What Makes Advertising Effective

What Makes Advertising Effective The aim of this report is finding the most correct answer to the question: what makes advertising effective. This issue is essential because it is the key for achieving -or not- the goals pursued by every company that invests in advertising. The general question has been divided in three areas, depending on the type of consumers response that advertising aims to arouse: cognitive, affective or conative, according to the famous Hierarchy of Effects model proposed by Lavidge and Steiner in 1961. In addition, the report focuses on the role of Music in advertising, with the purpose to highlight how its use can help to achieve efficacy in advertising. Five recommendations are identified through the report. Advertisers should first choose the media mix able to reach as many consumers as possible from the target audience (Ogilvy, 1985). Using appealing creativity (Dahlen et Al, 2010) and increasing the frequency of the message (Pickton and Broderick, 2005) is required to pass successfully through all the selective phases of consumers influence process, in order to make them memorize the contents of advertising. Music can be very helpful both for gaining consumers attention and giving a mnemonic quality to the message (Sutherland, 2008). An effective way to build an emotional link with consumers is referring to common culture (Godin, 1999). Jingles are able to involve consumers, at the point that they can become part of consumers cultural background of people (Sutherland, 2008). It is necessary to understand how the purchasing decision is taken by consumers in order to effectively affect their behaviour; the FCB matrix by Vaughn (1986) identifies four types of purchasing process and suggests the quantity and quality of information to provide for each of them in order to have an impact on the decision making process. Since music sets up an entertainment mood, its use appears to be appropriate for the feel products and not for the think products (Arens et Al, 2011). As most of these factors refer to the ability of understanding consumers mind, the report has confirmed that psychology represents a basic support for marketing functions as the making of effective advertising (Foxall et Al, 1998). INTRODUCTION This paper aims to identify the factors able to make advertising effective. The research starts stating a basic condition then, since efficacy is the ability to bring about the intended result (Oxford dictionary, 2007), the report analyses which are the marketing objectives pursued by advertising. The Hierarchy of Effects Model proposed by Lavidge and Steiner (1961) is considered as pivotal in the communication process. People progressively express three kinds of response to a received message: cognitive, affective, conative (also known as the think-feel-do process). Accordingly, the report uses a tripartite approach in order to better isolate and identify the factors that make advertising successful whether the response sought from consumer is cognitive, affective or conative. The report then operates a specific analysis on the role of Music in advertising, showing how music can be a very useful tool to reach efficacy (Sutherland, 2008) for all the three pursued responses shown previously. Recommendations and Conclusions about the topic complete the analysis. Practical examples chosen among the most famous companies provide evidence to the theoretical analysis; further examples are reported in the appendices to enrich the content. This research has been performed through the method of the literary review: books, papers and articles of famous Marketers and Psychologists are used as sources. A Basic Condition Advertising is undoubtedly a central part of promotion, but compared to the 4 Ps of marketing mix theorized by McCartney (1960), it represents only an aspect of the marketing effort made by the company (Pickton and Broderick, 2005). To reach and maximize the efficacy of advertising, firms should develop a deep know-how of their market, becoming what Llambin (2008) calls market-driven companies. This is achievable only by large investments in market researches, in order to know as much as possible about consumers and competitors. As Cowles and Kiecker stated (1998), market research is important not only to identify the most profitable target segments, but also to develop a message content that is appealing to them, and to identify the most effective and efficient marketing communications mix elements and media. Companies have to focus all their functions to the market: only Market-driven companies will be really able to set the most effective advertising (Llambin, 2008). The HoE model: three responses to be aroused As advertising is a non-personal form of communication (Fill,2009), marketing can be supported by the studies on the communication process. Among them, this report focuses on the famous hierarchy of effects model proposed by Lavidge and Steiner (1961); when the advertising message reaches the consumer, following the steps of the well-known SMRC communication model (Berlo, 1960), the receiver responds by progressively undertaking three phases: the cognitive phase as first, then the affective and finally the conative. Specifically, consumers will pass through these sequential stages: Awareness, Knowledge, Liking, Preference, Conviction, Purchase. [Figure A] Figure A : Sequential stages of Lavidge and Steiner model (1961) Source: http://www.learnmarketing.net/Hierarchy%20Of%20Effects.jpg Using this tripartite approach, the marketing objectives become more definite and therefore it is possible to identify more precisely the key factors for achieving efficacy; firms should then set up a specific advertising campaign targeted for each of the three macro-responses they want to arouse in the audience (Lavidge and Steiner, 1961). The following three Mc Donalds adverts clearly show this differentiated approach. In the first one [Figure B], nothing but the apposition of the two logos (the wi-fi one made by chips) is used: since this ad wants to make the audience learn the service provided, it refers to the cognitive phase. http://4.bp.blogspot.com/_I9lJuLPsXSs/S0phHAFT6fI/AAAAAAAAJ9s/TR7j4eEnYWQ/s400/Cool+and+Beautiful+McDonald%E2%80%99s+Advertising+10.jpg) Figure B. Source: http://4.bp.blogspot.com/_I9lJuLPsXSs/S0phHAFT6fI/AAAAAAAAJ9s/TR7j4eEnYWQ/s400/Cool+and+Beautiful+McDonald%E2%80%99s+Advertising+10.jpg In the second one [Figure C], the baby approaching the hamburger evokes feelings of affection for the food offered by the company; an home atmosphere is aroused. Emotional persuasion is the first aim for the affective phase. http://www.breastfeedingsymbol.org/wordpress/wp-content/uploads/2007/08/mcdonalds.jpg Figure C. Source: http://www.breastfeedingsymbol.org/wordpress/wp-content/uploads/2007/08/mcdonalds.jpg In the third one [Figure D], the invitation to take an action is extremely clear: consumers should have breakfast at Mc Donalds on Mondays, convinced by the free coffee. This ad aims to induce a change in the consumers behaviour: it refers to the conative phase. http://www.mcdonaldsstl.com/images/FreeCoffeeMondays-graphic.jpg Figure D. Source: http://www.mcdonaldsstl.com/images/FreeCoffeeMondays-graphic.jpg The main limit of HoE is its rigidity: consumers do not always undertake these steps sequentially, because of their irrationality; however, the existence of these three kinds of responses is widely accepted also among the critics (Barry and Howard, 1990). Accordingly, it is possible to  reformulate the central question in a more detailed way: which elements are necessary in advertising, in order to improve the companys performance in brand awareness (1), in the affective relationship with the consumers (2), and in the sales (3)? 