3d Technology And Effects Of Printing On The Environment - 1650 Words

3d Technology And The Effects Of Printing On The Environment (Research Paper Sample) Content: 3D PRINTING TECHNOLOGIESStudents Name:Course Title:Professors Name:Date:3D PRINTING TECHNOLOGIESThe term 3d means turning a digital image into a 3 dime national print out. The most commonly known name that is used in describing 3D printing is additive manufacturing. This technology was first invented in the 1980s and has eventually grown since and has generally been used for rapid Prototyping (RP). (Gebler Visser, 2014) The recent advancement of 3D has seen it evolve to allow production of prototypes in to parts that can be used in the production of the final materials.The term 3D is manly used to in reference to the digital manufacturing technologies. It refers to the production of components parts which are arranged layer by layer by the use of additional materials. They are types of printing with some using molten plastic by dispensing it though nozzle and building a platform. This type of printing comes with different views and features that are beneficial to the society at large.Effects on 3D Technology in the SocietyAs the general public embraces 3D technologies the impact that has been brought by this type of production exhibit both negative and positive effects to the public. The idea of using 3D according to the public cuts down on work force. The claim that the use of computers to design prototypes denies the general public the much needed workforce; Although this is good in the manufacturing industries as it cuts down on costs and also its time efficient on the other hand it hurts the general public, (Rip Schot 1995)In 3D printing the use of layers enables the printing industries do design highly effective and complex shapes that was not possible with the traditional ways of printing. This is advantageous to the industries as the use of arithmetic and geometric calculations provides the required design in shaping and brings out a precise shape of the desired prototype. The manufacturing industries details that the use of 3D prin ting benefits them in that they use fewer tools and as such they save on office space and they also reduce the business risks.The integration of 3D digital technology has enabled the use of the internet and other peripherals to easily intergrade and produce designs that can help the scanning of human parts for medical purposes. With the introduction of such a technology it can allow the consumer or the patient who needs medical attention to easily scan the required part and the medics who are in another state can easily diagnose the printed part and offer solutions. The use of technology such as the acetabula cups which are used in the replacement of knee cups in case of injuries are scanned using the 3D printing technology (Ciatto et al, 2013)Groups that have benefited from this technology3D production has enabled different groups; examples are in the medical industries, building industries, manufacturing industries, nautical industries etc. However the property owners have raised the flag by claiming on infringement or protection of property rights. Many consumers and medical products can easily be scanned and send in to this printing machines which the property rights owners are against this. Currently there are over 100,000 3D machines that have been sold to date. Manufactures are increasingly manufacturing more machines some are plug and play and property rights owners are raising the flag that with the use of the internet and portable computers the technology might work against them, (Lau, 2011).The greatest threat being faced on the 3D bio printing is slowly advancing to include the printing of and producing bio living tissues is currently gaining opposition and causing a major ethical debate according to Gartner Inc. This is in line with the printing of non bio living devices like the prosthetic limbs with the combination of burgeoning population and the insufficient levels currently experienced in the health care that is likely to cause a surge in de mand for the advanced technology in the near future.The main opposition is in the regulation of this print out. When the market demand will super cede the supply what guarantee to consumers of this products have that will guarantee them the quality and safety especially in the health sector. This are some of the concerns that the populations is raising in regard to 3D printing of living tissues cells or the printing of other non living cells in the health sector.In the political section the will be vested interest when this technology will come into being with major political players demanding a share of the market. In the 3rd world countries where they will not have the resources to acquire this latest technology politicians from those countries will ride on that and it will become one of the major scandals of the centuries as cheap imports will be deposited in those countries regardless of the health hazards that may be incurred with such a move being under taken.The future innov ations are when one will be able to print human tissues cells using the advanced technology of 3D print...

