the people in this room felt about Stefan. Wary and mistrustful. â€Å"Itwas strange, him acting as if the party was a spontaneous idea in our class,† she said, responding unconsciously to Stefan’s unspoken words, â€Å"when obviously it had been planned.† â€Å"What’s even stranger is the idea that the school would hire a teacher without telling him how the previous teacher died,† said Stefan. â€Å"Everyone was talking about it; it must have been in the papers.† â€Å"But not all the details,† said Bonnie firmly. â€Å"In fact, there are things the police still haven’t let out, because they think it might help them catch the killer. For instance,† she dropped her voice, â€Å"do you know what Mary said? Dr. Feinberg was talking to the guy who did the autopsy, the medical examiner. And he said that there was no blood left in the body at all. Not a drop.† Elena felt an icy wind blow through her, as if she stood once again in the graveyard. She couldn’t speak. But Ed said, â€Å"Where’d it go?† â€Å"Well, all over the floor, I suppose,† said Bonnie calmly. â€Å"All over the altar and everything. That’s what the police are investigating now. But it’s unusual for a corpse not to haveany blood left; usually there’s some that settles down on the underside of the body. Postmortem lividity, it’s called. It looks like big purple bruises. What’s wrong?† â€Å"Your incredible sensitivity has me ready to throw up,† said Meredith in a strangled voice. â€Å"Could we possibly talk about something else?† â€Å"You weren’t the one with blood all over you,† Bonnie began, but Stefan interrupted her. â€Å"I don’t know,† said Bonnie, and then she brightened. â€Å"That’s right, Elena, you said you knew – â€Å" â€Å"Shut up, Bonnie,† said Elena desperately. If there ever were a placenot to discuss this, it was in a crowded room surrounded by people who hated Stefan. Bonnie’s eyes widened, and then she nodded, subsiding. Elena could not relax, though. Stefan hadn’t killed Mr. Tanner, and yet the same evidence that would lead to Damon could as easily lead to him. Andwould lead to him, because no one but she and Stefan knew of Damon’s existence. He was out there, somewhere, in the shadows. Waiting for his next victim. Maybe waiting for Stefan – or for her. â€Å"I’m hot,† she said abruptly. â€Å"I think I’ll go see what kinds of refreshmentsAlaric has provided.† Stefan started to rise, but Elena waved him back down. He wouldn’t have any use for potato chips and punch. And she wanted to be alone for a few minutes, to be moving instead of sitting, to calm herself. Being with Meredith and Bonnie had given her a false sense of security. Leaving them, she was once again confronted by sidelong glances and suddenly turned backs. This time it made her angry. She moved through the crowd with deliberate insolence, holding any eye she accidentally caught. I’m already notorious, she thought. I might as well be brazen, too. She was hungry. In the Ramsey dining room someone had set up an assortment of finger foods that looked surprisingly good. Elena took a paper plate and dropped a few carrot sticks on it, ignoring the people around the bleached oak table. She wasn’t going to speak to them unless they spoke first. She gave her full attention to the refreshments, leaning past people to select cheese wedges and Ritz crackers, reaching in front of them to pluck grapes, ostentatiously looking up and down the whole array to see if there was anything she’d missed. She’d succeeded in riveting everyone’s attention, something she knew without raising her eyes. She bit delicately down on a bread stick, holding it between her teeth like a pencil, and turned from the table. â€Å"Mind if I have a bite?† Shock snapped her eyes wide open and froze her breath. Her mind jammed, refusing to acknowledge what was going on, and leaving her helpless, vulnerable, in the face of it. But though rational thought had disappeared, her senses went right on recording mercilessly: dark eyes dominating her field of vision, a whiff of some kind of cologne in her nostrils, two long fingers tilting her chin up. Damon leaned in, and, neatly and precisely, bit off the other end of the bread stick. In that moment, their lips were only inches apart. He was leaning in for a second bite before Elena’s wits revived enough to throw her backward, her hand grabbing the bit of crisp bread and tossing it away. He caught it in midair, a virtuoso display of reflex. His eyes were still on hers. Elena got in a breath at last and opened her mouth; she wasn’t sure what for. To scream, probably. To warn all these people to run out into the night. Her heart was pounding like a triphammer, her vision blurred. What are you doing here? she thought. The scene around her seemed eerily bright and unnatural. It was like one of those nightmares when everything is ordinary, just like waking life, and then suddenly something grotesque happens. He was going to kill them all. â€Å"Elena? Are you okay?† Sue Carson was talking to her, gripping her shoulder. â€Å"I think she choked on something,† Damon said, releasing Elena’s wrist. â€Å"But she’s all right now. Why don’t you introduce us?† He was going to kill them all†¦ â€Å"Elena, this is Damon, um†¦Ã¢â‚¬  Sue spread an apologetic hand, and Damon finished for her. â€Å"Smith.† He lifted a paper cup toward Elena. â€Å"La vita.† â€Å"What are you doing here?† she whispered. â€Å"He’s a college student,† Sue volunteered, when it became apparent that Damon wasn’t going to answer. â€Å"From – University of Virginia, was it? William and Mary?† â€Å"Among other places,† Damon said, still looking at Elena. He hadn’t glanced at Sue once. â€Å"I like to travel.† The world had snapped into place again around Elena, but it was a chilling world. There were people on every side, watching this exchange with fascination, keeping her from speaking freely. But they were also keeping her safe. For whatever reason, Damon was playing a game, pretending to be one of them. And while the masquerade went on, he wouldn’t do anything to her in front of a crowd†¦ she hoped. A game. But he was making up the rules. He was standing here in the Ramseys’ dining room playing with her. â€Å"He’s just down for a few days,† Sue was continuing helpfully. â€Å"Visiting – friends, did you say? Or relatives?† â€Å"Yes,† said Damon. â€Å"You’re lucky to be able to take off whenever you want,† Elena said. She didn’t know what was possessing her, to make her try and unmask him. â€Å"Luck has very little to do with it,† said Damon. â€Å"Do you like dancing?† â€Å"What’s your major?† He smiled at her. â€Å"American folklore. Did you know, for instance, that a mole on the neck means you’ll be wealthy? Do you mind if I check?† â€Å"I mind.† The voice came from behind Elena. It was clear and cold and quiet. Elena had heard Stefan â€Å"But do you matter?† he said. The two of them faced each other under the faintly flickering yellow light of the brass chandelier. Elena was aware of layers of her own thoughts, like a parfait. Everyone’s staring; this must be better than the movies†¦ I didn’t realize Stefan was taller†¦ There’s Bonnie and Meredith wondering what’s going on†¦ Stefan’s angry but he’s still weak, still hurting†¦ If he goes for Damon now, he’ll lose†¦ And in front of all these people. Her thoughts came to a clattering halt as everything fell into place. That was what Damon was here for, to make Stefan attack him, apparently unprovoked. No matter what happened after that, he won. If Stefan drove him away, it would just be more proof of Stefan’s â€Å"tendency toward violence.† More evidence for Stefan’s accusers. And if Stefan lost the fight†¦ It would mean his life, thought Elena. Oh, Stefan, he’s so much stronger right now; please don’t do it. Don’t play into his hands. Hewants to kill you; he’s just looking for a chance. She made her limbs move, though they were stiff and awkward as a marionette’s. â€Å"Stefan,† she said, taking his cold hand in hers, â€Å"let’s go home.† She could feel the tension in his body, like an electric current running underneath his skin. At this moment, he was completely focused on Damon, and the light in his eyes was like fire reflecting off a dagger blade. She didn’t recognize him in this mood, didn’t know him. He frightened her. â€Å"Stefan,† she said, calling to him as if she were lost in fog and couldn’t find him. â€Å"Stefan,please. â€Å" And slowly, slowly, she felt him respond. She heard him breathe and felt his body go off alert, clicking down to some lower energy level. The deadly concentration of his mind was diverted and he looked at her, and saw her. â€Å"All right,† he said softly, looking into her eyes. â€Å"Let’s go.† She kept her hands on him as they turned away, one clasping his hand, the other tucked inside his arm. By sheer force of will, she managed not to look over her shoulder as they walked away, but the skin on her back tingled and crawled as if expecting the stab of a knife. Instead, she heard Damon’s low ironical voice: â€Å"And have you heard that kissing a red-haired girl cures fever blisters?† And then Bonnie’s outrageous, flattered laughter. On the way out, they finally ran into their host. â€Å"Leaving so soon?† Alaric said. â€Å"But I haven’t even had a chance to talk to you yet.† He looked both eager and reproachful, like a dog that knows perfectly well it’s not going to be taken on a walk but wags anyway. Elena felt worry blossom in her stomach for him and everyone else in the house. She and Stefan were leaving them to Damon. Right now she had enough to do getting Stefan out of here before he changed his mind. â€Å"I’m not feeling very well,† she said as she picked up her purse where it lay by the ottoman. â€Å"Sorry.† She increased the pressure on Stefan’s arm. It would take very little to get him to turn back and head for the dining room right now. â€Å"I’m sorry,† said Alaric. â€Å"Good-bye.† They were on the threshold before she saw the little slip of violet paper stuck into the side pocket of her purse. She pulled it out and unfolded it almost by reflex, her mind on other things. There was writing on it, plain and bold and unfamiliar. Just three lines. She read them and felt the world rock. This was too much; she couldn’t deal with anything more. â€Å"What is it?† said Stefan. â€Å"Nothing.† She thrust the bit of paper back into the side pocket, pushing it down with her fingers. â€Å"It’s nothing, Stefan. Let’s get outside.† They stepped out into driving needles of rain. How to cite The Vampire Diaries: The Struggle Chapter Six, Essay examples

Mental Health Case Scenario

Question: Discuss about theMental Health Case Scenario. Answer: Introduction Mental disorder is one of the most common illnesses that affect people in Australia. Mental illnesses cause socio-psychological changes that alter the behavior, emotion and moods of individuals suffering from mental illnesses. Nonetheless, mental illness can be addressed if measures are taken to examine the patient to ascertain the conditions before diagnosing and providing management and treatment interventions. This paper presents an in-depth analysis of mental illnesses in Australia. It alludes to a case scenario of a 24-year old Derby-based Fred Robinson to analyze the applications of Mental Health Act 2014 in the assessment, management, and treatment of serious mental illnesses. Presenting Information Fred has a serious mental problem that requires an attentive care at the Approved Hospital. A medical examination carried on him revealed that he has psychological and social challenges that require redress. In the first place, the patient is so violent. He demonstrated his aggression when he refused to be interrogated by the police officers and went ahead to shout at them and attempted to punch them (Bradley, Townsend Eburn, 2015). This is a clear proof that Fred is so violent and can be dangerous to the health care providers, carers and himself. When it comes to social challenges, Fred has been observed to be detached from the rest of the society. Apart from hearing imaginary voices, Fred has been displaying a series of antisocial behaviors such as isolation, over-activity, restlessness, and muttering at himself. These are serious issues that need an attention of a psychiatrist because if left unchecked, can be so disastrous to Freds life and that of others around him (Kidd, Kenny McKinstry, 2015). Psychiatric intervention is necessary because it will help the patient to manage his condition and regain his normal mental health. Fred therefore deserved an individualized patient-centered quality psychiatric care because it will not help him, but guarantee the safety of other people that might be victimized by his mental illness. Mental Health Act The Mental Health Act which was enacted in