1 Cognitive response The goal of these campaigns is to ensure that customers are properly aware of the brand; making clear the brand positioning is the main aim (Egan, 2007). Reach is the first key factor. Pelsmacker (2007) defines it as the number or percentage of people who are expected to be exposed to the advertisers message during a specified period . Reach plays the either/or role in the SMRC process: if the company does not reach the consumers, no response can be aroused. Therefore, the choice of the most appropriate media mix to reach the target segments becomes crucial for the success of the advertising campaign (Ogilvy, 1985). According to the selective influence process theories, people play a very active role as receivers in the communication process (Karlz and Lazarsfeld, 1955). There are unconscious and social intervening variables which affect the final internalization of the message. Since only the memorized information is able to affect the consumers behaviour the ability to pass through the selective phases of the consumer influence process is the second key factor (Karlz and Lazarsfeld, 1955). To win the receivers attention, it is required to overtake what Wundt (1896) calls the absolute threshold, that is the minimum psychic intensity an individual needs for reacting to a stimulus. For this reason, the effort to provide appealing creativity to the advert gains great importance (Dahlen et Al, 2010). Since the traditional media today are overcrowded by adverts (Levinson, 2007), appealing creativity can make an advert emerge to the consumers eyes. A clear example can be represented by the winner of the Best Use of Blu Tac in a Shop Window Postcard Space category in the Chip Shop Awards 2012. Clearasil posted a completely and intensely white postcard: impossible not to see. Figure E. Source: http://www.chipshopawards.com/ Clearasil is a brand of beauty products against skin imperfections (www.clearasil.co.uk) Use of creativity can also have negative impacts: it is difficult to define the line between great effect and great scandal (Godin, 1999). [see Appendix I] In choosing how often to transmit the advertising message, psychology supports marketing once again (Foxall et Al, 1998). I.V. Pavlov developed the notion of conditioned reflex (1927): opposed to the innate reflex it is a learned reaction to a positive or negative stimulus. In marketing, this means that the repetition of a message will increase its understanding; thats why frequency plays a key role. Frequency measures the number of times, on average, that a member of the target audience is exposed to a message or, more accurately, to the media (Pickton and Broderick, 2005). Increasing the frequency helps making the advertise effective but, according to the Curve of Wundt (1896), if the intensity of the stimulus exceeds a certain limit it is even possible to arouse anxiety, nervousness and irritation in the receivers. 2 Affective response Here, the main goal is to create an affective link with consumers, in order to persuade them appreciating the brand and making a preference for it (Fill, 2009). The more the content of a message is associated to paradigmatic knowledge, the more immediate and simple is its decoding by the receiver (Grandori, 1999): thats why advertising should carry associations recalling to the common culture to be effective in building an emotional link with the audience (Godin, 1999). Among all the cultural aspects, political studies have shown that the more compelling ones are common roots ; common habits ; famous figures (Gabrielsen, 2010). The use of cultural associations can be clearly found in Chryslers spot for the launch of the new 200 model, shown during the 2011 edition of Super Bowl. The core of the message highlights the origin of the machine, manufactured in Detroit: (à ¢Ã¢â€š ¬Ã‚ ¦) Thats who we are. Thats our story. (à ¢Ã¢â€š ¬Ã‚ ¦) Because when it comes to luxury, its as much about where its from, as who its for. Now were from America, but this isnt New York City, or the Windy city.(à ¢Ã¢â€š ¬Ã‚ ¦) And were certainly no ones Emerald city. This is the Motor city. And this is what we do. The new Chrysler 300 has arrived. Imported from Detroit. [see Appendix II] Casting famous figures (VIP) as testimonial can provide good advantages: a VIP well known among the target audience can better win consumers attention; it allows to make the advertising message more personal, exploiting the VIPs familiarity with the consumers ; people will associate the appreciated qualities of the VIP to the product. (Arens et Al, 2011). [see Appendix III] Another effective way to involve the audience is taking part at the big events widely enjoyed and cherished by people, as the recent Olympics in London 2012. [see Appendix IV] Thanks to these associations, every time that consumers get in touch with the reminded cultural aspect, they will also remember the linked brand (Godin, 1999).[see Appendix V] This cultural approach shows some limits. Since culture is a sphere of meanings related to the past, the new products which aim to highlight innovation as their core quality cant take the best benefits from cultural associations (Ogilvy, 1985). Moreover, relying on VIP means accepting the risk of linking to them the name of the brand also when something negative is referred to them (Arens et Al, 2011). [see Appendix VI] 3 Conative response In order to effectively affect consumers behaviour with advertising, it is necessary to understand how their decision making process works. The model developed by Richard Vaughn for Foote Cone and Belding in 1980, known as the FCB matrix, considers it as driven by two variables: the level of consumer involvement (high-low) and the type of approach to the purchase (rational-emotional). (McWilliam, 1997; Vaughn, 1980 and 1986). The result is the identification of 4 macro-type of purchasing process, each one requiring different kinds of information to be affected: differences are both in quantity high and detailed or low and summarized- and quality -emotional or rational of information. (Vaughn, 1986). In Figure F, some exemplar products are placed in the 4 quadrants of the FCB matrix. Figure F. Source: Vaugh, 1980 Therefore, advertising can be effective only if it provides the consumers with the kind of information they look for in their decision making process, this one being identified by the quadrant the product is placed in. (Vaughn, 1986). The analysis of 4 different