Under the Jaguar Sun Three Themes, One Cohesive Whole - Literature Essay Samples

Italo Calvino’s Under the Jaguar Sun is based almost entirely on a foundation of three essential themes, all of which relate in some way to the sensation of taste. While Calvino creates many antitheses, the dissonances actually turn into wonderful resolutions. This applies specifically to the narrator’s transformation from the beginning to the end and through the Mexican cuisine. He stresses the need of reciprocity in the tradition of human sacrifice and cannibalism (everyone was potentially sacrificer and victim) and that the reciprocity is the prime (if not the only) reason that the practice endured. Lastly, he establishes the principles of the ouroboros, arguing that life must feed on other life in order to live. Calvino weaves these three themes into a harmonic core for his overarching theme of taste and digestion, establishing the ritual cannibalism not as repulsive, but rather as uniting and intimate.Calvino uses numerous antitheses throughout Under the Jaguar Su n, and indeed they seem to make up the strongest basis for all his other themes. By the second sentence, the reader is already hit with an antithesis: the hotel (which is considered largely secular) was once the Convent of Santa Catalina (which is sacred). This transformation from religious to profane reappears in a scene near the very end of the narrative, in which the narrator and Olivia (who, although not with absolute certainty, appears to be his wife) take on the chacmool pose. Whereas the original chacmool would have held a tray to hold divine offerings of human hearts for the gods, the narrator and Olivia have on their laps a â€Å"tray with the anonymous hotel breakfast† (Calvino 27), which is far from godlike. However, they still attempt to hide the â€Å"subtle messages of asperity and sourness† (Calvino 27) with sweet pulps, which isn’t unlike what Salustiano Velazco speculated the Aztecs may have done with the human flesh. Perhaps, then, this scene a lso symbolizes the narrator and Olivia’s understanding or growth in the Mexican culture. This growth extends from the beginning to the end of the piece and is shown distinctly in the narrator as he transforms, so to speak, from someone who tends to â€Å"define experiences verbally and conceptually† (Calvino 11), placing a heavy emphasis on word use and diction, to someone who becomes a part of nature as a whole- an experience that words cannot adequately describe. His transformation is probably the most overarching of all of Calvino’s antitheses. It takes place over the course of the entire passage, and most of the other antitheses branch off of the narrator’s transforming experiences.For instance, the narrator’s recurring experiences of Mexican cuisine highlights one of Calvino’s most important antitheses that harmonize into one coherent blend- and that cuisine itself is the product of Mexico’s own blending heritage. â€Å"The cale ndars of the ancient Mexican civilizations, carved on the reliefs, represent a cyclic, tragic concept of time† (Calvino 13), and indeed, â€Å"time was not an empty, abstract measurement to the Aztecs, but rather something concrete, a force or substance or fluid perpetually being used up† (Paz 93). However, although Octavio Paz argues that â€Å"one period of time ended and another came back† (Paz 94), â€Å"perhaps the peoples that history defines as the successive occupants of these territories were merely a single people† (Calvino 13). Perhaps each cycle in the ancient Mexican civilizations’ weren’t completely separate from one another, but instead all contributed to the beginning stages of an â€Å"elaborate and bold cuisine† (Calvino 5), which occurred â€Å"where the two civilizations [America and Spain] had merged, or perhaps where the conquered had triumphed† (Calvino 7). And just as the â€Å"differing traditions and c ultural heritages mixed together and at last became one† (Paz 91), various flavors in its cuisine also were brought together into a remarkable blend, which the narrator describes numerous times during his experiences of Mexico: his chiles en nogada are â€Å"swimming in a walnut sauce whose harshness and bitter aftertaste were drowned in a creamy, sweetish surrender† (Calvino 5), his â€Å"crisp tortillas [†¦] dip like spoons into [†¦] the fat softness of the aguacate†, and â€Å"cabrito [†¦] provoked surprise, because the teeth would encounter first a crisp bit, then one that melted in the mouth† (Calvino 23)- to list a few. As he traveled â€Å"from one locality to the next the gastronomic lexicon varied, always offering new items to be recorded and new sensations to be defined† (Calvino 8). Each new menu symbolizes- literally and figuratively- a new experience that brings him closer to the lived experience in the heart of Mexican c ulture.Before they are ingested by any menus, however, Olivia and the narrator’s original temperaments can be captured through the painting of the young nun and old priest, as it depicts a nearly opposite situation from the one that they are in at the time: while the nun and priest desperately love one another but cannot seem to reach one another, â€Å"the physical bond between Olivia and [the narrator] was going through a phase of rarefaction† (Calvino 10), meaning that they had the capability to reach one another but did not have much of a desire to do so. As a couple, they contrast with the couple in the painting. Yet they also display differing thought processes amongst themselves regarding the painting: he is greatly concerned with slight nuances in the exact words in the painting’s caption (such as his careful distinction between three different words for â€Å"love†), while she, although interested