the year 2014 is a legislation that reformed mental health in Australia by acknowledging the contribution of the mentally-ill patients and putting them at the center of the care, recovery and treatment process. As a patient diagnosed with a mental illness, Fred deserves a quality mental health care. To do so, the healthcare providers are mandated to apply the principles of the Mental Health Act 2014 (Curry, 2016). There are several clauses of the act that suit Freds conditions. These are discussed herein: As clearly stipulated in the Mental Health Act 2014, a patient with mental illness should be involved in the decision-making process. The law requires that the practitioner should not engage in any form of treatment, procedure or interventions without seeking the opinion of the patient. A mentally-ill patient, just like any other patient has a right to be notified of their medical conditions and be actively involved in the making decisions regarding the medical interventions to undergo (Palmer, Chondros, Piper, Callander, Weavell, Godbee Furler, 2015). This legislation is relevant in Freds case. The practitioners should not make any decision without seeking for his opinion. His consent or that of his carers should be gotten by the health care providers. The other clause that applies in Freds case is the one that advocates for the need of delivering quality care for the best interest of the patient. When this legislation is applied, the practitioners should do everything within their capacity to help the patient to improve his conditions so as to eventually regain a full recovery (Harvey, 2015). Therefore, the practitioners should adopt the best alternative when handling the patient. For example, even if it might be necessary to restrain him, minimal force should be used to do so. Moreover, Freds care should be guided by the clause which emphasizes the need of examining the patient at an authorized hospital. The referral of Freds case to the authorized hospital was done as per the law. The police officers were right to take Fred to the facility to be given the necessary medical care. So, health care providers at the authorized hospital should not hesitate to receive Fred and accord him the necessary mental care services (Mechanic Olfson, 2016). Lastly, the practitioners should apply a clause that advocates for the respect of individual rights. Although Fred is in a poor state of mental health, no one should take advantage of his condition to infringe on his rights. Apart from dully informing him on all the proposed treatments to be given to him, the patient should be given a quality care that can ensure his safety at all times. Mental State Examination The Mental State Examination (MSE) refers to an organized way of carrying out an observation, examination and documentation of the behaviors, thoughts and motions of an individual. MSE is a very important tool in the field of psychiatry. It can play a very significant role in guiding the mental health professionals in examining the patients with mental illness. As a mentally-ill patient, Fred requires to have a MSE performed for him (Burckhardt, Manicavasagar, Batterham Hadzi-Pavlovic, 2016). To do so, the practitioner needs to use a combination of indirect and direct techniques to gather enough information on the patients social and biographical data based on direct observations made on psychological tests as well as his symptoms. Freds MSE As already hinted, the use of MSE cannot be ruled out when serving Fred because it will play an integral role in determining the severity of his mental conditions. His MSE should therefore be captured in a standard format as outlined below: Appearance 24 year old man Residence of Derby, Kimberley Region, Western Australia Not neat, has a sign of self-neglect because he s dirty, Wrong attire because he wears only one shoe, boardshots, beany and jumper has displayed stereotype as an abnormal involuntary conduct Behavior Patient shows inappropriate behavior He does not maintain eye contact with the health care providers He is uncooperative and rebellious Has a bad rapport with others He has a high level of distraction He is restless He is violent and wants to attack other people around him Speech Low volume of speech Pressured speech Patient gives inappropriate responses to questions He is muttering to himself The patient gives illogical answers Mood The patient is so emotional The patient has a bad mood than he used to be before The patient seems to be anxious Perception The patient reported having experiences delusion and hallucinations He was directed by imaginary voices to commit suicide at the bridge Thought Form and Content The patient has no linearity of thought Patient has abnormal beliefs The patient is obsessed with anger (Curry, 2016). The patient is likely to harm himself and others around him Cognition The patent has low levels of attention The patient has a low level of comprehension of ideas Insight The patient is not aware that the changes in his behaviors, thoughts and feelings are as a result of mental illness (Curry, 2016). The patient is not cooperative and is not ready to be treated MSE is essential for Fred because it can help the service providers to acquire reliable information on his behavior, perception, speech, mood, mind, attitude, appearance, judgment, affect, insight, and thought process. This information, if added to the available historical and biographical data from the patients psychiatric history, can enable the practitioner to organize for a coherent treatment for Fred. Therefore, before providing any form of treatment to the patient, the practitioner should allocate enough time for MSE (Rosenbaum, Tiedemann, Stanton, Parker, Waterreus, Curtis Ward, 2015). The examination is crucial because without it, the practitioner cannot get information to rely on while making a choice on the right kind of intervention to give to the patient. It should also be noted that the patient can be diagnosed based on the results of the MSE or through a performance of an appropriate diagnosis test on the patient. Risk Assessment Potential Risks From the results of his MSE, Fred has a serious mental problem. This means that he deserves to be admitted at the authorized hospital because it is the most suitable facility in which he will get the necessary mental health care (Bartlem, Bowman, Bailey, Freund, Wye, Lecathelinais Wiggers, 2015). However, his admission at the facility will not be a walk in the park because of the myriad of challenges faced as a result of the presence of the patient at the hospital. In other words, Fred is a potential risk because he will pose the following challenges to his health care providers: Violence: A keener look at the MSE reveals that Fred is an aggressive patient who cannot be easily handled by the health care providers. The way in which he treated the police officers who handed him to the facility shows that he is too violent and cause bodily harm to anyone around him. If he almost punched a scary police officer, what would he do to his unarmed health care providers? Unless due care if taken to restrain him, Fred can attack and injure anyone he comes across (Kidd, Kenny McKinstry, 2015). Anger: After the assessment, it was observed that Fred is hot tempered. As a result of his mental illness, Fred has become emotional and gets annoyed so fast. Meaning, he can be easily irritated and be forced to revenge on anyone whom he feels is responsible for his anger (Ogloff, Talevski, Lemphers, Wood Simmons, 2015). It is not an easy task to handle such an emotional patient because one never knows the potential dangers waiting. This is also an important risk that should be considered when handling the patient. Defiance: Another risk associated with Fred is that he is a defiant patient who does not heed advice and cannot follow medication instructions given to him. Meaning, he can not comply with the directions given by the health care providers. This is quite unfortunate because it will make it difficult for the health care providers to effectively serve him as they ought to. Management Plan Since Fred a potential risk at the facility, its employees and himself, it is incumbent upon the service providers to come up with appropriate management plan for him. This paper thus recommends the following management strategies for Fred: De-escalation: This is a management strategy in which one makes a good use f verbal and non-verbal communication to handle a patient. Here, one uses a polite language that can personally appeal to the patient to consider cooperating (Brayley, Alston Rogers, 2015). De-escalation is suitable for dealing with the problem of anger. It does not fuel anger, but prepares the patent to cool down as required. Restraint: Here, measures are taken to deliberately immobilize the patient and prevent him from getting access to other patients, health care providers or his carers who might be harmed by him. While it is important to note that restart strategy is recommend for violent patients, it should be acknowledged that it can be done manually or mechanically using equipments like restraining belts or hand cuffs (Kidd, Kenny McKinstry, 2015). Pro re Nata (p.r.n.): This refers to the use of medications. Medications can be suggested for Fred because they can help in facilitating the redress of his violent acts. Therefore, to do so, the health care provide should choose the most appropriate medicine to use for him. Conclusion Indeed, the Mental Health Act 2014 is a noble legislation that does a good job in promoting the delivery of quality mental health care services to all Australians. Since its enactment, the legislation has been playing a significant role in advocating for the rights of the patients with mental illness. For a mentally-ill patient like Fred, the act can be a relief because it helps in laying out a clear framework on how he should be treated. When he was referred to the authorized hospital, Fred was given an opportunity to get mental care regardless of how violent he was. This is a clear proof that a properly conducted MSE is key to a proper identification of the patients conditions and management and treatment interventions for a patient with mental illness. References Bartlem, K. M., Bowman, J. A., Bailey, J. M., Freund, M., Wye, P. M., Lecathelinais, C., ... Wiggers, J. H. (2015). Chronic disease health risk behaviours amongst people with a mentalillness. Australian and New Zealand journal of psychiatry, 0004867415569798. Bradley, E. J., Townsend, R., Eburn, M. (2015). Paramedics and ACT mental healthlegislation. Australasian Journal of Paramedicine, 12(4). Brayley, J., Alston, A., Rogers, K. (2015). Legal criteria for involuntary mental healthadmission: clinician performance in recording grounds for decision. The Medical journalof Australia, 203(8), 334-334. Burckhardt, R., Manicavasagar, V., Batterham, P. J., Hadzi-Pavlovic, D. (2016). Arandomized controlled trial of strong minds: a school-based mental health programcombining acceptance and commitment therapy and positive psychology. Journal ofschool psychology, 57, 41-52. Curry, P. (2016). The mental health act 2014 and the right to refuse psychiatric treatment. Brief,43(5), 8. Harvey, I. (2015). A person-centred approach to mental health care in NSW. LSJ: Law Society ofNSW Journal, 2(9), 90. Kidd, S., Kenny, A., McKinstry, C. (2015). The meaning of recovery in a regional mentalhealth service: an action research study. Journal of advanced nursing, 71(1), 181-192. Kidd, S., Kenny, A., McKinstry, C. (2015). The meaning of recovery in a regional mentalhealth service: an action research study. Journal of advanced nursing, 71(1), 181-192. Mechanic, D., Olfson, M. (2016). The relevance of the Affordable Care Act for improving mental health care. Annual review of clinical psychology, 12, 515-542. Ogloff, J. R., Talevski, D., Lemphers, A., Wood, M., Simmons, M. (2015). Co-occurringmental illness, substance use disorders, and antisocial personality disorder among clientsof forensic mental health services. Psychiatric rehabilitation journal, 38(1), 16. Palmer, V. J., Chondros, P., Piper, D., Callander, R., Weavell, W., Godbee, K., ... Furler, J.(2015). The CORE study protocol: a stepped wedge cluster randomised controlled trial totest a co-design technique to optimise psychosocial recovery outcomes for peopleaffected by mental illness in the community mental health setting. BMJ open, 5(3),e006688. Rosenbaum, S., Tiedemann, A., Stanton, R., Parker, A., Waterreus, A., Curtis, J., Ward, P. B. (2015). Implementing evidence-based physical activity interventions for people withmental illness: an Australian perspective. Australasian Psychiatry, 1039856215590252.