decision making processes is now addressed, referring to the model of Vaughn (1986): High involvement / rational. People look for the real facts, they need to gain the confidence they are doing the right choice (e.g. Mortgage). The way to be effective is to highlight all the product competitive benefits as well as the company know-how, and to provide the consumers with positive feedbacks . [Figure G]http://www.okeefeestateagents.com/_microsites/paul_okeefe/docs/images/homepage/rightColAdvert/need-a-mortgage.jpg Figure G. Source: http://www.okeefeestateagents.com/_microsites/paul_okeefe/docs/images/homepage/rightColAdvert/need-a-mortgage.jpg High involvement / emotional. Consumers want to learn about and feel the experience (e.g. Holidays). Companies should provide content rich media with compelling personal feedbacks, music and everything else able to make the consumers taste the experience. [Figure H] Figure H. Source: www.adcracker.com Low involvement / rational. People usually buy by habit (e.g. toothpaste). Underlining the incentives to change habits as sale coupons can be effective. [Figure I]http://c3240dd96f54819fb6f2-90846526673b19d9a04c27097b58cb86.r6.cf2.rackcdn.com/2011/09/optic-white-coupon.jpg Figure I. Source: www.cuckooforcoupondeals.com Low involvement / emotional. People often looks for sensory or psychological gratification (e.g. Movies). Showing sensory rich imagery can be successful. [Figure J]http://www.filmjabber.com/movie-blog/wp-content/uploads/2007/11/the-eye-poster.jpg Figure J. Source: http://www.filmjabber.com/movie-blog/wp-content/uploads/2007/11/the-eye-poster.jpg The limit of the FCB matrix is the difficulty to plot the product in the right quadrant, because of the inconsistencies between consumers and companies perceptions of it (Dahlen et Al, 2010). Moreover, as marketing environment is rapidly changing, products and services can fast move from one coordinate to another in the brand image of consumers (Fill, 2009). The Role of Music in Advertising Music can be a very useful tool to reach efficacy in advertising, whether the aim is to arouse a cognitive, affective or conative response in the consumers (Sutherland, 2008). The analysis aims to show how the use of music can aid or hinder the effective factors identified in the general part. COGNITIVE PURPOSE Music can help to win consumers attention: reproducing a song well-known among the target audience or a catchy rhythm greatly helps to get its attentions (Sutherland, 2008). The use of creativity in music can be found in the production of jingles, where companies set their own words to Music. Jingles are among the best -and worst- ad messages produced. Done well, they can bring enormous success, well beyond the non-musical commercial. Done poorly, they can waste the advertising budget and annoy audiences beyond belief (Arens et Al, 2011). As an example, in the 1970s Coca-Cola was so successful with its jingle Id like to buy the world a Coke that it was then extended and released to become an international chart hit called Id like to Teach the World to Sing (Sutherland, 2008). Moreover, what Sutherland (2008) calls the three Rs rhyme, rhythm and repetition give words a mnemonic quality, making the message more catchy and enduring in memory. AFFECTIVE PURPOSE Research has shown that the positive mood created by music makes consumers more receptive to an ad message (Belch and Belch, 2009). When words are set to the music, a desire for repetition can be created: thats why jingles are able to involve consumers, at the point that they can become themselves part of the cultural background of people (Sutherland, 2008). A chart of the top 10 jingles of the century has been made, according to peoples preferences: a prove of the attachment consumers have towards them (Belch and Belch, 2009). Figure K. Source: Belch and Belch, 2009 The case of Oscar Mayers spots clearly shows the emotional power of jingles in advertising. [see Appendix VII] Jingles are used less frequently today, replaced by an increasing use of current or classic pop songs: in the age of the technologic way to live music companies must be careful not to appear old-fashionable while using jingles (Belch and Belch, 2009). CONATIVE PURPOSE Music can also affect the way people behave, but since it better vehicles an emotional message, it seems to be effective especially -if not only- with the feel products (Sutherland, 2008). A great example of how music can be focused on action is the jingle created by the pizza chain Pizza, Pizza in Toronto: the company put its phone number in the lyrics, so that Toronto residents could memorize it easily. [see Appendix VIII] On the other hand, music causes what Sutherland (2008) calls the wash-over effect: when we listen to lyrics, we process the message as an experience that we can enjoy or not rather than judging the reliability of its meaning. The entertainment mood set up by music is inappropriate when consumers want to focus on the rational information, as for think products (Arens et Al, 2011). As the analysis of consumers response to music in advertising carried by Oakes (2007) shows, reaching a congruity between music and advertising in mood, genre, image and tempo contributes to the efficacy of an advertisement by enhancing recall, brand attitude, affective response and purchase intention. Since the negotiation of the license rights often needs large sums, marketers should carefully decide if and in which way music can be coherent with the marketing campaign, in order to avoid an expensive disorientation of consumers(Belch and Belch, 2009). RECOMMENDATIONS As shown through the report, advertisers should first ascertain to find the media mix that will maximize the reach of the audience (Ogilvy, 1985). Passing successfully through all the selective phases of consumers influence process is necessary to make them memorize a message (Karlz and Lazarsfeld, 1955). Concretely, this can be achieved by using appealing creativity (Dahlen et Al, 2010) and by increasing the frequency of the message (Pickton and Broderick, 2005). The use of Music can be very effective both for winning consumers attention and adding a mnemonic quality to the message (Sutherland, 2008). When aiming to build an emotional link with consumers, a successful choice is including associations recalling to common culture in the message sent to consumers (Gabrielsen, 2010). Jingles can be such able to involve consumers, that they can become themselves part of the cultural background of people (Sutherland, 2008). To effectively affect consumers behaviour, advertisers must understand how the purchasing decision for their products is taken by consumers; the FCB matrix by Vaughn (1986) suggest the quantity and quality of information to provide for each of the 4 types of purchasing process identified by crossing the level of involvement (high or low) and the kind of approach (emotional or rational). Music can be effective for feel products, but not for think products, since it sets up an entertainment mood inappropriate for rational decisions (Arens et Al, 2011). The overall recommendation for companies is to