in the painting as well, seems almost impatient t o move on, â€Å"to eat chiles en nogada† (Calvino 4). Thus, Olivia is the first to have the desire to actually experience Mexico. It is fitting, then, that she immediately took a curiosity and interest in the ancient practice of Aztec human sacrifice and cannibalism, repetitively asking â€Å"what [was done] with the victims’ bodies afterward† (Calvino 15). And, also to be expected, the narrator â€Å"could not explain her insistence to [himself]† (Calvino 15).Although at first glance it is mostly unapparent, Calvino also sneaks in a few synesthesias- that is, he produces other sensations (mostly taste) through his descriptions of sounds- throughout Under the Jaguar Sun. These synesthesias create an underlying tone so that the experiences of taste are â€Å"exercised on the receptivity of all the senses† (Calvino 5). The most obvious example of this is displayed through the cuisine that makes the â€Å"flavors’ highest notes vibrate, juxta posing them in modulations, in chords, and especially in dissonances† (Calvino 5), but other intriguing examples can be uncovered upon closer examination of the piece, including one that can be comparative to the flavors’ harmonizing: the orchestra that was playing for â€Å"the varicolored, shirtsleeved tourists† (Calvino 21) both old and young- merging them all together as if they were the same, neither old nor young. So, just as flavors harmonize into chords, the different people harmonize into one culture. As a further example, the tea party was largely a â€Å"spectacular acoustical event [†¦] [made up of] the tinkling of cups and spoons and of knives cutting slices of cake† (Calvino 17), which largely attribute to the sensation of taste even though the description itself is of sound. However, since the narrator himself is not experiencing the taste, the noises are represented as clashes rather than chords, as he isn’t tuned in to the flav ors.Interestingly, although the astonishing blend of flavors in Mexican dishes amazes the narrator, he doesn’t seem to begin becoming experience-oriented until nearly the middle of the narrative. The turning point, one could argue, is when he â€Å"realized [his] gaze was resting not on [Olivia’s] eyes but on her teeth, [†¦] which [he] happened to be seeing for the first time not as the radiant glow of a smile but as the instruments most suited to their purpose: to be dug into flesh, to sever it, tear it† (Calvino 16). From that point forward, it seems, he finds it more and more difficult to hold onto his detail-oriented self; he must rely more heavily on experiences. For instance, when Salustiano is conversing with them on the patio outside the tea party, â€Å"the archeological and ethnographical details [that the narrator] would have very much liked to hear sentence by sentence, [†¦] were lost in the reverberations of the feast† (Calvino 18). How fitting, that the feast would make â€Å"the flavors’ highest notes vibrate, juxtaposing them in modulations, in chords, and especially in dissonances that would assert themselves as an incomparable experience† (Calvino 5), that drowns out the narrator’s once-precious words and details! Furthermore, when â€Å"[Salustiano] was talking about the human sacrifices† (Calvino 18)-which is more directly about cultural experience- â€Å"his words now overcame more easily the barrier of sound that separated [them]† (Calvino 19), despite their increased softness. Surely the narrator’s transformation is largely the cause of such a paradox.However, although it is apparent that the narrator is well on his way on his transformation, there is evidence suggesting that it is still incomplete. For one, the narrator imagines Olivia eating him, a â€Å"relationship which in [his] imaginings [he] thought corresponded to Olivia’s deepest desiresâ₠¬  (Calvino 24), yet she apparently found him to be â€Å"insipid† (Calvino 25), or without flavor. Thus, he reasons â€Å"the Mexican cuisine, with all its boldness and imagination, was needed if Olivia was to feed on [him] with satisfaction† (Calvino 25)- a conclusion that obviously points out his need to taste more of Mexico, and actually to take on some of Mexico’s harmonic flavor to cover up his own blandness. His old self would have been too preoccupied with details and words to realize this. Additionally, even after having been in Mexico for a lengthy period of time, the narrator still continues to place high importance on information that he can find in reading- such as when he read that the chacmool was a â€Å"messenger of the gods [†¦] in a guidebook† (Calvino 25). But he did continue further, asking intelligent questions that would have only occurred to him from experiencing and understanding the ancient culture- not simply regurgitating words from a guidebook. In conclusion, the narrator is gradually being absorbed into the Mexican culture.And as such, the height of the narrator’s experience can be depicted through his want to taste human flesh (this is his last â€Å"menu item†, regarding my former statement that each new menu brings a new experience), which obviously reflects ancient Aztec traditions. This need for the experience of cannibalism (in a metaphoric sense) brings in the next of Calvino’s themes: the need for reciprocity. Although the narrator was imagining â€Å"the sensation of [Olivia’s] teeth in [his] flesh† (Calvino 23), at the same time he â€Å"felt also that [he] was acting on her, transmitting sensations that spread from the taste buds through her whole body† (Calvino 23). Therefore, â€Å"it was a reciprocal and complete relationship, which involved [them] and overwhelmed [them]† (Calvino 23). In the same sense, â€Å"all were potentially bot h sacrificer and victim† (Calvino 