Flight By John Steinbeck Essays - American People Of German Descent

Flight by John Steinbeck In his classic short story, "Flight," John Steinbeck uses many examples of symbolism to foreshadow the conclusion. Symbolism can be anything, a person, place or thing, used to portray something beyond itself. It is used to represent or foreshadow the ending of the story. Steinbeck uses colors, direction, and nature symbolism to help presage Pep?'s tragic death. Let us now more closely examine the ways that Steinbeck uses colors to foreshadow the ending of his short story. Perhaps the most repeatedly used symbol in "Flight," is the color black. In literature many authors use black to represent death. There are numerous examples in this short story. Some of these include the black handle on the long blade, Pep?'s black hair and the black jerky. Another example may be found when Pep? puts on his fathers black coat, which represents death. When Pep? puts on the coat he is literally covering himself with death. Another fine example is the trail in which Pep? travels. Steinbeck describes the path as a well-worn black path. By traveling on this path he is in fact taking the road of death. Furthermore Pep?'s appearance also helps foreshadow the ending. Steinbeck describes him as having a black hat that covers his black thatched hair. Pep? is also described as being dark, lean and tall. Another example is Pep?'s shack. The shack is described as weathered and very old. It casts a rather large shadow to the North east. The darkness of the shadow symbolizes death in the home. As we can readily see, the authors use of black symbolism in the story tells us that the main character, Pep?, is impending death. Another commonly used symbol in the story "Flight," is direction. Direction is used to represent positive or negative effects. North and East are generally "good" directions. Many people feel this came about when the early man saw the sun rise in the East. On the contrary, the directions South and West are generally "bad" directions. Basically this is because the sun sets in the West. Besides compass directions, height is also a very popular way of foreshadowing the conclusion of the story. The direction up, which is also the way to heaven is generally "good," while down, the direction of hell, is considered to be "bad." An example of this form of symbolism can be found when Pep? is returning home. Pep? looks at his "weathered little shack" and notices the shadow. The shadow is heading in the direction North East. Even though the directions North and East are "good," the fact that the shadow is there turns them "bad." This means that evil is winning over goodness. So, whichever direc tion Pep? turns to he will fall into evil. Another fine example is when Pep? watches the sun set in the West. The sun, which is the bringer of all life is moving towards evil. That means it will be dark out and Pep?'s death is soon to come. Steinbeck further uses this symbolism while describing the tops of the trees on the mountain. The tops of the trees were wind-bitten and dead. This symbolizes that the further Pep? travels up the mountain the closer he is to his inevitable death. As shown above, direction is another very important aspect of symbolism. Direction is just another of the many ways John Steinbeck accomplishes his foreshadowing of the ending of his story. Let us now look further into symbolism by discovering yet another form of symbolism. Throughout the story Steinbeck emphasizes nature symbolism. Nature symbolism includes a variety of things. One very popular symbol is water. Because of the fact that we, as humans, require water in order to live, water represents life. An example of this in the story "Flight," would be Pep?'s water bag that he hung over his horse's shoulder. The water leaked onto the horse's shoulder. This meant Pep?'s life was actually leaking away. It just so happened that when the horse was shot it was in the same shoulder. The most obvious example of nature symbolism would be when Pep? is traveling up the mountain. When he first starts out he is traveling very close to the river. As he continues

The Crucible & Era Evaluation essays

The Crucible & Era Evaluation essays In 1953, a man by the name of Arthur Miller wrote a play not only as a historical allusion, but more specifically a piece based on criticism and comparison. The Crucible it was named. Miller, by implying the Salem witch trials was similar to that of the actions by Wisconsin senator Joseph McCarthy, created a critical work of art that, as a side effect, threw Miller in the McCarthy line-of-fire. It is important to note this wasnt a straight historical play and was never intended to be, although Miller did use historical figures and places. September 1662, the theocratic town of Salem experienced a very different way of life while certain members of the community were selected and prosecuted for accusations and suspicions. The indictment was the case of witchcraft. 19 men and women were brutally interrogated, possessions were seized, and everything was used against them in court. There was no way out. Confession meant a life of rejection by the town. Sticking to the truth and believing the Devil didnt affect actions of the citizens meant death by hanging at Gallows Hill. Among these killed, hundreds of others faced accusations of witchcraft and were immediately jailed without trial. The established court ruined many innocent people and destroyed their names simply because of a scare brought about by a deceitful Salem citizen. Jump ahead approximately 290 years to the 1950s. American senator Joseph McCarthy of Wisconsin has gained recognition and power for his hate for communism in the country and realized the potential destruction of Americas capitalistic ideals. He stated he had suspicions of 205 card-carrying communists within the Country who have already infiltrated the state departments carrying out anti-American activities. Among the 205 accused, a range from common, everyday people to Hollywood actors like Chaplin were accused of being Communist members. Lives were shot down ...

Appling the EMH evaluate the role that government played in economic Essay

Appling the EMH evaluate the role that government played in economic recovery using recent real-life examples - Essay Example Aim and objectives of the study The theme around which the discussion will tend to revolve is of efficient market hypothesis under the intervention of the government. The hit of the financial crisis has left many countries under the scanner and so the usefulness of the study cannot be underestimated. Enormous scope of the study is waiting in the background as it is extremely important to understand or analyze the intervention of the government in detailed manner in this volatile scenario. The study will take into consideration or will try to consider the various policies of the government which will determine the scope of legislation on efficiencies of the market in the near future. The present times has witnessed gradual instability in the market due to the imposition of the different market policies of the government and would provide an opportunity of learning in the current scenario. Efficient market hypothesis The efficient market hypothesis implies that if any new form of information is available in the market the share price of the company will move accordingly and the movement of the price will be rational according to the information available in the market. In this type of market no trader will have an opportunity to earn profits which is above the normal level on the return from a share greater than the fair return from the associated risk. The chance of absence of normal profits arises as the past or the future information is reflected in the current prices of the shares. The availability of new information in the market has the ability to affect the prices of the shares (Palan, 2007, p. 3). ... icient market hypothesis implies that if any new form of information is available in the market the share price of the company will move accordingly and the movement of the price will be rational according to the information available in the market. In this type of market no trader will have an opportunity to earn profits which is above the normal level on the return from a share greater than the fair return from the associated risk. The chance of absence of normal profits arises as the past or the future information is reflected in the current prices of the shares. The availability of new information in the market has the ability to affect the prices of the shares (Palan, 2007, p. 3). The hypothesis is concerned in analysing the conditions under which an investor can earn abnormal profits from investing in a stock. It claims that the relevant information is reflected in the stock price. It states that abnormal returns cannot be availed with only public information. People are of the opinion that efficiency means that it is not possible to outperform the market at a certain point of time. It can be expected that under certain points of time the prices will deviate from the fair value as it majorly depends on the unpredictable future. It does not mean that an investor will not be able to beat the market scenario at any time. In the market which is efficient one half of the purchased shares subsequently outperform as the process tend to deviate randomly (Harder, 2010, p.7). Adoption of particular investment strategy in the long run can contribute to beat the market situation. It may be possible to find few investors who have beaten up the market scenario in a completely efficient market with price deviating from the true value. The laws of probability have the central

Intrinsic vs. Extrinsic Motivation (Opinion Paper) Essay