consider advertising as a process that involves the entire business as connected with it by a close cause-effect relationship: when an advert is not effective, it can be the symptom that theres something wrong in the marketing decision making process, or it can be the cause leading to future problems in the relationship with the market (Llambin, 2008). CONCLUSIONS It has been shown how a tripartite approach to the central question which factors can make advertising effective? is able to better analyse the issue and to define an accurate answer. Since all the factors except the maximisation of Reach refer to the ability of reading consumers mind, the report has confirmed how psychology can be a great support for marketing functions and, specifically, for making advertising effective (Foxall et Al, 1998). Thats why Market-driven companies, which have developed a deep knowledge of their consumers thanks to large investments in market researches, have the concrete possibility to apply these factors in the most effective way (Llambin, 2008). APPENDICES As an example, the historical testimonial used by Danish Frisbee Sports Union for the 2012 campaign will be definitely able to catch consumers attention, but it can reasonably arouse perplexity and disgust in a high number of people. Source: http://www.chipshopawards.com/ Nestlà ¨ chose to set a totally VIP-focused campaign to promote Nespresso brand: George Clooney has being appeared in every adverts of the famous espresso machine, with the aim to take advantages from his style and world-wide popularity. Source of Image: http://www.generation-flux.com/images/Nespresso-site.jpg A great example is represented by the marketing campaigns of PG, created to promote their laundry products Ariel in UK and Tide in USA during the Olympics. The compelling references on the athletic competition were present in both the spots: Before the Gold, Silver, and Bronze, its the red, white and blue.At the Olympic Games, its not the color you go home with that matters, its the colors you came in. When colors mean this much, trust them to Ariel (UK)/ Tide (USA). The meaning of the final sentence Proud keeper of Our Countrys Colours was certainly influenced by the images of the athletes shown in the video: for Ariel, a high number of British participants ; for Tide, almost only American players. Sources: http://www.youtube.com/watch?v=DoF9DROHYnU Tide for USA; http://www.youtube.com/watch?v=Jipn-MGg0DA Ariel for UK. A great example of the power of cultural associations can be found in politics. The ex-Italian prime minister Silvio Berlusconi, considered the biggest innovator in the Italian political marketing in a negative or positive way depending on the political conviction (Palmieri, 2012), named his first party Forza Italia (1994), that is the same slogan used by Italian people as an incitement for the national football team. The result was a widespread embarrassment (ibidem) when people not voting for Berlusconi wanted to support the football team, but they had to shout the name of his party: they could not manage not to think about this political association. Cirio is an Italian company founded in 1856 specialized in canned food, especially in tomato paste. (www.cirio.co.uk) Cirio managers werent happy to learn that their testimonial Gerard Depardieu was founded drunk and misbehaving on a plane just two weeks later the advertising campaign was launched. The spot is accessible here: http://www.youtube.com/watch?v=ReGPNs-HfH0 The episode reported: http://www.telegraph.co.uk/news/celebritynews/8706992/Gerard-Depardieu-accused-of-urinating-on-floor-of-plane.html Oscar Mayer is a brand owned by Kraft Foods. At the end of last century the company held local auditions in search of American children to continue the 30-year tradition of singing the catchy bologna and wiener jingles: they were such known that Oscar Mayer decided to be self-referential in order to best cultivate the relationship with the consumers. Thompson, S. 1997. Promotions: Nostalgia Bolognese, Brandweek, April 14, 1997 Original videos are available here: http://www.youtube.com/watch?v=rmPRHJd3uHI (Bologna); http://www.youtube.com/watch?v=aNddW2xmZp8feature=related (Wieners) The example and the text of the jingle are reported in Sutherland (2008, p 122): nine-six-seven, eleven eleven / phone Pizza Pizza, hey hey hey!

My Dream School

General Certificate of Secondary Education June 2007 ENGLISH (SPECIFICATION A) 3702/2F Paper 2 Foundation Tier Thursday 7 June 2007 1. 30 pm to 3. 00 pm Time allowed: 1 hour 30 minutes Instructions ! Use blue or black ink or ball-point pen. ! Write the information required on the front of your answer book. The Examining Body for this paper is AQA. The Paper Reference is 3702/2F. ! Answer two questions. ! Answer one question from Section A. Answer one question from Section B. ! For Section A, you must have a copy of the AQA Anthology labelled 2005 onwards in the examination room.Section 1 of the Anthology must not contain any annotations. ! Write your answers in the answer book provided. ! Do all rough work in your answer book. Cross through any work you do not want to be marked. ! You must not use a dictionary. Information ! The maximum mark for this paper is 54. ! The marks for questions are shown in brackets. ! You are reminded of the need for good English and clear presentation in your answers. All questions should be answered in continuous prose. Advice You are advised to spend about 45 minutes on each sectionThis section relates to Section 1 of the AQA Anthology labelled 2005 onwards that you have been using during the course. Answer one question from this section on the poems you have studied in Section 1 of the Anthology: Poems from Different Cultures (pages 5-18). You are advised to spend about 45 minutes on this section. EITHER 1 Compare the methods Denise Levertov uses to present a particular culture in eWhat Were They Like? i (page 11) with the methods another poet uses to present a culture or cultures in one other poem from the Poems from Different Cultures.Write about: ! the cultures in the two poems the methods the poets use to present them ! how those methods are similar ! how those methods are different ! which poem you prefer and why. (27 marks) OR 2 How does Sujata Bhatt show that identity (who you are) is important in efrom Search For My Tong uei (page 12)? Compare the methods she uses with the methods another poet uses to show that identity is important in one other poem from the Poems from Different Cultures. Write about: ! identity in the two poems ! why identity is important in the poems ! the methods each poet uses to present identity and its importance. (27 marks) SECTION B: WRITING TO INFORM, EXPLAIN OR DESCRIBEAnswer one question in this section. You are advised to spend about 45 minutes on this section. EITHER 3 Many people are interested in animals. Write an informative article on an animal or animals of your choice. Remember to: ! write an article ! choose language to inform about the animal or animals. (27 marks) OR 4 Teenagers are often criticised in newspapers. Write a letter to the editor of