26) in the ancient tradition of human sacrifice, and, indeed, â€Å"without this reciprocity, human sacrifice would be unthinkable† (Calvino 26). Largely due to the fact that Aztec human sacrifices were reciprocal (and that the tradition endured), the narrator concludes that â€Å"the most appetizingly flavored human flesh belongs to the eater of human flesh† (Calvino 26). Through this conclusion, he comes to yet another transforming realization: â€Å"it was only by feeding ravenously on Olivia that [he] would cease being tasteless to her palate† (Calvino 26). In other words, he couldn’t just imagine her eating him; in order for it to be a successful relationship, he would have to eat her as well. Their relationship must be reciprocal, just as the ancient human sacrifices were reciprocal.Thus, reciprocity marks a milestone late in the narrator’s transformation- whereas at the beginning of the narrative he is largely separate from his wife, eating side by side, now that he is being further infused into Mexican culture he is beginning to realize that instead they should interact with each other- which goes beyond eating â€Å"normal† food, no matter how well blended that food may be. By eating each other, their ties to Mexican culture transcends time and brings them into the â€Å"universal cannibalism† (Calvino 29) that everything in nature takes part in. And indeed, this universal cannibalism represents Calvino’s third theme, the theme regarding the ouroboros, which brings the narrator fully into his new, transformed self. Even if we attempt to ignore it, we are all part of the this â€Å"universal cannibalism†, although unlike the ancient Aztecs, for whom â€Å"there was no mystification†, (Calvino 22), Olivia realizes that we â€Å"tear one another apart, pretending not to know it, pretending not to taste flavors anymore† (Calvino 22). This s tatement echoes the one Howard Neverov makes in his poem â€Å"Grace to Be Said in the Supermarket†, in which he refers to mankind as â€Å"Great Geometers† to portray us as sort of gods, who put animal meat into â€Å"cubes,† â€Å"cylinders,† â€Å"ellipsoids,† and â€Å"squares and oblongs with all the edges beveled†. Basically his main point is that we try to ignore the fact that we are eating life because we find it repulsive- and Calvino produces the same message through Olivia. Yet no matter how we present it, the fact remains the same: we are all basically â€Å"a bunch of tubes with teeth on top†. We eat life to live, and through living produce more â€Å"tubes with teeth on top†; the cycle continues on and on, just as the ouroboros symbol would suggest.It is when the narrator realizes this- when he suddenly realizes that he must become part of the life around him and not merely describe it- that he completes his trans formation. He jumps from being just halfway infused into his newfound self to suddenly â€Å"living and dying in all the fibers of what is chewed and digested and in all the fibers that absorb the sun, consuming and digesting† (Calvino 29). There is nothing gradual about the final stage of his transformation. As the narrator is exploring the Palenque temples in a constant â€Å"up-and-down† movement (through his climbing of staircases etc), he takes a final â€Å"[plunge] down, [his] throat cut by the knife of the king-priest, down the high steps onto the forest of tourists with super-8s and usurped, broad-brimmed sombreros† (Calvino 28). This plunge could easily represent â€Å"the descent of [his] body to the subterranean gods and its rebirth as vegetation† (Calvino 28). If so, then one could argue that he became part of his surroundings, part of the vegetation, and â€Å"the solar energy coursed along dense networks of blood and chlorophyll† (Ca lvino 28). All in all, his transformation was complete.Furthermore, the narrator describes personal â€Å"ups and downs to which, over a long period, the life of every couple is subject† (Calvino 10)- and his rebirth (or his coming â€Å"up† from his downward plunge) blatantly illustrates this prospect. He has been in a â€Å"phase of rarefaction† (Calvino 10), but now that he has been brought back â€Å"up†, so to speak, â€Å"[his and Olivia’s] teeth began to move slowly, with equal rhythm, and [their] eyes stared into each other’s with the intensity of serpents† (Calvino 29). Whereas flavors were made â€Å"especially in dissonances† (Calvino 5) in the beginning of the story, the harmonious and reciprocal intimacy of cannibalism between Olivia and the narrator is in â€Å"equal rhythm† (Calvino 29) by the end. In short, Calvino has resolved the dissonances of his earlier antitheses into harmony through the transformat ion of the narrator.Actually, that is but one of Calvino’s themes that completes in this final scene. In fact, it is in this scene during which the narrator and Olivia join together with renewed fervor that all three of Calvino’s themes merge: While Calvino’s early synesthesias are displayed â€Å"especially in dissonances† (Calvino 5), by the end of the piece they are displayed in â€Å"equal rhythm† (Calvino 29); Olivia and the narrator are â€Å"swallowing each other in turn† (Calvino 29), just as was essential for the practice of ancient human cannibalism; and they become part of â€Å"the universal cannibalism† (Calvino 29)- that is, they are part of the ouroboros, symbolized by â€Å"being swallowed [†¦] by the serpent that digests us all, assimilated ceaselessly in the process of ingestion and digestion† (Calvino 29). The narrator has transformed, he and Olivia are reciprocally intimate, and through eating each othe r they replace the serpent eating its own tail as the symbolic ouroboros. In short, Calvino has beautifully tied his three themes together into one final harmonic, cohesive conclusion.