Intrinsic vs. Extrinsic Motivation (Opinion Paper) - Essay Example Intrinsic motivation comes from within such as a person's need to feel useful or need to seek self-actualization (Law, 2006). Extrinsic motivation consists of external factors that motivate an individual such as pay and benefits or other motivators provided by employers. Intrinsic and extrinsic motivators are not limited to the workforce. Motivators, or rewards, are provided beginning in childhood. Taking piano lessons and studying a foreign language are intrinsically motivated for this author. The intrinsic rewards that I am receiving are satisfaction and enjoyment. Extrinsically motivated activities include cooking and exercising. The extrinsically motivated activities are performed to please others who hope that diet and exercise will help improve my quality of life. There are several principals and theories related to intrinsic and extrinsic motivation. Motivation itself can be described as the "mental processes that arouse, sustain, and direct human behavior."(Law, 2006) People can be positively motivated or negatively motivated. One boss' leadership style may motivate productivity while another boss' leadership style may negatively affect productivity. It is key for any organization to conquer motivation within the workplace. In my opinion coaches of sports teams have known for years that the combination of intrinsic and extrinsic motivating factors can create the need to excel or a... George Gipp was a varsity football player at Notre Dame. When he fell ill and died Knute Rockne used a statement that Gipp is said to have made on his death bed: I've got to go, Rock. It's all right. I'm not afraid. Some time, Rock, when the team is up against it, when things are wrong and the breaks are beating the boys, ask them to go in there with all they've got and win just one for the Gipper. I don't know where I'll be then, Rock. But I'll know about it, and I'll be happy. (Estate of George Gipp, 2007). Knute Rockne used this statement to motivate his team to defeat the undefeated Army team in 1928. He knew that his team would be intrinsically and extrinsically motivated to win the game. Another principal relating to motivation is the multicative principal. This principal is based upon the belief that intrinsic and extrinsic motivation are interactive rather than additive. I agree with this principal because I have seen how in playing the piano I am rewarded by other people noticing and commenting on my performance. At the same time I have a sense of personal satisfaction when I play well (intrinsic). Although it is nice to receive positive comments, and encouragement, I gain more from the intrinsic award. I am motivated more by how I feel about myself and am motivated to play better despite the extrinsic rewards. The discounting principal of motivation has to do with the rewards affect on atheletic performance. The athelete may be intrinsically motivated to perform and win. But, an athelete that is paid to perform (such as major league baseball and NFL football) may stop performing if the paid reward is removed. Thus the intrinsic motivation is pushed aside or 'discounted' when the extrinsic reward is

Engine Failure Of Flight 191 Engineering Essay

Engine Failure Of Flight 191 Engineering Essay The loss of the engine by itself should not have been enough to cause the accident.[12] Flight 191 would have been perfectly capable of returning to the airport using its remaining two engines, as the DC-10 is capable of staying airborne with any single engine out of operation. However, several other factors combined to cause a catastrophic loss of control. The engine separation had severed the hydraulic lines that controlled the aircrafts leading-edge wing slats (retractable devices that decrease a wings stall speed during takeoff and landing). The damage to the lines caused a loss of hydraulic pressure, which in turn led to uncommanded retraction of the outboard slats in the left wing.[1] Unlike other aircraft designs, the DC-10 did not include a separate mechanism to lock the slats in place.[1] Investigators examined the flight data recorder (FDR) and conducted wind tunnel tests and flight simulator tests to understand the trajectory of flight 191 after the engine detached and the slats retracted. These tests established that the damage to the wing leading edge and retraction of the slats increased the stall speed of the left wing from 124kt to 159kt.[1] Comparison of the FDR data and the simulator tests showed that the pilots of flight 191 had followed the procedure for engine failure at take-off. This procedure called for the captain to go to VHYPERLINK http://en.wikipedia.org/wiki/V_Speeds#Other_reference_speeds2 (standard safety takeoff speed) which for flight 191 was 153kt, 6kt below the stall speed.[1] At the time the engine fell off the aircraft, flight 191 was already travelling at 165kt, safely above the stall speed. Thus, by slowing the aircraft to 153kt in accordance with the emergency procedure, the pilots inadvertently induced the stall which proved fatal. Following this accident, McDonnell Douglas revised the procedure, advising that if the aircraft was already flying faster than V2 plus 10kt the pilots should maintain a margin of 10kt above V2.[1] The DC-10 incorporates two warning devices which might have alerted the pilots to the impending stall: the slat disagreement warning light which should have illuminated after the uncommanded retraction of the slats, and the stall warning system (stick-shaker) which activates close to the stall speed. Unfortunately, both of these warning devices were powered by an electric generator driven by the no. 1 engine; following the loss of that engine, they both became inoperative.[1] [edit] Engine separation An FAA diagram of the DC-10 engine and pylon assembly indicating the failed aft pylon attach fitting. From an examinaton of the detached engine, the NTSB concluded that the pylon attachment had been damaged before the crash.[1] Investigators looked at the planes maintenance history and found that its most recent service was eight weeks before the crash, in which engine number one had been removed from the aircraft, however the pylon, the rigging holding the engine onto the wing, had been damaged during the procedure. The original procedure called for removal of the engine prior to the removal of the engine pylon, but American Airlines had begun to use a procedure that saved approximately 200 man-hours per aircraft and more importantly from a safety standpoint, it would reduce the number of disconnects (i.e., hydraulic and fuel lines, electrical cables, and wiring) from 72 to 27.[1] The new procedure involved mechanics removing the engine with the pylon as one unit, rather than the engine, and then the pylon. A large forklift was used to support the engine while it was being detached from the wing a procedure that was found to be extremelly difficult to execute successfully, due to difficulties with holding the engine assembly straight while it was being removed. The field service representative from the manufacturer, McDonnell-Douglas, said it would not encourage this procedure due to the element of risk and had so advised American. However, McDonnell-Douglas does not have the authority to either approve or disapprove the maintenance procedures of its customers.[1] The accident investigation also concluded that the design of the pylon and adjacent surfaces made the parts difficult to service and prone to damage by maintenance crews. The NTSB reported that there were two different approaches to the one-step procedure: using an overhead hoist or using a forklift. United Airlines used a hoist; American and Continental Airlines used a forklift. According to the NTSB, all the cases wherein impact damage was sustained and cracks found involved the use of the forklift.[1] Under the procedure American used, if the forklift was in the wrong position, the engine would rock like a see-saw and jam against the pylon attachment points. The forklift operator was guided by hand and voice signals; the position had to be spot-on or could cause damage. Management was aware of this. The modification to the aircraft involved in Flight 191 did not go smoothly. Engineers started to disconnect the engine and pylon, but changed shift halfway through. When work continued, the pylon was jammed on the wing and the forklift had to be repositioned. This was important evidence because, in order to disconnect the pylon from the wing, a bolt had to be removed so that the flange could strike the clevis. The procedure used caused an indentation that damaged the clevis pin assembly and created an indentation in the housing of the self-aligning bearing, which in turn weakened the structure sufficiently to cause a small stress fracture. The fracture went unnoticed for several fligh ts, getting worse with each flight. During Flight 191s takeoff, enough force was generated to finally cause the pylon to fail. At the point of rotation, the engine detached and was flipped over the top of the wing. [edit] Conclusion The findings of the investigation by the National Transportation Safety Board (NTSB) were released on December 21, 1979:[1] The National Transportation Safety Board determines that the probable cause of this accident was the asymmetrical stall and the ensuing roll of the aircraft because of the uncommanded retraction of the left wing outboard leading edge slats and the loss of stall warning and slat disagreement indication systems resulting from maintenance-induced damage leading to the separation of the No. 1 engine and pylon assembly at a critical point during takeoff. The separation resulted from damage by improper maintenance procedures which led to failure of the pylon structure. Contributing to the-cause of the accident were the vulnerability of the design of the pylon attach points to maintenance damage; the vulnerability of the design of the leading edge slat system to the damage which produced asymmetry; deficiencies in Federal Aviation Administration surveillance and reporting systems which failed to detect and prevent the use of improper maintenance procedures; deficiencies in the practices and communications among the operators, the manufacturer, and the FAA which failed to determine and disseminate the particulars regarding previous maintenance damage incidents; and the intolerance of prescribed operational procedures to this unique emergency. The NTSB determined that the damage to the left wing engine pylon had occurred during an earlier engine change at the American Airlines aircraft maintenance facility in Tulsa, Oklahoma on March 29 and 30, 1979.[1] The evidence came from the flange, a critical part of the pylon assembly. [edit] Aftermath First responders survey the Flight 191 crash site in Des Plaines, Illinois. Problems with DC-10s were discovered as a cause of the accident, including deficiencies in both design specifications and maintenance procedures which made damage very likely. In response to this incident, American Airlines was fined by the United States government $500,000 for improper maintenance procedures[12]. Two weeks after the accident, on June 6, the FAA ordered all DC-10s to be grounded until all problems were solved. The ban was lifted on July 13.