a national newspaper explaining why this is often unfair. Remember to: ! explain what sort of things teenagers are often criticised for ! focus on why it might be unfair to criticise teenagers ! use letter form use lan guage to explain ! use language suitable for a national newspaper. (27 marks) OR 5 Describe your home.Remember to: ! think about what makes a home ! describe the sorts of things which make somewhere a home ! choose language suitable for describing your home. (27 marks) OR 6 Childhood memories can be very important. Choose one childhood memory. Describe the memory and explain its importance to you. Remember to: ! choose a childhood memory ! describe it in detail ! explain why the memory is important to you ! choose language to describe and to explain. (27 marks) END OF QUESTIONS My Dream School My dream school Monday, April 22, 2013 A Dream School in My Mind Have you ever thought about why you are going to school? Or have you ever talked to yourself: â€Å"Oh my God, it’s school time again. † The environment keeps changing all the time. We change houses, jobs, friends and schools. We might often ask ourselves a question: Is there any dream places where we would like to stay? If you have a chance to create a dream school, what is your dream school going to be? In my mind, a dream school is not a place that only teaches students basic knowledge. It should be a place where students can apply the skills they learn.Let’s talk about my schooling experience first. I studied at elementary school for six years, middle school and high school for six year, and university for four years. Under the traditional pattern of education, I realized that in addition to the knowledge from books, I did not get anything during my whole school life. We were taught to follow th e teacher and school’s instructions. We could not have our own ideas and had to face never-ending homework. I hated chemistry and physics. I didn’t understand why I needed to study these two subjects. The only thing I could do was memorized the formula and do the exercises again and again.I thought these subjects would not relate to my future job. This has proved to be true. I cannot remember most of the subjects that I learned in school when I graduated from high school. After college in China, I told myself that I would never go to school again. After the sixteen years of school experience, I was extremely tired. I also imagine my dream school. If I could design my dream school, it probably should be a studio school. What is a studio school? The studio school is the kind of school which breaks away from the traditional education system. The original idea of a studio was from the Renaissance.People learn their skills by working. In the Chinese language, two characters represent the word â€Å"learning†. The first character means to study. The second character means to practice constantly. Studying and practicing are put together. It suggests that learning should mean self-improvement. This comprehension is confirmed by the studio school. There are two main aspects in a studio school. First, students who study in a studio school will be much more motivated and excited than in traditional education. A large number of teenagers are dropping out of school because they are bored in the traditional education system.They don’t like to attend school. They can’t see any relationship between what they learn in school and their future job. On the other hand, employers complain that the students are not actually ready for real jobs. They didn’t have any experiences or the right attitude. Studio school can solve this problem. Every student can attend this kind of studio school. There is no extra cost and no selection. This school allows the students the route into university. The most important part is that most of the curriculum is done not through sitting in a classroom. No grades or competition exists in school. Every class has their own field.One class may focus on creative and media industries, while other ones have a focus on health care, engineering and other fields. Students would decide the specific subject that they like to study. Second, this school puts things like working in teams, and doing practical projects at the heart of learning, rather than on the edges. Students learn best by doing things and learn best in teams. In the studio school, students do the practical projects and work on commission for businesses. Every student would have a coach, as well as a teacher who would have a timetable much more like a work environment in a business.And all of projects will be done within the public system. Students do a lot of real projects in order to prepare much better for real life work today. Sch ool life is one of the most important parts of our life. We spend at almost a quarter of our life in school. The ideas of studio school correspond to the character â€Å"learning† in the Chinese language. We are not only to study, but also to practice. As long as we combine study and practice, learning would be a fulfilling, exciting experience, and students wouldn’t have to dread school. — college student

Last Sacrifice Chapter Thirty-five

I WISHED LISSA HAD â€Å"needed' me to go take out an army of Strigoi. I would have felt more comfortable with that than what she needed to do now: meet with Jill to discuss the coronation. Lissa wanted me there for support, as a kind of go-between. I wasn't able to walk that well yet, so we waited another day. Lissa seemed glad for the delay. Jill was waiting for us in a small room I'd never expected to see again: the parlor where Tatiana had berated me for moving in on Adrian. It had been a pretty bizarre experience at the time, seeing as Adrian and I hadn't actually been involved back then. Now, after everything that had occurred between him and me, it just felt †¦ strange. Confusing. I still didn't know what had happened to him since Tasha's arrest. Walking in there, I also felt terribly †¦ alone. No, not alone. Uninformed. Vulnerable. Jill sat in a chair, her hands folded in her lap. She stared straight ahead with an unreadable face. Beside me, Lissa's own features were equally blank. She felt †¦ well, that was the thing. I didn't know. I didn't know. I mean, I could tell she was uncomfortable, but there were no thoughts in my head to tip me off. I had no specifics. Again, I reminded myself that the rest of the world worked like this. You functioned alone. You did your best to manage strange situations without the magical insight of another person. I'd never realized how much I'd taken the thoughts of even just one other person for granted. The one thing I felt sure of was that both Lissa and Jill were freaked out by each other–but not by me. That was why I was here. â€Å"Hey, Jill,' I said, smiling. â€Å"How are you?' She snapped out of whatever thoughts had been occupying her and jumped up from the chair. I thought that was strange, but then it made sense. Lissa. You rose when a queen entered the room. â€Å"It's okay,' said Lissa, stumbling over her words a little. â€Å"Sit.' She took a seat opposite Jill. It was the biggest chair in the room–the one