Definition and Examples of Semi-Negatives in English

In English grammar, a semi-negative is a word (such as seldom) or an expression (such as hardly ever) that is not strictly negative but is almost negative in meaning. Also called a  near negative or broad negative. Semi-negatives (also called near negatives) include the use of hardly, barely, rarely as adjuncts, and little and few as quantifiers. In terms of grammar, a semi-negative often has the same effect as a negative (such as never or not) on the rest of the sentence. Examples and Observations She hardly ever cries but lies quietly in her crib, as if in a reverie. (Lilka Trzcinska-Croydon, The Labyrinth of Dangerous Hours, 2004)She scarcely ever cries, and she seems perfectly content most of the time. (B.J. Hoff, Where Grace Abides, 2009)Nora starts crying. She almost never cries. (Carol Anshaw, Lucky in the Corner, 2002)Everybody dislikes having to work and make money, but they have to do it all the same. Im sure Ive often pitied a poor girl, tired out and in low spirits, having to try to please some man that she doesnt care two straws for — some half-drunken fool that thinks hes making himself agreeable when hes teasing and worrying and disgusting a woman so that hardly any money could pay her for putting up with it. (Mrs. Warren in Mrs. Warrens Profession by George Bernard Shaw, 1893)Why, Jane, we can hardly expect Clara to bear, with perfect firmness, the worry and torment that David has occasioned her today. (Mr. Murdstone in David Copperfield by Charles Dicken s, 1850)I call her Nina, but I could hardly have known her name yet, hardly could we have had time, she and I, for any preliminary. (Vladimir Nabokov, Spring in Fialta. The Stories of Vladimir Nabokov. Vintage, 1997) Inversion With Semi-Negatives Negative and semi-negative words have the property of inducing inversion of subject and finite verb form (auxiliary) when they are in initial position, as in:(5a) Never had she experienced such a feeling of real power.(5b) The fog was heavy. Hardly could we distinguish the contours of the house.It is surely an obvious thought to postulate that hardly contains a negation in its logico-semantic analysis, so that it is analysed as, for example, almost not. (Pieter A. M. Seuren, A View of Language. Oxford University Press, 2001)Scarcely was the locket well in my hand before I had it undone, finding a thumbnick whereby, after a little persuasion, the back, though rusted, could be opened on a hinge. (J. Meade Falkner, Moonfleet, 1898) It is important to remember that inversion is used only when the negative or near negative refers to a part of the sentence other than the subject. Not a single ship did they see. (A single ship is the direct object.) Never had he gone there alone before. (Never is an adverb.) Little do they know about  their sons affairs. (Here, little functions as an adverb.) Compare these sentences to the following sentences, in which the negative or near-negative refers to the subject of the sentence so that no inversion is used. Little water can be found in the desert.Not a single ship was found.No human being can learn in that kind of situation. Positive Tag Questions With Semi-Negatives A number of adverbials, e.g. barely, hardly, little, scarcely, and the determiners/pronouns little and few are so nearly negative that they function much like true negative words. Thus they take positive question tags: Its barely/scarcely possible, is it?Few people know this, do they? Dont romanticize Yasmin, Hakim says.Thats hardly possible, is it, given her situation? Sources TOEFL Paper-and-Pencil, 3rd ed. Kaplan, 2004Sylvia Chalker and Edmund Weiner, Oxford Dictionary of English Grammar. Oxford University Press, 1998Tom Filer, Finding Mahmoud, 2001

Analysis Of Dr. Kings Letter From A Birmingham Jail

When it comes to racism, any person of any skin color or ethnic background can commit the immoral act of racism. However, as shown in Dr. King’s â€Å"Letter from a Birmingham Jail,† it is often African Americans who have prejudices held against them. This is true today as well as around 55 years ago when â€Å"Letter† was written. King’s response letter to the critiques of eight clergymen was able to assume â€Å"a multitude of perspectives.†(Patton 1) Dr. King’s â€Å"Letter from a Birmingham Jail† is effective at convincing the audience of the urgency and necessity of the Civil Rights Movement because he uses his own credibility as a Reverend, addressing the religious men and others of the white majority who do not believe his cause is justified, and†¦show more content†¦There is much speculation as to who the audience of â€Å"Letter† is. Some analysts say it is the clergymen; others say it is white militants in Ame rica as a whole. Michael Osborn made this distinction when he said, â€Å"Earlier critics have observed that there actually are two audiences for the â€Å"Letter,† the ostensible and the actual.†(31) The ostensible audience is the eight clergy mean while the actual audience is moderate, white Americans. The ostensible audience’s main argument against King’s â€Å"Letter† is that the Civil Rights Movement should wait because the timing of the movement isn’t right. Dr. King points out the flaw in this logic by stating, â€Å"Frankly, I have yet to engage in a direct-action campaign that was â€Å"well timed† in the view of those who have not suffered unduly from the disease of segregation.†(2) No revolution, violent or peaceful, is going to be acceptable in the eyes of the oppressors. To get through to the clergymen, the African Americans couldn’t have started violent riots. That would have been too uncivilized. When it c omes to civil injustice, â€Å"public discourse is almost always a response.†(Patton 2) The clergymen, being white men who have never suffered from segregation or oppression, couldn’t possibly understand the sense of urgency for the equal rights of blackShow MoreRelatedRhetorical Analysis Of Dr. Kings Letter From Birmingham Jail731 Words   |  3 PagesWhile in jail, Dr. King experienced many difficulties and hardships but rather than whining about his struggles he decided to write a letter to his followers outside of the jail. He speaks on the injustice, lack of freedom, and abuse his people are enduring which he does not agree with or will not stand by and let it happen. His outspokenness and his drive for equability is how he (wrongfully) ended up in the Birmingham city jail in the first place. 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HoweverRead MoreA Rhetorical Analysis Of Dr. Martin Luther King On The Church1256 Words   |  6 PagesRhetorical Analysis: Dr. King on the Church Missionary and Professor Charles Porter vocalizes a profound point during a lecture, â€Å"The only person who justifies us is Jesus.† This speaks measures regarding the Church and their responsibility to uphold justice. As people who claim to follow Jesus, the Church should be leading the charge against injustice. However, in the past century it failed to act upon the injustice of segregation. Analyzing Letter from Birmingham Jail, it becomes clear that Dr. MartinRead MoreOutline And Objective Of A Persuasive Text1284 Words   |  6 Pageshave an empty picture. Evidence and reasoning are the two basic pieces of your persuasive letter. Without these, you’ll simply have a frame—your claim—without information to complete the argument. Explaining how things connect for your reader is one of the most important ways to strengthen your argument. 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The letter discusses the great injustices happening toward the Black community in Birmingham and although it is primarily aimed at the clergymen King writes the letter for all to read. In his â€Å"Letter from Birmingham Jail

Wiliam Faulkners Emily Rose Character Analysis Essay...

