It Architecture St Guide 1844582

Which proclamation best portrays the connection between Oracle Reference Architecture (ROR) and the Oracle items? A. ROR depicts the design worked in to the Oracle items. B. ROR portrays the engineering hidden the Oracle Fusion Applications. C. ROR portrays an item skeptic design and afterward maps the Oracle items onto the engineering. D. ROR depicts an engineering that is only founded on Oracle items. Theme 3: Application InfrastructureExplain Introduction Oracle Reference Architecture application framework Describe Distributed Computing Concepts Describe Grid Computing Capabilities and Architectural Concepts Describe Cloud Computing Capabilities and Architectural Concepts Describe Fertilization and how it assumes a key job in the establishment framework Describe the job of Containers in the Application Infrastructure Management capacities and how reserving assumes a necessary job Create the Product Mapping View to outline items to the application framework layers Describe Data Pra ctitioner ROR Application Infrastructure FoundationSample Questions 1 . Select the most suitable motivation behind why three-level engineering is a superior design decision than straightforward Client-Server engineering for complex undertaking applications. A. Three-level engineering utilizes three strings to run the applications, so execution is better. B. Three-level engineering utilizes a layered way to deal with discrete the handling of business rationale, information, and presentation.This permits the levels to be autonomously scaled to boost the venture. C. Three-level engineering joins introduction, business rationale, and information preparing into a solitary layer to dispense with arrange latencies. D. Three-level design moves all preparing to the customer, subsequently decreasing the heap on the server. 2. Which of coming up next is certainly not a trait of Cloud processing? A. Multi-occupancy b. Flexible scaling c. Pay-for-use estimating d. Yearly provisioning Topic 4: Se curity Describe Security Describe Application Security Describe Data Security Describe User Security Explain Common Security Strategies Describe Security Concepts and Capabilities Describe Common Security Standards Describe a Conceptual Architecture View of the Security layer Describe the Logical Architecture View of the Security layer Create the Product Mapping View to reimburse he Oracle items that guide to Security layers ROR security 1.There are various approaches to group applications so as to evaluate business hazards and appoint proper security arrangements. Which of coming up next isn't depicted as an essential meaner to characterize an application? A. By the client network it serves, for example, HER, money, all representatives, overall population, etc b. By the data it handles, for example, ordered data, individual data, freely accessible data, etc c. Y business criticality, for example, income producing applications versus educational applications d. By innovation as well as merchant, for example, . NET versus Java, etc e. By the materialness of existing laws and guidelines relating to security, evaluating, and get to control 2. Review logging is a type of what kind of access control component? A. Criminologist control b. Preventive control c. Hindrance control d. Restorative control e. Repaying control f. Spreads control Topic 5: Engineering Review Oracle Reference Architecture Engineering, resource driven designing and related principles Describe Oracle Reference Architecture Engineering Concepts and Capabilities Describe the Conceptual Architecture View model for Oracle Reference Architecture Engineering ND the capacities required for a building framework Use Logical Oracle Reference Architecture Engineering Architecture View segments of the designing condition and show how they are associated with one another Describe the Deployment Oracle Reference Architecture Engineering View bundling and organization related parts of Oracle Reference Archite cture Engineering Create the Product Mapping View to show how Oracle items fit on to the sensible model to understand the building foundation Describe Oracle Reference Architecture Engineering essential prescribed procedures ROR Software Engineering ROR Engineered Systems 1 . You are building up a mix part that utilizes client information. The source framework characterizes client information in an unexpected organization in comparison to anticipated. Which of the accompanying choices best portrays how you would build up the segment? A. Make an item portrayal of client information and use it in the part. B. Externalities the information change by mapping the source information configuration to an authoritative information design. C. The information designs are unique, so it is absurd to expect to build up the segment. D. Compose the information from the source framework into a database and read it back in the normal format.Topic 6: Integration Explain Service-situated combination ND how this varies from increasingly customary