Tatiana had always sat in. Jill hesitated a moment, then shifted her gaze back to me. I must have provided some encouragement because she returned to her chair. I sat in one beside Lissa, wincing as a small pain tightened in my chest. Worry for me momentarily distracted Jill from Lissa. â€Å"How are you feeling? Are you okay? Should you even be out of bed?' The cute, rambling nature. I was glad to see it again. â€Å"Fine,' I lied. â€Å"Good as new.' â€Å"I was worried. When I saw what happened †¦ I mean, there was so much blood and so much craziness and no one knew if you'd pull through †¦' Jill frowned. â€Å"I don't know. It was all so scary. I'm so glad you're okay.' I kept smiling, hoping to reassure her. Silence fell then. The room grew tense. In political situations, Lissa was the expert, always able to smooth everything over with the right words. I was the one who spoke up in uncomfortable scenarios, saying the things that shocked others. The things no one wanted to hear. This situation seemed like one that required her diplomacy, but I knew it was on me to take charge. â€Å"Jill,' I said, â€Å"we wanted to know if you'd be willing to, well, take part in the coronation ceremony.' Jill's eyes flicked briefly to Lissa–still stone-faced–and then back to me. â€Å"What does â€Å"take part' mean, exactly? What would I have to do?' â€Å"Nothing hard,' I assured her. â€Å"It's just some formalities that are usually done by family members. Ceremonial stuff. Like you did with the vote.' I hadn't witnessed that, but Jill had apparently only had to stand by Lissa's side to show family strength. Such a small thing for a law to hinge on. â€Å"Mostly, it's about being on display and putting on a good face.' â€Å"Well,' mused Jill, â€Å"I've been doing that for most of this week.' â€Å"I've been doing it for most of my life,' said Lissa. Jill looked startled. Again, I felt at a loss without the bond. Lissa's tone hadn't made her meaning clear. Was it a challenge to Jill–that the girl hadn't faced nearly what Lissa had? Or was it supposed to be sympathy for Jill's lack of experience? â€Å"You'll †¦ you'll get used to it,' I said. â€Å"Over time.' Jill shook her head, a small and bitter smile on her face. â€Å"I don't know about that.' I didn't either. I wasn't sure how one handled the kind of situation she'd been dropped into. My mind rapidly ran through a list of more meaningless, kind things I could say, but Lissa finally took over. â€Å"I know how weird this is,' she said. She determinedly met Jill's green eyes–the only feature the sisters shared, I decided. Jill had the makings of a future Emily. Lissa carried a mix of her parents' traits. â€Å"This is weird for me too. I don't know what to do.' â€Å"What do you want?' asked Jill quietly. I heard the real question. Jill wanted to know if Lissa wanted her. Lissa had been devastated by the death of her brother †¦ but a surprise illegitimate sibling was no substitute for Andre. I tried to imagine what it would be like to be in either girl's place. I tried and failed. â€Å"I don't know,' admitted Lissa. â€Å"I don't know what I want.' Jill nodded, dropping her gaze, but not before I caught sight of the emotion playing across her face. Disappointment–yet, Lissa's answer hadn't entirely been unexpected. Jill asked the next best thing. â€Å"Do you want †¦ do you want me to be in the ceremonies?' The question hung in the air. It was a good one. It was the reason we'd come here, but did Lissa actually want this? Studying her, I still wasn't sure. I didn't know if she was just following protocol, trying to get Jill to play a role expected among royalty. In this case, there was no law that said Jill had to do anything. She simply had to exist. â€Å"Yes,' said Lissa at last. I heard the truth in her words, and something inside of me lightened. Lissa didn't just want Jill for the sake of image. A part of Lissa wanted Jill in her life–but managing that would be difficult. Still, it was a start, and Jill seemed to recognize that. â€Å"Okay,' she said. â€Å"Just tell me what I need to do.' It occurred to me that Jill's youth and nervousness were deceptive. There were sparks of bravery and boldness within her, sparks that I felt certain would grow. She really was a Dragomir. Lissa looked relieved, but I think it was because she'd made a tiny step of progress with her sister. It had nothing to do with the coronation. â€Å"Someone else will explain it all. I'm not really sure what you do, to be honest. But Rose is right. It won't be hard.' Jill simply nodded. â€Å"Thank you,' said Lissa. She stood up, and both Jill and I rose with her. â€Å"I †¦ I really appreciate it.' That awkwardness returned as the three of us stood there. It would have been a good moment for the sisters to hug, but even though both seemed pleased at their progress, neither was ready for that. When Lissa looked at Jill, she still saw her father with another woman. When Jill looked at Lissa, she saw her life completely turned upside down–a life once shy and private now out there for the world to gawk at. I couldn't change her fate, but hugging I could do. Heedless of my stitches, I put my arms around the young girl. â€Å"Thanks,' I said, echoing Lissa. â€Å"This'll all be okay. You'll see.' Jill nodded yet again, and with no more to discuss, Lissa and I moved toward the door. Jill's voice brought us to a halt. â€Å"Hey †¦ what happens after the coronation? To me? To us?' I glanced at Lissa. Another good question. Lissa turned toward Jill but still wasn't making direct eye contact. â€Å"We'll †¦ we'll get to know each other. Things'll get better.' The smile that appeared on Jill's face was genuine–small, but genuine. â€Å"Okay,' she said. There was hope in that smile too. Hope and relief. â€Å"I'd like that.' As for me, I had to hide a frown. I apparently could function without the bond because I could tell, with absolute confidence, that Lissa wasn't exactly giving the whole truth. What wasn't she telling Jill? Lissa did want things to be better, I was certain, even if she wasn't sure how. But there was something †¦ something small that Lissa wasn't revealing to either of us, something that made me think Lissa didn't actually believe things would improve. Out of nowhere, a strange echo from Victor Dashkov rang through my mind about Jill. If she has any sense, Vasilisa will send her away. I didn't know why I remembered that, but it sent a chill through me. The sisters were both mustering smiles, and I hastily did as well, not wanting either to know my concerns. Lissa and I left after that, heading back toward my room. My little outing had been more tiring than I expected, and as much as I hated to admit it, I couldn't wait to lie down again. When we reached my room, I still hadn't decided if I should ask Lissa about Jill or wait to get Dimitri's opinion. The decision was taken from me when we found an unexpected visitor waiting: Adrian. He sat on my bed, head tipped back as though he was completely consumed by studying the ceiling. I knew better. He'd known the instant we approached–or at least when Lissa approached. We stopped in the doorway, and he finally turned toward us. He looked like