All Roses Are Red Unreasonably determined to exert one?s own will is the definition of the word stubborn. William Faulkner is a southern writer who focuses in his work on human experiences and behavior influenced by the South, the Civil War, and the post Civil War effects. In Faulkners, A Rose for Emily, Faulkner constantly depicts Emily as a stubborn character, especially stubborn about changing her way of life. Faulkner uses subtle clues from diction and description as well as obvious statements through dialogue and direct actions to show this quality many times throughout the story. William Faulkner implies Emily?s stubbornness with subtle clues in description and through symbols. Faulkner would like us to take notice of†¦show more content†¦Faulkner also uses some seemingly simple props to symbolize Emily?s stubbornness. He conveys that she was, ?leaning on an ebony cane with a tarnished gold head?, (207). Here ebony signifies the African American slaves because it is a wood from A frica and the gold head that is upon it signifies the wealth and gold of the North. In turn representing how the North was dependent upon the South for slave labor and how Emily is also leaning on the foundation of slavery. William Faulkner also sketches Emily in a very particular way. He chooses the word, ?motionless? (207) to describe her body for a very forceful statement. It represents the idea that she herself is without motion or movement, meaning change. Faulkner also affirms that this has a negative connotation by using the word ?bloated? (207). There are no ripples in her surroundings and that?s the way she so desperately fights to keep it. Also in her house she has ?rose-shaded lights? (212), symbolizing that she sees the world only the way that she is accustomed to. Emily perceived her life through rose-shaded darkness. William Faulkner depicts Emily as a stubborn character by using obvious statements through dialogue and her direct actions. He implies this at the beginning of the story as an introduction to Emily?s character. She persistently declares ?I have no taxes!? (207). She repeats this four different times during her conversation with

The Complicated Politics Of Gender Identity Essay

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Management in Construction Contracting †Free Samples to Students

Question: Discuss about the Management in Construction Contracting. Answer: Introduction In order to reduce traffic congestion and improve vehicular traffic throughput the NSW government has awarded a contract to Westlink; the project entails expanding the M5 Motorway, M4 Motorway, and M5 East from the present 4 lane highway to an eight lane motorway. The project entails building interchanges and underpasses to enhance traffic flow, and especially move heavy commercial vehicles underground from the Parramatta road. The project will also stimulate the revitalization of neighborhoods. The project entails expanding 33 km of road and is expected to be completed in 2023; it is expected to act as a future gold standard on how to manage public projects. The project involves multiple stakeholders, including three main project contractors that have merged to form a single entity (Westlink) with two consultants and three design companies. The Australian Government will provide a concession of $ 1.5 billion, in partnership with the NSW government so that phase 1 and 2 of the three phased project can be undertaken concurrently. The project has enormous organizational as well as operational challenges. This paper reviews the project challenges and deliverables and proposes, based on a weighted method, on the best way to undertake the project. The scope of this paper is to propose the most suitable project management and delivery method, by proposing, with justification, the best project delivery model, the best financial contract type, and the best procurement method; with respect the the unique challenges of the project and the required deliverables. The paper will then draw conclusions at the end. Project delivery method There are three methods in which the project can be delivered; namely; design-build (DB), design-bid-build (DBB) and contract management at risk (CM@R). The DB model entails the owner (in this case, the NSW government) selects and signs a contract with the DB team; the DB team is usually a joint venture between different contractors that have their own designers and led by a general contractor. The DB team makes the designs based on discussions with the owner. After the design is done and the owner makes approvals, the DB team is then responsible for the entire construction and delivery of the project, as well as coordination of design and construction (Cushman Loulakis, 2016). In the DBB model, the project owner procures the services of an architect/ designer, who designs the entire project, with specifications for drawings, design, and the contract packages. The entire package is presented to contractors (general contractors), who then bid for the project; the general contractors usually engage several subcontractors to bid for the project, and usually, the lowest bidder gets the job. The selected general contractor, working with their subcontractors, then become responsible for building the project based on the design and there is increased control over the project by the project owner (Warhoe, 2013). In the CM@R model, there is a construction manager who makes a commitment to deliver a project at a GMP (guaanteed maximum price). The applicant for the project designates a design engineer and a firm to undrtake CM@R in a discrete and separate design and construction contract; the CM@R offers advice related to construction management during the development of design. When the GMP is agreed upon, the CM@R becomes the general contractor during the entire construction