[13] The crash of another DC-10 in November 1979, Air New Zealand Flight 901, would only add to the DC-10s negative reputation at the time however, Flight 901 was caused by several human and environmental factors not related to the airworthiness of the DC-10, and the aircraft was later completely exonerated in that accident. Although McDonnell Douglas employees participated in an Im proud of the DC-10 campaign, the companys shares fell more than 20% following the crash of Flight 191. In 1997, the McDonnell Douglas company was taken over by its rival, Boeing. Despite the safety concerns, the DC-10 went on to outsell its closest competitor, the Lockheed L-1011 TriStar, by nearly 2 to 1. This was due to the L-1011s launch being delayed, the introduction of the DC-10-30 long range model without a competing TriStar variant, and the DC-10 having a greater choice of engines (the L-1011 was only available with Rolls-Royce engines, while the DC-10 could be ordered with General Electric or Pratt HYPERLINK http://en.wikipedia.org/wiki/Pratt__WhitneyHYPERLINK http://en.wikipedia.org/wiki/Pratt__Whitney Whitney engines). The DC-10 program also benefited from obtaining a U.S. Air Force contract to develop a long-range refueller, which culminated in the KC-10 Extender. Lockheed had no such support for the TriStar, and halted production in 1982. NTSB investigation The crash of flight 191 brought fierce criticism from the media because it was the fourth fatal accident involving a DC-10 at the time. Six hundred and twenty-two people had died in DC-10 accidents, including flight 191. As the weather was perfect for flying and there was no indication that a flock of birds or another plane caused the crash, the remains of engine #1 raised serious concerns of the safety of the DC-10. The separated engine was not the only concern, as the public wanted to know whether the detached engine was the only cause of the crash. Investigators wondered if a fire was possibly the cause, as this was backed up by testimony from air traffic controller Ed Rucker who said he saw a flash from the wing. This raised concerns that 191 was the result of a terrorist attack. Sixty witnesses who saw the plane on the runway ruled out a bomb, as they all saw engine #1 swing forward then flip up and over the top of the wing, which pointed to structural failure as the cause. The findings of the investigation by the National Transportation Safety Board (NTSB) were released on December 21, 1979. It revealed the probable cause to be attributable to damage to the left wing engine pylon that occurred during an earlier engine change at American Airliness aircraft maintenance facility in Tulsa, Oklahoma on March 29 and 30, 1979. cite web |url=http://amelia.db.erau.edu/reports/ntsb/aar/AAR79-17.pdf |title=NTSB (National Transportation Safety Board) Report] Evidence came from the flange, a critical part of the pylon assembly. It was revealed to be damaged before the crash, and investigators looked at the planes maintenance history and found it was serviced eight weeks before the crash. The pylon was damaged due to an ill-thought-out engine removal procedure. The original procedure called for removal of the engine prior to the removal of the engine pylon. To save time and costs, American Airlines, without the approval of McDonnell Douglas, had begun to use a faste r procedure. They instructed their mechanics to remove the engine with the pylon all together as one unit. A large forklift was used to support the engine while it was being detached from the wing. This procedure was extremely difficult to execute successfully, due to difficulties with holding the engine assembly straight while it was being removed. This method of engine-pylon removal was used to save man hours and was encouraged despite differences with the manufacturers specifications on how the procedure was supposed to be performed. The accident investigation also concluded that the design of the pylon and adjacent surfaces made the parts difficult to service and prone to damage by maintenance crews. According to the History Channel,cite video title = The Crash of Flight 191 url = http://store.aetv.com/html/product/index.jhtml?id=71451 publisher = The History Channel publisherid = AAE-71451 medium = DVD] United Airlines and Continental Airlines were also using a one-step procedure. After the accident, cracks were found in the bulkheads of DC-10s in both fleets. The procedure used for maintenance did not proceed smoothly. If the forklift was in the wrong position, the engine would rock like a see-saw and jam against the pylon attachment points. The forklift operator was guided by hand and voice signals; the position had to be spot-on or could cause damage, but management was unaware of this. The modification to the aircraft involved in flight 191 did not go smoothly; engineers started to disconnect the engine and pylon but changed shift halfway through; when work continued, the pylon was jammed on the wing and the forklift had to be re-positioned. This was important evidence because, in order to disconnect the pylon from the wing, a bolt had to be removed so that the flange could strike the clevis. The procedure used caused an indentation that damaged the clevis pin assembly and created an indentation in the housing of the self-aligning bearing, which in turn weakened the structure sufficiently to cause a small stress fracture. The fracture went unnoticed for several flights, getting worse with each flight that the plane had taken. During flight 191s takeoff, enough force was generated to finally cause the pylon to fail. At the point of rotation, the engine detached and was flipped over the top of the wing. The loss of the engine by itself should not have been enough to cause the accident. During an interview on Seconds From Disaster, Former NTSB investigator Michael Marx mentioned there were other incidents where the engine fell off, yet they landed without incident. Flight 191 would have been perfectly capable of returning to the airport using its remaining two engines, as the DC-10 is capable of staying airborne with any single engine out of operation. Unfortunately, several other factors combined to cause a catastrophic loss of control. The separation of the engine severed electrical wiring and hydraulic lines which were routed through the leading edge of the wing. The damage to the lines caused a loss of hydraulic pressure, which in turn led to uncommanded retraction of the outboard slats in the port wing. The DC-10 design included a back-up hydraulic system which should have been enough to keep the slats in place; however, both lines are too close together, a design also used on the DC-9. There should have been enough fluid to keep the slats extended, so investigators wanted to know why they were never re-extended by the pilot. The answer came from the end of the recording on the CVR. The number 1 engine powered both the recorder and the slat warning system, which left the pilot and co-pilot with no way of knowing about the position of the slats. Investigators examined the FDR to see what occurred after the engine detached. The procedure called for the captain to go to V2 which he did perfectly, but investigators found that it said nothing about incidents where the speed was already above V2, as it was in this case. Therefore, the pilot had to reduce speed. Simulator tests were done to see if this made a difference; 13 pilots followed the procedure 70 times and not one was able to recover. The NTSB concluded that reducing speed when the slats are back may actually have made it more difficult for the pilot to recover control of the aircraft. When a DC-10 is about to stall it gives two warnings: The first is the stick-shaker which causes the yoke to vibrate, and the second is a warning light that flashes. These combined warnings should have alerted the pilots to increase speed immediately. American Airlines had chosen to have the stick-shaker on the pilots side only, but the stick-shaker did not operate because it was powered by the missing left engine. In the event of an engine failure, it is possible for the flight engineer to switch the pilots controls to a backup power supply. However, inv estigators determined that in order for him to access the necessary switch, the engineer would have had to unfasten his seat belt, stand up, and turn around. The DC-10 hit the ground with a bank of 112ÂÂ °, and at a nose-down attitude of 21ÂÂ °. The NTSB concluded that given the circumstances of the situation, the pilots could not be reasonably blamed for the resulting accident. In his book Blind Trust, [cite book | title = Blind Trust | last=Nance | first=John J. | authorlink=John J. Nance | publisher = William Morrow Co | isbn = 0-688-05360-2 | year = 1987] John J. Nance argues that the 1978 Airline Deregulation Act caused havoc and induced cost-cutting in the industry, producing a serious erosion of the margin of safety for passengers. Nance argues that the industry reverted from an industry under partial surveillance to an industry running on the honor system. Aftermath Problems with DC-10s were discovered as a cause of the accident, including deficiencies in both design specifications and maintenance procedures which made damage very likely. Since the crash happened just before a Western Airlines DC-10 crashed in Mexico City and five years after a Turkish Airlines DC-10 crashed near Paris, the FAA quickly ordered all DC-10s to be grounded until all problems were solved. The result of the problem-solving was an arguably more efficient and safe DC-10. The US government fined American Airlines $500,000 for improper maintenance procedures, but the insurance settlement for the replacement of the aircraft gave American Airlines $25,000,000 beyond the amount of the fine.Fact|date=June 2007 Although the companys employees participated in an Im proud of the DC-10 campaign, McDonnell Douglas shares fell more than 20% following the crash of Flight 191. The DC-10 itself had a bad reputation, but ironically it was often caused by poor maintenance procedures, and not design flaw. In 1997 the McDonnell Douglas company was taken over by its rival, Boeing, which moved its corporate headquarters from Seattle to Chicago. Despite the safety concerns, the DC-10 went on to outsell its closest competitor, the Lockheed L-1011, by nearly 2 to 1. This was due to the L-1011s launch being delayed and the DC-10 having a greater choice of engines (the L-1011 was only available with Rolls-Royce engines, while the DC-10 could be ordered with General Electric or Pratt Whitney engines).