mix approaches Describe rules that ought to be met by any design that indicates to help a Service-arranged way to deal with reconciliation Create Logical Architecture View segments of the Information Management condition Describe Development View of Service-arranged Integration Describe Process View of Service-situated Integration Create the Product Mapping View to represent how Oracle items can be utilized to understand the engineering Use Service-situated Integration's incorporation examples and message trade examples to recognize best methodologies or joining situations ROR Service-situated Integration 1 . Which explanation best depicts the connection between the Service-arranged Integration (SO') design and the Application Integration Architecture (AI) item from Oracle? A. Simulated intelligence is an item explicit usage of the OSI design. B. Artificial intelligence is a customary Enterprise Application Integration (EAI) design; along these lines AI doesn't follow the OSI engineering. C. Man-made intelligence is an Oracle item that maps to a portion of the layers and capacities characterized by the OSI engineering. D.AI is one of numerous Oracle items that maps onto the OSI design. . Which proclamation best depicts how Service-arranged Integration (SO') varies from customary Enterprise Application Integration (EAI)? A. OSI is Just similar to EAI with the exception of that a help transport is utilized rather than a center point or message transport. B. OSI is not quite the same as center based EAI, yet is equivalent to EAI utilizing a message transport. C. OSI utilizes a point-to-point incorporation approach dependent on the Web Services industry measures. D. OSI utilizes SO Services that are isolated and particular from the applications being coordinated. E. EAI incorporates applications while SO coordinates SO Services. Gatherings. 2012 Oracle Corporation †Proprietary a Confidential Topic 7: Management and Monitoring Explain Management and Visibility Gap Describe Common Management and Monitoring Standards Describe Key Management and Monitoring Capabilities Describe Conceptual View model for Management and Monitoring and the abilities required for a Management and Monitoring foundation Identify the Logic View segments of the Management and Monitoring condition Create the Product Mapping View to show how Oracle items can be utilized to understand the design Describe how the Deployment View characterizes how Oracle items may be sent to physical equipment ROR Management and Monitoring 1 . Which of coming up next are abilities given by the Monitoring Engine inside the Logical perspective on the Management and Monitoring design? A. Asset Monitor b. Framework Monitor c. Assortment Monitor d. Administration Monitor 2. When mapping Oracle Products onto the Logical view, what is the best methodology? A. Use the board packs, connectors, and modules to make a modified item mapping for the Logica l view. B.Use Oracle Enterprise Manager to give center capacities required by the three layers for Oracle stack, and use the executives packs, connectors, and modules for non-Oracle stack. C. Utilize an Oracle Enterprise Manager item to give all the abilities required by the three layers in the Management and Monitoring engineering. D. Utilize an outsider to give all abilities required by the three layers in the Management and Monitoring design. Gatherings. 0 2012 Oracle Corporation †Proprietary and Confidential Topic 8: Service Orientation Explain the essential ideas of the Oracle Reference Architecture Describe how Definition of a Service gives an unambiguous meaning of Service Oriented Architecture Service utilized as a structure hinder with a Service Oriented ArchitectureDescribe how Combining Technology Perspectives characterizes how unique Enterprise Technology Strategies can be joined by following the central ideas of Oracle Reference Architecture ROR Service Orientation 1 . The Oracle Reference Architecture (ROR) incorporates the idea of Technology Perspectives. Which proclamations are genuine concerning ROR and Technology Perspectives? A. Every Technology Perspective spotlights on a specific arrangement of items and innovation. B. A Technology Perspective incorporates both reference engineering sees just as commonsense direction and approaches for effectively actualizing he changes required to grasp the items and innovation. C. The Technology Perspectives can be utilized separately or in blends, for instance, SO with Bal. D. The Technology Perspectives can be utilized separately or in combinations.When utilized in mixes, the SO Technology Perspective must be incorporated . E. Every Technology Perspective is a piece of ROR and is a piece of an Enterprise Technology Strategy; I. E. A Technology Perspective is the association among ROR and an Enterprise Technology Strategy. 2. Which of coming up next are instances of the administration and perceivab ility hole between he generally observed IT framework assets and the Services? A. On-going Shift to Move to an Agile Shared Service Co