project and is used when the benefits of design-build benefits are desired, as well as contractual control over project design and definition (Clough et al., 2015). however, for the NSW road construction project, it is essential that various criteria based on the unique project conditions and requirement s be used to determine the best approach, using a weighted scoring mechanism. The relevant criteria are listed in the table below, as well as the weights and scores assigned to them, as guided by the project requirements and deliverables. The criteria have been used in the context of the project challenges and circumstances, as well as the deliverables (Dey, 2006). From the scoring and weighting, the most suitable project delivery model is the design-build; this is because based on the selected criteria and the nature of the project, it is the most suitable model. The project structure is such that the owner accepts less risk and the team that will undertake the construction is a consortium with its in-house team of designers, consultants, as well as subcontractors (Han, 2007). The general contractor (Westlink) is a joint venture; the project is very huge and complex and requires experienced contractors with sufficient technical ability in-house for managing design and construction. Further, having to manage traffic flow during expansion and construction means known site factors as a criteria is given a higher weight, along with experience, in-house technical ability, project size, delivery speed and budget that can best be met under the DB model. The requirement to have an effective management structure that is sustainable, the less direct involvement by the project owner and the complexity of the project implies that DB is the most suitable approach, based on the scoring and weighting of the criteria (Edgerton, 2009). The above analysis gave DB a cobined score of 811 (highest), followed by CM@Risk (657), and lastly, DBB at 618. Financial Contract Type This pertains to the M4 long term financing structure and should be based on cash flows; it has to take into consideration the risks and costs for financing (handfinger, n.d). Already, the Government together with the NSW, have provided a concession of $ 1.5 billion, which is just 8.9% of the entire contract sum. The project will be delivered in three stages; the concession will enable the first two stages to be undertaken concurrently. There are three main forms of financial contracts relevant to the M4 road expansion and construction; the lump sum financial type, the cost plus fixed fee contract, and the guaranteed maximum price. The lump sum contract entails making a single payment for a contract of the stipulated sum. This is a basic financial contract in which the contractors agree on a fixed amount for undertaking th construction project and the owner/ employer agrees to pay the agree upon lump sum once the works have been completed (Hugill, 2005). The Guaranteed Maximum Price Contract (GMP) refers to a contract type where the contractor gets compensated for the costs they incur during construction, plus a fixed fee, which is governed by a maximum ceiling price. Any cost overruns is the responsibility of the contractor unless a formal change has been undertaken to increase the GMP. Any savings accrued from cost under-runs or savings have to be returned to the project owner (Carmichael, 2000). The cost plus fixed fee contract is a contract type in which the costs incurred by the contractor are reimbursed by the project owner. It also includes a payment for the contractor which is negotiated as a fixed fee at the start of the project. The fee remains fixed and does not vary in relation to the actual cost; however, the contract fee can vary or be adjusted due to changes in the works to be undertaken under the terms of the contract (Kelleher Abernathy, 2010). The criteria selected for doing the weighting are based on the unique circumstances of the contract. The most important thing is the budget; the maximum amount that is available to undertake the construction project. This is also given a high weight because it has a huge and direct bearing on the entire financial contract; it cannot be exceeded. The possibility for adjustments is also given a high weight because it dictates who will ultimately absorb the risk of adjustments in contract sum. The delivery model is another criteria used to determine the financial contract type to be used; the financial contract must be consistent, and complementary to the chosen project delivery model. The structure of the project also has a bearing on the financial contract type; the M$ expansion project is very complex in terms of size, scope, and duration, as well as the number of subcontractors. External factors and how can influence project cost is also an important criteria; factors such as inflation, weather and environmental factors, and unexpected incidentals can have a significant impact on the project cost, and so it is also used as a criteria. Based on the criteria and other factors, scores were assigned to the three different contract types in reference to the project situation and inherent merits/ demerits of the different financial contract types. Lump sum contract type gets a low score on influence of external factors, the project structure, and the delivery model because these factors can change significantly. Further, the budget gets a high score since it means the agreed amount is what will be paid (Chan et al., 2011). The project structure also get a low score since it is to be done in phases and the budget is so huge that it is not possible for the contractor to raise the amount of close to the total amount to undertake the project to be paid after doing the works. For these reasons, the lump sum had the lowest weighted score of 504. The GMP was also