Electronic Literature as an Information System Essay

ABSTRACT Electronic literature is a term that encompasses artistic texts produced for printed media which are consumed in electronic format, as well as text produced for electronic media that could not be printed without losing essential qualities. Some have argued that the essence of electronic literature is the use of multimedia, fragmentation, and/or non-linearity. Others focus on the role of computation and complex processing. â€Å"Cybertext† does not sufficiently describe these systems. In this paper we propose that works of electronic literature, understood as text (with possible inclusion of multimedia elements) designed to be consumed in bi- or multi-directional electronic media, are best understood as 3-tier (or n-tier) information systems. These tiers include data (the textual content), process (computational interactions) and presentation (on-screen rendering of the narrative). The interaction between these layers produces what is known as the work of electronic literature. This paradigm for electronic literature moves beyond the initial approaches which either treated electronic literature as computerized versions of print literature or focused solely on one aspect of the system. In this paper, we build two basic arguments. On the one hand, we propose that the conception of electronic literature as an  information system gets at the essence of electronic media, and we predict that this paradigm will become dominant in this field within the next few years. On the other hand, we propose that building information systems may also lead in a shift of emphasis from one-time artistic novelties to reusable systems. Demonstrating this approach, we read works from the _Electronic Literature Collection Volume 1_ (Jason Nelson and Emily Short) as well as newer works by Mez and the team gathered by Kate Pullinger and Chris Joseph. Glancing toward the future, we discuss the n-tier analysis of the Global Poetic System and the La Flood Project. INTRODUCTION The fundamental attributes of digital narrative have been, so far, mostly faithful to the origin of electronic text: a set of linked episodes that contain hypermedia elements. Whether or not some features could be reproduced in printed media has been subject of debate by opponents and proponents of digital narratives. However, as the electronic media evolves, some features truly unique to digital narrative have appeared. For instance, significant effort has been invested in creating hypertexts responsive to the reader’s actions by making links dynamic; additionally, there have been efforts to create systems capable of producing fiction, with varying degrees of success. Both approaches have in common that they grant greater autonomy to the computer, thus making of it an active part of the literary exchange. The increasing complexity of these systems has directed critical attention to the novelty of the processes that produce the texts. As critics produce a flood of neologisms to classify these works, the field is suffering from a lack of a shared language for these works, as opposed to drawing from the available computer science and well-articulated terminology of information systems. The set {Reader, Computer, Author} forms a system in which there is flow and manipulation of information, i.e. an _information system_. The interaction between the elements of an information system can be isolated in functional tiers. For instance: one or many data tiers, processing tiers, and presentation tiers. In general we will talk about n-tier information  systems. We will expand this definition in the next section. In this system, a portion of information produced (output) is taken, totally or partially, as input, i.e. there is a feedback loop and therefore the process can be characterized as a cybernetic process. Of course, the field has already embraced the notion of the cybertext. The term cybertext was brought to the literary world’s attention by Espen Aarseth (1997). His concept focuses on the organization of the text in order to analyze the influence of media as an integral part of literary dynamics. According to Aarseth, cybertext is not a genre in itself. In order to classify traditions, literary genres and aesthetic value, Aarseth argues, we should inspect texts at a much more local level. The concept of cybertext offers a way to expand the reach of literary studies to include phenomena that are perceived today as foreign or marginal. In Aarseth’s work, cybertext denotes the general set of text machines which, operated by readers, yield different texts for reading. Aarseth (1997, p. 19), refuses to narrow this definition of cybertext to â€Å"such vague and unfocused terms such as digital text or electronic literature.† For the course of this paper, we will use the phrase â€Å"electronic literature,† as we are interested in those works that are markedly literary in that they resonate (at least on one level) through evocative linguistic content and engage with an existing literary corpus. While we find â€Å"cybertext† to be a useful concept, the taxonomies and schematics that attend this approach interfere with interdisciplinary discussions of electronic literature. Instead of using Aarseth’s neologisms such as textons, scriptons and traversal functions, we will use widely-accepted terminology in the field of computer science. This shift is important because the concepts introduced by Aarseth, which are relevant to the current discussion, can be perfectly mapped to concepts developed years earlier in computer science. While the neologisms introduced by Aarseth remain arcane, the terms used in computer science are pervasive. Although the term cybertext adds a sense of increasingly complex interactivity, its focus is primarily on the interaction between a user and  a single art object. Such a framework, however, insufficiently describes the constitution of such an object. Within his treatise, Aarseth is compelled to create tables of attributes and taxonomies to map and classify each of these objects. What is needed is a framework for discussing how these systems operate and how that operation contributes to an overall literary experience. We want to make a clear distinction between this notion of cybertext as a reading process and more thorough description of a work’s infrastructure. Clearly, there are many ways in which the interaction between a reader and a piece of electronic literature can happen; for instance, a piece of electronic literature could be written in HTML or in Flash, yet presenting the same interaction with the reader. In this paper, we adapt the notion of n-tier information systems to provide a scaffolding for reading and interpreting works of electronic literature. The fact that the field of electronic literature is largely comprised of cybertexts (in the sense described above) that require some sort of processing by the computer, has made of this processing a defining characteristic. Critics and public approach new works of electronic literature with the expectation of finding creativity and innovation not only at the narrative level but also at the processing level; in many cases the newness of the latter has dominated other considerations. NEW, NEWER, NEWEST MEDIA Until now, electronic literature, or elit, has been focused on the new, leading to a constant drive to reinvent the wheel, the word, the image, the delivery system, and consequently reading itself. However, such an emphasis raises a number of questions. To what extent does the â€Å"novel† requirement of electronic literature (as the field is currently defined) de-emphasize a textual investment in exploring the (post)human condition (â€Å"the literary†)? How does this emphasis on the â€Å"new† constrain the development of New Media both for authors and for prospective authors? Or how does such an emphasis put elit authors into an artistic arms race taking on the aethetics of the militiary-industrial complex that produces their tools? Literary essays that treat electronic literature focus on Flash movies, blogs, HTML pages, dynamically generated pages, conversation agents, computer games, and other software applications. A recent edition of Leonardo Almanac (AA.VV. 2006) offers several examples. Its critics/poets analyze the â€Å"information landscapes† of David Small, the text art experiments of Suguru Ishizaki (2003), Brian Kim Stefans’ 11-minute Flash performance, and Philippe Bootz’s matrix poetry program. Though not all the objects are new, what they share most of all is the novelty of their surface or process or text. These works bear little resemblance to one another, a definitive characteristic of electronic literature (dissimilarity); however, their inclusion under one rubric reflects the field’s fetishization of the new. This addiction, mimicking that of the hard sciences it so admires, must constantly replace old forms and old systems with the latest system. Arguably, therefore, any piece of electronic literature may only be as interesting as its form or its novel use of the form. Moreover, such an emphasis shifts the critical attention from the content (what we will call data) to its rendering (or presentation plus processes) primarily. Marie-Laure Ryan (2005) raised charges against such an aesthetic in her _dichtung-digital_ article. In this piece, she rails against a certain style of new media, net.art, elit art object that follows WYSINWYG (What you see is _NOT_ what you get), where the surface presents a text that is considered interesting only because of a more interesting process beneath the surface. This approach, according to Ryan, focuses on â€Å"the meta-property of algorithmic operation.† For this aesthetic, â€Å"the art resides in the productive formula, and in the sophistication of the programming, rather than in the output itself† (Ryan). This means that literary, or artistic value, does not reside in what appears on the screen, but in the virtuoso programming performance that underlies the text. While Ryan goes too far in her dismissal of experimentation, her critique holds, in as much as electronic literary criticism that puts process uber alis risks not only minimizing the textual to insignificance but also losing what should be one of elit’s biggest goals: developing new forms for other authors to use and  explore. Such an emphasis reveals a bias that has thus far dominated new media scholarship. This same bias leads new media scholars away from literary venues for their discourse communities and instead to Boing Boing and Siggraph, sites where curiosity or commercial technological development dominate the discussions. It is also what spells instant obsolescence to many authorware forms. The person who uses authorware as it was intended is not the new media artist. It is the person who uses it in a new way or who reconfigures the software to do something unintended. This trend means that electronic literary artists will constantly be compelled to drive their works towards the new, even while it means a perpetual pruning of all prior authorware, cutting them off from the†literary† tree. (We see this same logic in commerical software production where the 4.0 release reconfigures the interface and removes some of the functionality we had grown to love.) A disproportionate emphasis on the new overlooks the tremendous areas of growth in authorship on the stabilizing, if rudimentary, authoring systems. The tide of productivity (in terms of textual output of all levels of quality) is not from an endless stream of innovations but from people who are writing text in established author information formats, from traditional print to blogs. It is through the use of stabilized and reusable information systems that the greater public is being attracted to consume and produce content through digital media. Blogging is the clearest example. This is not equivalent to saying that all blogging is literary, just as not all writing is; however, blogging has created a social practice of reading and writing in digital media, thus increasing the frequency at which literary pieces appear through that venue. This increased community activity would have been impossible if each blogger had to develop their own authoring systems. To help redistribute the scholarly priorities, we propose a reconsideration of electronic literature as an n-tier information system. The consequence of this shift will be twofold: First of all, it will allow us to treat content and processing independently, thus creating a clear distinction between works of literary merit and works of technological craftsmanship. While this  distinction is at best problematic, considering the information system as a whole will move the analysis away from over-priveleging processes. Secondly, we claim that this approach provides a unified framework with which all pieces of electronic literature can be studied. This paper is organized as follows: in Section 1 (Introduction) we describe what is the problem we intend to explore, and what are the type of systems that will be described in this paper. Section 2 (Information Systems) explores the components of an information system and compares the approaches of different researchers in the field. Section 3 (Examples) demonstrates that the n-tier information system approach can be used to describe a multifarious array of pieces of electronic literature. Section 4 (Discussion) explores the conclusions drawn from this study and set future directions. INFORMATION SYSTEMS Since electronic literature is mediated by a computer, it is clear that there must exist methods to enter information into the system, to process it, and to render an output for readers; that is to say, a piece of electronic literature can be considered as an _information system_. The term â€Å"information system† has different meanings. For instance, in mathematics an â€Å"information system† is a basic knowledge-representation matrix comprised of attributes (columns) and objects (rows). In sociology, â€Å"information systems† are systems whose behavior is determined by goals of individual as well as technology. In our context, â€Å"information system† will refer to a set of persons and machines organized to collect, store, transform, and represent data, a definition which coincides with the one widely accepted in computer science. The domain-specific twist comes when we specify that the data contains, but is not limited to, literary information. Information systems, due to their complexity, are usually built in layers. The earliest antecedent to a multi-layer approach to software architectures goes back to Trygve Reenskaug who proposed in 1979, while visiting the Smalltalk group at Xerox PARC, a pattern known as Model-View-Controller  (MVC) that intended to isolate the process layer from the presentation layer. This paradigm evolved during the next decade to give rise to multi-tier architectures, in which presentation, data and processes were isolated. In principle, it is possible to have multiple data tiers, multiple process tiers, and multiple presentation tiers. One of the most prominent paradigms to approach information systems in the field of computer science, and the one we deem more appropriate for electronic literature, is the 3-tier architecture (Eckerson, 1995). This paradigm indicates that processes of different categories should be encapsulated in three different layers: 1. Presentation Layer: The physical rendering of the narrative piece, for example, a sequence of physical pages or the on-screen presentation of the text. 2. Process Layer: The rules necessary to read a text. A reader of Latin alphabet in printed narrative, for example, must cross the text from left to right, from top to bottom and pass the page after the last word of the last line. In digital narrative, this layer could contain the rules programmed in a computer to build a text output. 