he hadn't slept in a while. Dark shadows hung under his eyes, and his cute face was hardened with lines of fatigue. Whether it was mental or physical fatigue, I couldn't say. Nonetheless, his lazy smile was the same as ever. â€Å"Your majesty,' he said grandly. â€Å"Stop,' scoffed Lissa. â€Å"You should know better.' â€Å"I've never known better,' he countered. â€Å"You should know that.' I saw Lissa start to smile; then she glanced at me and grew serious, realizing this was hardly let's-have-fun-with-Adrian time. â€Å"Well,' she said uneasily, not looking very queenly at all. â€Å"I've got some things to do.' She was going to bolt, I realized. I'd gone with her for her family chat, but she was going to abandon me now. Just as well, though. This conversation with Adrian had been inevitable, and I'd brought it on myself. I had to finish this on my own, just as I'd told Dimitri. â€Å"I'm sure you do,' I said. Her face turned hesitant, as though she was suddenly reconsidering. She felt guilty. She was worried about me and wanted to stand by me. I lightly touched her arm. â€Å"It's okay, Liss. I'll be okay. Go.' She squeezed my hand in return, her eyes wishing me good luck. She told Adrian goodbye and left, closing the door behind her. It was just him and me now. He stayed on my bed, watching me carefully. He still wore the smile he'd given Lissa, like this was no big deal. I knew otherwise and made no attempts to hide my feelings. Standing still made me tired, so I sat down in a nearby chair, nervously wondering what to say. â€Å"Adrian–‘ â€Å"Let's start with this, little dhampir,' he said cordially. â€Å"Was it going on before you left Court?' It took me a moment to follow that abrupt Adrian conversation format. He was asking if Dimitri and I had gotten back together before my arrest. I shook my head slowly. â€Å"No. I was with you. Just you.' True, I'd been a mess of emotions, but my intentions had been firm. â€Å"Well. That's something,' he said. Some of his pleasantness was starting to slip. I smelled it then, ever so faintly: alcohol and smoke. â€Å"Better some rekindling of sparks in the heat of battle or quest or whatever than you cheating right in front of me.' I shook my head more urgently now. â€Å"No, I swear. I didn't–nothing happened then †¦ not until–‘ I hesitated on how to phrase my next words. â€Å"Later?' he guessed. â€Å"Which makes it okay? â€Å"No! Of course not. I †¦' Damn it. I'd screwed up. Just because I hadn't cheated on Adrian at Court didn't mean that I hadn't cheated on him later. You could phrase it however you wanted, but let's face it: sleeping with another guy in a hotel room was pretty much cheating if you had a boyfriend. It didn't matter if that guy was the love of your life or not. â€Å"I'm sorry,' I said. It was the simplest and most appropriate thing I could say. â€Å"I'm sorry. What I did was wrong. I didn't mean for it to happen. I thought †¦ I really thought he and I were done. I was with you. I wanted to be with you. And then, I realized that–‘ â€Å"No, no–stop.' Adrian held up a hand, his voice tight now as his cool facade continued to crumble. â€Å"I really do not want to hear about the great revelation you had about how you guys were always meant to be together or whatever it was.' I stayed silent because, well, that kind of had been my revelation. Adrian ran a hand through his hair. â€Å"Really, it's my fault. It was there. A hundred times there. How often did I see it? I knew. It kept happening. Over and over, you'd say you were through with him †¦ and over and over, I'd believe it †¦ no matter what my eyes showed me. No matter what my heart told me. My. Fault.' It was that slightly unhinged rambling–not that nervous kind of Jill's, but the unstable kind that worried me about how close he was getting to the edge of insanity. An edge I might very well be pushing him toward. I wanted to go over to him but had the sense to stay seated. â€Å"Adrian, I–‘ â€Å"I loved you!' he yelled. He jumped up out of his chair so quickly I never saw it coming. â€Å"I loved you, and you destroyed me. You took my heart and ripped it up. You might as well have staked me!' The change in his features also caught me by surprise. His voice filled the room. So much grief, so much anger. So unlike the usual Adrian. He strode toward me, hand clasped over his chest. â€Å"I. Loved. You. And you used me the whole time.' â€Å"No, no. It's not true.' I wasn't afraid of Adrian, but in the face of that emotion, I found myself cringing. â€Å"I wasn't using you. I loved you. I still do, but–‘ He looked disgusted. â€Å"Rose, come on.' â€Å"I mean it! I do love you.' Now I stood up, pain or no, trying to look him in the eye. â€Å"I always will, but we're not †¦ I don't think we work as a couple.' â€Å"That's a bullshit breakup line, and you know it.' He was kind of right, but I thought back to moments with Dimitri †¦ how well we worked in sync, how he always seemed to get exactly what I felt. I meant what I'd said: I did love Adrian. He was wonderful, in spite of all his flaws. Because, really, who didn't have flaws? He and I had fun together. There was affection, but we weren't matched in the way Dimitri and I were. â€Å"I'm not †¦ I'm not the one for you,' I said weakly. â€Å"Because you're with another guy?' â€Å"No, Adrian. Because †¦ I don't. I don't know. I don't †¦' I was fumbling, badly. I didn't know how to explain what I felt, how you could care about someone and love hanging out with them–but still not work as a couple. â€Å"I don't balance you like you need.' â€Å"What the hell does that mean?' he exclaimed. My heart ached for him, and I was so sorry for what I'd done †¦ but this was the truth of it all. â€Å"The fact that you have to ask says it all. When you find that person †¦ you'll know.' I didn't add that with his history, he'd probably have a number of false starts before finding that person. â€Å"And I know this sounds like another bullshit breakup line, but I really would like to be your friend.' He stared at me for several heavy seconds and then laughed–though there wasn't much humor in it. â€Å"You know what's great? You're serious. Look at your face.' He gestured, as though I actually could examine myself. â€Å"You really think it's that easy, that I can sit here and watch your happy ending. That I can watch you getting everything you want as you lead your charmed life.' â€Å"Charmed!' The guilt and sympathy warring within me got a little kick of anger. â€Å"Hardly. Do you know what I've gone through in the last year?' I'd watched Mason die, fought in the St. Vladimir's attack, been captured by Strigoi in Russia, and then lived on the run as a wanted murderess. That didn't sound charmed at all. â€Å"And yet, here you are, triumphant after it all. You survived death and freed yourself from the bond. Lissa's queen. You got the guy and your happily ever after.' I turned my back to him and stalked away. â€Å"Adrian, what do you want me to say? I can apologize forever, but there's nothing else I can do here. I never wanted to hurt you; I can't say that enough. But the rest? Do you really expect me to be sad about everything else having worked out? Should I wish I