scored in relation to the criteria chosen. Possibility of adjustments and external factors influence such as weather get very low scores since any adjustments will be borne by the contractor (Chan et al., 2011, hence it gets a total weighted score of 602. For the cost plus fee, the contract type is suitable for the contract delivery type and the criteria used for assessment, and gets a high score of 780. The cost plus fee allows costs to be identified early and the contractor has greater control and reduced risk from changes (Rodriguez2017) Procurement method The procurement method is also an important aspect of construction projects because it is impacted by the type of financial contract, the project budget and delivery model; it must also be consistent with the two aspects of construction. The procurement methods under consideration here include Competitive, Negotiated and Best Value. Competitive procurement are procedures used to develop procurement using bidding where would be supplies quote their prices and the most competitive (lowest price for the highest value) is selected. This offers a fair chance to all players while also enabling transparency. Best value procurement pertains to using other factors apart from price, such as expertise and quality in selecting vendors. Negotiated procurement on the other hand pertains to vendor selection without formal price competition or advertising and suppliers are selected to the best advantage of government, though other factors such as price and quality are also considered (Kelleher Aber nathy, 2010). to determine the best model, various criteria were identified and weighted. The criteria used include assurances that quaity will be achieved and competitive (lowest price) attained. The procurement model must also be suitable for the project delivery and financing model, as well as reducing/ minimizing risk. These were computed in a table as shown below; The scoring was doe based on the criteria and the project unique challenges and issues; the competitive procurement had high scores in terms of assuring quality as the NSW intends the project to act as a benchmark for future projects. Further, it has a high score for cost as it ensures transparency and lowest price for the highest quality. Further, it minimizes risks such as failure to deliver by suppliers because they are evaluated technically. The negotiated model scores very low on cost and averagely on suitability for the delivery model and financial contract as well as on risk; there is a risk that negotiations will not provide the best quality products. The best value model scores highest on quality and minimized risk, but just above average on other criteria since the project is complex and cost I a major factor that best value does not consider as a priority. Based on these, the competitive procurement model, that just edges the best value procurement method, is chosen as bei ng the most suitable for the M4 road expansion project Conclusion Having reviewed the contract conditions and terms and unique circumstances, as well as criteria for the project delivery model, financial contract type, and procurement; this paper concludes that the best delivery model is design build; the most suitable financial contract type is cost plus fee, and the most suitable procurement method is the competitive model. References Carmichael, D. G. (2000). Contracts and international project management. Rotterdam: A.A. Balkema. Chan, Daniel W. M., Chan, Albert P. C., Lam, Tsun-ip Patrick, Wong, James M. W. (2011). An empirical survey of the motives and benefits of adopting guaranteed maximum price and target cost contracts in construction. (International journal of project management, July 2011, v. 29, no. 5, p. 577-590.) Elsevier. Chan, Daniel W. M., Chan, Albert P. C., Lam, Tsun-ip Patrick, Yeung, Fai-yip, Chan, Joseph H. L. (2011). Risk ranking and analysis in target cost contracts: empirical evidence from the construction industry. (International journal of project management, Aug. 2011, v. 29, no. 6, p. 751-763.) Elsevier. Clough, R. H., Sears, G. A., Sears, S. K., Segner, R. O., Rounds, J. L. (2015). Construction contracting: A practical guide to company management. Hoboken, New Jersey : John Wiley and Sons, Inc Cushman, R. F. Loulakis, M. C. (2016). Design-Build Contracting Handbook.New York; Wolters Kluwer (Firm). Edgerton, W. W. (2009). Recommended contract practices for underground construction. Littleton, Colo: Society for Mining, Metallurgy, and Exploration. Dey, P. K. (January 01, 2006). Integrated project evaluation and selection using multiple-attribute decision-making technique. International Journal of Production Economics, 103, 1, 90-103. Han, S. H. (June 01, 2007). Predicting Profit Performance for Selecting Candidate International Construction Projects. Journal of Construction Engineering and Management, 133, 6, 425- 436. Handfinger, A. P. (n.d.). Understanding Contractual Pricing Arrangements Fixed Price, Cost- Plus, and Guaranteed Maximum Price. Retrieved August 26, 2017, from https://www.pecklaw.com/images/uploads/communications/Client_Alert- Understanding_Contractual_Pricing_Arrangements.pdf Hugill, D. (2005). Financial management in construction contracting. London: Blackwell Publishing. Kelleher, T. J., Abernathy, T. E. (2010). Smith, Currie Hancock's Federal government construction contracts: A practical guide for the industry professional. Hoboken, N.J: John Wiley Sons. Rodriguez, J. (2017, April 27). Guide to Cost Plus Contracts Plus More Variations. Retrieved August 26, 2017, from https://www.thebalance.com/all-about-cost-plus-contract-basics-plus- 4-more-options-844913 Warhoe, S. P. (2013). Applying earned value management to design-bid -build projects to assess productivity disruption: A system dynamics approach. Doctoral Thesis; Skema Business School.