3. Data Layer: Here lays the text itself. It is the set of words, images, video, etc., which form the narrative space. In the proposed 3-tier model, feedback is not only possible, but also a _sine qua non_ condition for the literary exchange. It is the continuation of McLluhan’s mantra: â€Å"the media is the message†. In digital narrative, the media acts on the message. The cycle of feedback in digital narrative is: (i) Readers receive a piece of information, and based on it they execute a new interaction with the system. (ii) The computer then takes that input and applies logic rules that have been programmed into it by the author. (iii) The computer takes content from the data layer and renders it to the reader in the presentation layer. (iv) step -i – is repeated again. Steps i through v describe a complete cycle of feedback, thus the maximum realization of a cybertext. N-tier information systems have had, surprisingly, a relatively short penetration in the field of electronic literature. Aarseth (1997, p.62) introduced a typology for his textonomy that maps perfectly a 3-tier system: Scriptons (â€Å"strings as they appear to readers†) correspond to the presentation layer, textons (â€Å"strings as they exist in the text†) correspond to the data layer, and traversal function (â€Å"the mechanism by which scriptons are revealed or generated from textons and presented to the user†) corresponds to the process layer. These neologisms, while necessary if we study all forms of textuality, are unnecessary if we focus on electronic literature. The methods developed in computer science permeate constantly, and at an accelerating rate, the field of electronic literature, specially as artists create pieces of increasing complexity. Practitioners in the field of electronic literature will be better equipped to benefit from the advances in information technology if the knowledge acquired in both fields can be bridged; without a common terminology attempts to generate dialog are thwarted. The first reference that used computer science terminology applied to electronic literature appeared in an article by Gutierrez (2002), in which the three layers (data, logic and presentation) were clearly defined and proposed as a paradigm for electronic literature. Gutierrez (2004, 2006) explored in detail the logic (middle) layer, proposing algorithms to manage the processes needed to deliver literary content through electronic media. His proposal follows the paradigm proposed by Eckerson (1995) and Jacobson et al (1999): the system is divided into (a) topological stationary components, (b) users, (c) and transient components (processes). The processes in the system are analyzed and represented using sequence diagrams to depict how the actions of the users cause movement and transformation of information across different topological components. The next reference belongs to Wardrip-Fruin (2006); he proposes not three, but seven components: (i) author, (ii) data, (iii) process, (iv) surface, (v) interaction, (vi) outside processes, and (vii) audiences. This vision corresponds to an extensive research in diverse fields, and the interpretation is given from a literary perspective. Even though  Wardrip-Fruin does not use the terminology already established in computer science, nor he makes a clear distinction between topology, actors and processes, his proposal is essentially equivalent, and independent, from Gutierrez’s model. In Wardrip-Fruin’s model, author -i- and audience -vii- correspond to actors in the Unified Process (UP); process -iii- and interaction -v- correspond to the process layer in the 3-tier architecture (how the actors move information across layers and how it is modified); data -ii- maps directly the data layer in the 3-tier model; finally, surface -iv- corresponds to the presentation layer. The emergence of these information systems approaches marks the awareness that these new literary forms arise from the world of software and hence benefit from traditional computer science approaches to software. In the Language of New Media, Lev Manovich called for such analysis under the rubric of Software Studies. Applying the schematics of computer science to electronic literature allows critics to consider the complexities of that literature without falling prey to the tendency to colonize electronic literature with literary theory, as Espen Aarseth warned in Cybertext. Such a framework provides a terminology rather than the imposition of yet another taxonomy or set of metaphors that will always prove to be both helpful and glaringly insufficient. That is not to say that n-tier approaches fit works without conflict. In fact, some of the most fruitful readings come from the pieces that complicate the n-tier distinctions. EXAMPLES DREAMAPHAGE 1 & 2: REVISING OUR SYSTEMS Jason Nelson’s Dreamaphage (2003, 2004) demonstrates the ways in which the n-tier model can open up the complexities and ironies of works of electronic literature. Nelson is an auteur of interfaces, and in the first version of this piece he transforms the two-dimensional screen into a three-dimensional navigable space full of various planes. The interactor travels through these planes, encountering texts on them, documentation of the disease. It is as if we are traveling through the data structure of the story itself, as if  the data has been brought to the surface. Though in strict terms, the data is where it always was supposed to be. Each plane is an object, rendered in Flash on the fly by the processing of the navigation input and the production of vector graphics to fill the screen. However, Nelsons’ work distances us, alienates us from the visual metaphors that we have taken for the physical structures of data in the computer. Designers of operating systems work hard to naturalize our relationship to our information. Opening windows, shuffling folders, becomes not a visual manifestation but the transparent glimpse of the structures themselves. Neal Stephenson has written very persuasively on the effect of replacing the command line interface with these illusions. The story (or data) behind the piece is the tale of a virus epidemic, whose primary symptom is the constant repetition of a dream. Nelson writes of the virus’ â€Å"drifting eyes.† Ultimately the disease proves fatal, as patients go insane then comatose. Here the piece is evocative of the repetitive lexias of classical electronic literature, information systems that lead the reader into the same texts as a natural component of traversing the narrative. Of course, the disease also describes the interface of the planes that the user travels through, one after the other, semi-transparent planes, dreamlike visions. This version of Dreamaphage was not the only one Nelson published. In 2004, Nelson published a second interface. Nelson writes of the piece, â€Å"Unfortunately the first version of Dreamaphage suffered from usability problems. The main interface was unwieldy (but pretty) and the books hard to find (plus the occasional computer crash)† (â€Å"Dreamaphage, _ELC I_) He reconceived of the piece in two dimensions to create a more stable interface. The second version is two-dimensional and Nelson has also â€Å"added a few more extra bits and readjusted the medical reports.† In the terms of n-tier, his changes primarily affected the interface and the data layers. Here is the artist of the interface facing the uncanny return of their own artistic creation in a world where information systems do not lie in the stable binding in a book but in a contingent state that is always dependent  on the environments (operating systems) and frames (browser) in which they circulate. As the user tries to find a grounding in the spaces and lost moments of the disease, Nelson himself attempts to build stability into that which is always shifting. However, do to a particular difference in the way that Firefox 2.0 renders Flash at the processing layer, interactors will discover that the†opening† page of the second version is squeezed into a fraction of their window, rather than expanding to fill the entire window. At this point, we are reminded of the work’s epigram, â€Å"All other methods are errors. The words of these books, their dreams, contain the cure. But where is the pattern? In sleeping the same dream came again. How long before I become another lost?† (â€Å"opening†). As we compare these two versions of the same information system, we see the same dream coming again. The first version haunts the second as we ask when will it, too, become one of the lost. Though Nelson himself seems to have an insatiable appetite for novel interfaces, his own artistic practices resonate well with the ethos of this article. At speaking engagements, he has made it a practice to bring his interfaces, his .fla (Flash source) files, for the attendees to take and use as they please. Nelson presents his information systems with a humble declaration that the audience may no doubt be able to find even more powerful uses for these interfaces. GALATEA: NOVELTY RETURNS Emily Short’s ground-breaking work of interactive fiction offers another work that, like its namesake in the piece, opens up to this discussion when approached carefully. Galatea’s presentation layer appears to be straight forward IF fare. The interactor is a critic, encountering Galatea, which appears to be a statue of a woman but then begins to move and talk. In this novel work of interactive fiction, the interactor will not find the traditional spacial navigation verbs (go, open, throw) to be productive, as the action focuses on one room. Likewise will other verbs prove themselves unhelpful as the user is encouraged in the help instructions to â€Å"talk† or  Ã¢â‚¬Å"ask† about topics. In Short’s piece, the navigational system of IF, as it was originally instantiated in Adventure, begins to mimic a conversational system driven by keywords, ala Joseph Weizenbaum’s ELIZA. Spelunking through a cave is replaced with conversing through an array of conversational replies. Galatea does not always answer the same way. She has moods, or rather, your relationship with Galatea has levels of emotion. The logic layer proves to be more complex than the few verbs portend. The hunt is to figure out the combination that leads to more data. Galatea uses a novel process to put the user in the position of a safe cracker, trying to unlock the treasure of answers. Notice how novelty has re-emerged as a key attribute here. Could there be a second Galatea? Could someone write another story using Galatea’s procesess. Technically no, since the work was released in a No-Derivs Creative Commons license. However, in many ways, Galatea is a second, coming in the experimental wave of artistic revisions of interactive fiction that followed the demise of the commercially produced text adventures from Infocom and others. Written in Z-Machine format, Galatea is already reimagining an information system. It is a new work written in the context of Infocom’s interactive fiction system. Short’s work is admittedly novel in its processes, but the literary value of this work is not defined by its novely. The data, the replies, the context they describe, the relationship they create are rich and full of literary allusions. Short has gone on to help others make their own Galatea, not only in her work to help develop the natural language IF authoring system Inform 7 but also in the conversation libraries she has authored. In doing so, she moved into the work of other developers of authoring systems, such as the makers of chatbot systems. Richard S. Wallace developed one of the most popular of these (A.I.M.L..bot), and his work demonstrates the power of creating and sharing authorware, even in the context of the tyranny of the novel. A.L.I.C.E. is the base-line conversational system, which can be downloaded and customized. Downloading the basic, functioning A.L.I.C.E. chatbot as a foundation allows users to concentrate on editing recognizeable inputs and systematic responses. Rather than worrying about how the system will respond to input, authors, or botmasters, can focus on creating what they system will say. To gain respect as a botmaster/author, one cannot merely modify an out-of-the-box ALICE. The user should further customize or build from the ground up using AIML, artificial intelligence markup language, the site-specific language created for Wallace’s system. They must change the way the system operates–largely, because the critical attention around chatbots follows more the model of scientific innovation more than literary depth. However, according to Wallace, despite the critics’ emphasis on innovations, the users have been flocking to ALICE, as tens of thousands of users have created chatbots using the system (Be Your Own Botmaster). AIML becomes an important test case because while users may access some elements of the system, because they are not changing fundamentals, they can only make limited forays into the scientific/innovation chatbot discussions. Thus while our n-tier model stresses the importance of creating authorware and understanding information systems, novelty still holds an important role in the development of electronic literature. Nonetheless, interactors can at least use their pre-existing literacies when they encounter an AIML bot or a work of interactive fiction written on a familiar platform. LITERATRONICA Literatronic is yet another example of an n-tier system. Its design was based entirely in the concept of division between presentation, process and data layers. Every interaction of the readers is stored in a centralized database, and influences the subsequent response of the system to each reader’s interactions. The presentation layer employs web pages on which the reader can access multiple books by multiple authors in multiple languages.  