was still I was accused of murder?' â€Å"No,' he said. â€Å"I don't want you to suffer. Much. But the next time you're in bed with Belikov, stop a moment and remember that not everyone made out as well as you did.' I turned back to face him. â€Å"Adrian, I never–‘ â€Å"Not just me, little dhampir,' he added quietly. â€Å"There's been a lot of collateral damage along the way while you battled against the world. I was a victim, obviously. But what about Jill? What happens to her now that you've abandoned her to the royal wolves? And Eddie? Have you thought about him? And where's your Alchemist?' Every word he slung at me was an arrow, piercing my heart more than the bullets had. The fact that he'd referred to Jill by her name instead of â€Å"Jailbait' carried an extra hurt. I was already toting plenty of guilt about her, but the others †¦ well, they were a mystery. I'd heard rumors about Eddie but hadn't seen him since my return. He was clear of James's death, but killing a Moroi–when others still thought he might have been brought in alive–carried a heavy stigma. Eddie's previous insubordination– thanks to me–also damned him, even if it had all been for â€Å"the greater good.' As queen, Lissa could only do so much. The guardians served the Moroi, but it was customary for the Moroi to step back and let the guardians manage their own people. Eddie wasn't being dismissed or imprisoned †¦ but what assignment would they give him? Hard to say. Sydney †¦ she was an even greater mystery. Where's your Alchemist? The goings- on of that group were beyond me, beyond my world. I remembered her face that last time I'd seen her, back in the hotel–strong but sad. I knew she and the other Alchemists had been released since then, but her expression had said she wasn't out of trouble yet. And Victor Dashkov? Where did he fit in? I wasn't sure. Evil or not, he was still someone who'd suffered as a result of my actions, and the events surrounding his death would stay with me forever. Collateral damage. I'd brought down a lot of people with me, intentionally or no. But, as Adrian's words continued sinking into me, one of them suddenly gave me pause. â€Å"Victim,' I said slowly. â€Å"That's the difference between you and me.' â€Å"Huh?' He'd been watching me closely while I'd considered the fates of my friends and was caught off guard now. â€Å"What are you talking about?' â€Å"You said you were a victim. That's why †¦ that's why ultimately, you and I aren't matched for each other. In spite of everything that's happened, I've never thought of myself that way. Being a victim means you're powerless. That you won't take action. Always †¦ always I've done something to fight for myself †¦ for others. No matter what.' I'd never seen such outrage on Adrian's face. â€Å"That's what you think of me? That I'm lazy? Powerless?' Not exactly. But I had a feeling that after this conversation, he would run off to the comfort of his cigarettes and alcohol and maybe whatever female company he could find. â€Å"No,' I said. â€Å"I think you're amazing. I think you're strong. But I don't think you've realized it–or learned how to use any of that.' And, I wanted to add, I wasn't the person who could inspire that in him. â€Å"This,' he said, moving toward the door, â€Å"was the last thing I expected. You destroy my life and then feed me inspirational philosophy.' I felt horrible, and it was one of those moments where I wished my mouth wouldn't just blurt out the first thing on my mind. I'd learned a lot of control–but not quite enough. â€Å"I'm just telling you the truth. You're better than this †¦ better than whatever it is you're going to do now.' Adrian rested his hand on the doorknob and gave me a rueful look. â€Å"Rose, I'm an addict with no work ethic who's likely going to go insane. I'm not like you. I'm not a superhero.' â€Å"Not yet,' I said. He scoffed, shook his head, and opened the door. Just before leaving, he gave me one more backward glance. â€Å"The contract's null and void, by the way.' I felt like I'd been slapped in the face. And in one of those rare moments, Rose Hathaway was rendered speechless. I had no witty quips, no elaborate explanations, and no profound insight. Adrian left, and I wondered if I'd ever see him again.

Anthropogenic Climate Change - 2112 Words

Anthropogenic Climate Change Brandie Fonseca Informal Logic 103 Instructor John Moore May 21, 2012 An issue that is felt throughout the world is Anthropogenic Climate Change formally known as Global Warming. This word wide problem is one that needs to be addressed immediately as well as long term. Anthropogenic Climate Change is the rise of the earth’s temperature caused by human activities. The continuing rise in the earth’s temperature will cause extreme change in our earth’s ecosystems. The predetermined course to our ecosystems relies on climate change and its effects on ecosystems and life as we know it is at a vulnerable state. Anthropogenic Climate Change shifts relations with human life and presents severe biodiversity in†¦show more content†¦The estimated cost is that of 1.8 billion dollars (Trouble in Store, 2009). The fact is at this point it is just an estimation and the reality of the cost factor will not be accurate until the carbon capture technology is commercially launched which, is years away (Gunther, 2011). â€Å"The International Energy Agency (IEA) reckons the world will need over 200 power plants equipped with Carbon Capture Systems by 2030 to limit the rise in average global temperatures to about 3 °C† (Trouble in Store, 2009). People have been aware of the rise in the earth’s temperature and its effects however, many persuaded themselves that there was really no immediate danger as well as, there was nothing one could do to mitigate the issue and felt higher authorities were responsible for outcomes and resolutions (Wearts, 2011). On the contrary there is immediate danger and long term affect to our earth if our earth’s temperature continues to rise. Polar caps and glaciers will melt resulting in major changes in our ecosystems and causing the sea level to rise (McKibben, 2009). Anthropogenic Climate Change has caused the uprising of precipitation intensity and or dry spells, and wind patterns (Giorgi, Coppola, Diffenbaugh, Gao, Mariotti amp; Shi, 2011). Precipitation intensity up rises due to the increased atmospheric water holding volume. The increase is related to surface evaporation rates ultimately,Show MoreRelatedThe Issue Of Anthropogenic Climate Change1902 Words   |  8 PagesOur climate is changing due to humanity’s irresponsible actions, and many are just living their lives as if nothing is going on. The issue of anthropogenic, or human caused climate change has arose due to the increase in carbon dioxide and other greenhouse gasses in our atmosphere. Of these, Carbon dioxide is a huge culprit in anthropogenic climate change, as humans produce incredible amounts of it through environmentally irresponsible machines. 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They trap infrared radiation in the form of heat, and hence contribute to global warming. Anthropogenic greenhouse gases are a direct