The process layer is rather complex, since it uses a specialized artificial intelligence engine to adapt the book to each reader, based upon his/her interaction, i.e. and adaptive system. The data layer is a relational database that stores not only the narrative, but also reader’s interaction. Since there is a clear distinction between presentation, data and process, Literatronica is a 3-tier system that allows authors of multiple language to focus on the business of literary creation. MEZ’S CODE: THE SYSTEMS THAT DO NOT USE A COMPUTER[1] As with many systematic critical approaches, the place where n-tier is most fruitful is the where it produces or reveals contradictions. While some works of electronic literature lend themselves to clear divisions between parts of the information system, many works in electronic literature complicate that very distinction as articulated in such essays as Rita Raley’s code.surface||code.depth, in which she traces out codeworks that challenge distinctions between presentation and processing layers. In the works of Mez (Maryanne Breeze), she creates works written in what N. Katherine Hayles has called a creole of computer and human languages. Mez, and other codework authors, display the data layer on the presentation layer. One critical response is to point out that as an information system, the presentation layer are the lines of code and the rest of the system is whatever medium is displaying her poem. However, such an approach missed the very complexity of Mez’s work. Indeed, Mez’s work is often traditional static text that puts users in the role of the processor. The n-tier model illuminates her sleight of hand. trEm[d]o[lls]r_ [by Mez] doll_tre[ru]mor[s] = var=’msg’ val=’YourPleading’/> † TREMOR Consider her short codework â€Å"trEm[d]o[lls]r_† published on her site and on the Critical Code Studies blog. It is a program that seems to describe (or self-define) the birth pangs of a new world. The work, written in what appears to be XML, cannot function by itself. It appears to assign a value to a variable named â€Å"doll_tre[ru]mor[s]†, a Mez-ian (Mezozoic?) portmenteau of doll_tremors and rumors. This particular rumor beign defined is called, the fifth world, which calls up images of the Native American belief in a the perfected world coming to replace our current fourth world. This belief appears most readily in the Hopi tribe of North America. A child of this fifth world are â€Å"fractures,† or put another way, the tremor of the coming world brings with it fractures. The first, post 2 inscription, contains polymers: a user set to â€Å"YourDollUserName,† a â€Å"3rdperson† set to â€Å"Your3rdPerson,† a location set to â€Å"YourSoddenSelf†, and a â€Å"spikey† set to â€Å"YourSpiKeySelf.† The user then becomes a molecule name within the fracture, a component of the fracture. These references to dolls and 3rd person seem to evoke the world of avatars. In virtual worlds, users have dolls. If the first fracture is located in the avatar of the person, in their avatar, the second centers on communication from this person or user. Here the user is defined with â€Å"YourPolyannaUserName,† and we are in the world of overreaching optimism, in the face of a â€Å"msg† or message of â€Å"YourPleading† and a â€Å"lastword.† Combining these two fractures we have a sodden and spikey self pleading and uttering a last word presumably before the coming rupture into the fifth world. As with many codeworks, the presentation layer appears to be the data and logic layer. However, there is clearly another logic layer that makes these words appear on whatever inerface the reader is using. Thus, the presentation layer is a deception, a challenge to the very division of layers, a revelation that hides. At the same time, we are compelled to execute the presneted code by tracing out its logic. We must take the place of the compiler with the understanding that the coding structures are also  meant to launch or allusive subroutines, that part of our brain that is constantly listening for echoes and whispers To produce that reading, we have had to execute that poem, at least step through it, acting as the processor. In the process of writing poetic works as data, she has swapped our traditional position vis-a-vis n-tier systems. Where traditional poetry establishes idenitity through I’s, Mez has us identify with a system ready to process the user who is not ready for the fifth world, whatever that may bring. At the same time, universal or even mythical realities have been systematized or simulated. There is another layer of data that is missing, supplied by the user presumably. The poem leaves its tremors in a state of potential, waiting to operate in the context of a larger system and waiting for a user to supply the names, pleading, and lastwords. The codework means nothing to the computer. This is not to make some sort of Searlean intervention about the inability of computers to comprehend but to point out that Mez’s code is not valid XML. Of course, Mez is not writing for computer validation but instead relies on the less systematic processing of humans who rely on a far less rigorously specified language structure. Tremors fracture even the process of assigning some signified to these doll_tre[ru]mor[s]. Mez’s poem plays upon the layers of n-tier, exposing them and inverting them. Through the close-reading tools of Critical Code Studies, we can get to her inference and innuendo. However, we should not miss the central irony of the work, the data that is hidden, the notable lack of processing performed by this piece. Mez has hailed us into the system, and our compliance, begins the tremors that brings about this fifth world even as it lies in potential. N-tier is not the fifth world of interpretation. However, it is a tremor of recognition that literacy in information systems offers a critical awareness crucial in these emerging forms of literature. FUTURE PROJECTS Two new projects give the sense of the electronic literature to come. The authors of this paper have been collaborating to create systems that answer Hayles’ call at â€Å"The Future of Electronic Literature† in Maryland to create works that move beyond the desktop. The â€Å"Global Poetic System† and â€Å"The LA Flood Project† combine GPS, literary texts, and civic spaces to create art objects that rely on a complex relationship between various pieces of software and hardware, from mobile phones to PBX telephony to satellite technology. To fully discuss such works with the same approaches we apply to video games or Flash-based literary works is to miss this intricate interaction. However, n-tier provides a scalable framework for discussing the complex networking of systems to produce an artistic experience through software and hardware. These projects explore four types of interfaces (mobile phones, PDAs, desktop clients, and web applications) and three ways of reading (literary adaptative texts, literary classic texts, texts constructed from the interaction of the community). The central piece that glues together literary information is geolocation. When the interactor in the world is one of the input systems, critics need a framework that can handle complexity. Because of the heterogeneity of platforms in which these systems run, there are multiple presentation layers (e.g. phone, laptop, etc.), multiple parallel processing layers, and multiple sources of information (e.g. weather, traffic, literary content, user routes, etc.), thus requiring a n-tier approach for analysis and implementation. It is clear that as electronic literature becomes more complex, knowledge of the n-tier dilineations will be crucial not only to the reception but also the production of such works. Since the interaction of heterogenous systems is the state of our world, an n-tier approach will up critics to open up these works in ways that help identify patterns and systems in our lives. DISCUSSION Let us bring down the great walls of neologisms. Let us pause for reflection  in the race for newer new media. Let us collaborate on the n-tiers of information systems to create robust writing forms and the possibility of a extending the audiences that are literate in these systems. In this paper, we have described an analytical framework that is useful to divide works of electronic literature into their forming elements, in such a way that is coherent with advances in computer science and information technology, and at the same time using a language that could be easily adopted by the electronic literature community. This framework places creators, technicians, and critics on common ground. This field does not have a unified method to analyze creative works; this void is a result, perhaps, in the conviction that works of electronic literature require an element of newness and a reinvention of paradigms with every new piece. Critics are always looking for innovation. However, the unrestrained celebration of the new or novel has lead New Media to the aesthetic equivalent of an arms race. In this article we found common elements to all these pieces, bridging the gap between computer science and electronic literature with the hopes of encouraging the production of sustainable new forms, be they â€Å"stand alone† or composed of a conglomeration of media forms, software, and users. As works of electronic literature continue to become more complex, bringing together more heterogeneous digital forms, the n-tier model will prove scalable and nuanced to help describe each layer of the work without forcing it into a pre-set positions for the sake of theory. We have to ask at this point: how does this framework handle exceptions and increasing complexity? It is interesting to consider how the proposed n-tier model might be adapted to cope with dynamic data, which seems to be the most complex case. Current literary works tend to process a fixed set of data, generated by the author; it is the mode of traversing what changes. Several software solutions may be used to solve the issue of how this traversal is left in the hands of the user or mediated yet in some way by the author through the presentation system. The n-tier model provides a way of identifying three basic ingredients: the data to be traversed, the logic for deciding how to  traverse them, and the presentation which conveys to the user the selected portions at the selected moments. In this way, such systems give the impression that the reader is shaping the literary work by his/her actions. Yet this, in the simple configuration, is just an illusion. In following the labyrinth set out by the author, readers may feel that their journey through it is always being built anew. But the labyrinth itself is already fixed. Consider what would happen when these systems leave computer screens and move into the world of mobile devices and ubiquitous art as Hayles predicted they would at the 2007 ELO conference. How could the system cope with changing data, with a labyrinth that rebuilds itself differently each time based on the path of the user? In this endeavor, we would be shifting an increasing responsibility into the machine which is running the work. The data need not be modified by the system itself. A simple initial approach might be to allow a subset of the data to be drawn from the real environment outside the literary work. This would introduce a measure of uncertainty into the set of possible situations that the user and the system will be faced with. And it would force the author to consider a much wider range of alternative situations and/or means of solving them. Interesting initiatives along these lines might be found in the various systems that combine literary material with real-world information by using, for example, mobile hand-held devices, provided with means of geolocation and networking. With respect to the n-tier model, the changes introduced in the data layer would force additional changes in the other layers. The process layer would grow in complexity to acquire the ability to react to the different possible changes in the data layer. It could be possible for the process layer to absorb all the required changes, while retaining a version of the presentation layer similar to the one used when dealing with static data. However, this may put a heavy load on the process layer, which may result in a slightly clumsy presentation. The clumsiness would be perceived by the reader as a slight imbalance between the dynamic content being presented and the static means used for presenting it. The breaking point would be reached when readers become aware that the material they are receiving is being presented inadequately, and it is apparent that there might have been better  ways of presenting it. In these cases, a more complex presentation layer is also required. In all cases, to enable the computer to deal with the new type of situations would require the programmer to encode some means of appreciating the material that is being handled, and some means of automatically converting it into a adequate format for communicating it to the user. In these task, current research into knowledge representation, natural language understanding, and natural language generation may provide very interesting tools. But, again, these tools would exist in processing layers, and would be dependent on data layers, so the n-tier model would still apply. The n-tier information system approach remains valid even in the most marginal cases. It promises to provide a unified framework of analysis for the field of electronic literature. 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