General Motors Corporation General Motors Corporation

â€Å"General Motors is one of three driving car fabricating organizations in the United States. â€Å"General Motors merupakan salah satu dari tiga perusahaan manufaktur otomotif terkemuka di Amerika Serikat. Situated in Michigan in 1903 by Henry portage and developed to arrive at income of $150 billion and in excess of 370,000 workers by 1996. Berbasis di Michigan pada tahun 1903 oleh Henry portage dan tumbuh untuk mencapai pendapatan sebesar $ 150 miliar dan lebih dari 370. 00 karyawan pada tahun 1996. In the 1970's, the vehicle showcase for the significant automobile producers †General Motors (GM), Ford, and Chrysler-was crunched by rivalry from remote makes, for example, Toyota and Honda. Pada 1970-a, pasar mobil untuk para pembuat mobil utama †General Motors (GM), Ford, dan Chrysler-adalah berderak oleh persaingan dari luar negeri manufaktur seperti Toyota dan Honda.In 1999, Ford procured the Swedish Volvo model trying to contend in the remote market and grow to dif ferent locales. † Pada tahun 1999, model Ford mengakuisisi Volvo Swedia dalam upaya untuk bersaing di pasar asing dan memperluas ke daerah lain. † General Motors needs to utilize the business procedure reengineering for the data frameworks foundation to cut redundancies and requiring data process and the connection among Ford focus in world wide.General Motors perlu menggunakan rekayasa ulang expositions bisnis untuk infrastruktur sistem informasi untuk memotong redundancies dan memproses informasi membutuhkan dan interface di antara pusat Ford di seluruh dunia. â€Å"General Motors executed a 3-year intend to unite their different work area frameworks into one. â€Å"General Motors mengimplementasikan rencana 3 tahun untuk mengkonsolidasikan beberapa sistem work area mereka menjadi satu. This new procedure included supplanting the various brands of work area frameworks, arrange Proses baru ini melibatkan berbagai merek menggantikan sistem

2015 Eisner Nominations Are Out!

2015 Eisner Nominations Are Out! The nominations for the 2015 Eisner Awards are out! The nominees: Best Short Story “Beginning’s End,” by Rina Ayuyang, muthamagazine.com “Corpse on the Imjin!” by Peter Kuper, in Masterful Marks: Cartoonists Who Changed the World (Simon Schuster) “Rule Number One,” by Lee Bermejo, in Batman Black and White #3 (DC) “The Sound of One Hand Clapping,” by Max Landis Jock, in Adventures of Superman #14 (DC) “When the Darkness Presses,” by Emily Carroll,  http://emcarroll.com/comics/darkness/ Best Single Issue (or One-Shot) Astro City #16: “Wish I May” by Kurt Busiek Brent Anderson (Vertigo/DC) Beasts of Burden: Hunters and Gatherers, by Evan Dorkin Jill Thompson (Dark Horse) Madman in Your Face 3D Special, by Mike Allred (Image) Marvel 75th Anniversary Celebration #1 (Marvel) The Multiversity: Pax Americana #1, by Grant Morrison Frank Quitely (DC) Best Continuing Series Astro City, by Kurt Busiek Brent Anderson (Vertigo) Bandette, by Paul Tobin Colleen Coover (Monkeybrain) Hawkeye, by Matt Fraction David Aja (Marvel) Saga, by Brian K. Vaughan Fiona Staples (Image) Southern Bastards, by Jason Aaron Jason Latour (Image) The Walking Dead, by Robert Kirkman, Charlie Adlard, Stefano Gaudiano (Image/Skybound) Best Limited Series Daredevil: Road Warrior, by Mark Waid Peter Krause (Marvel Infinite Comics) Little Nemo: Return to Slumberland, by Eric Shanower Garbriel Rodriguez (IDW) The Multiversity, by Grant Morrison et al. (DC) The Private Eye, by Brian K. Vaughan Marcos Martin (Panel Syndicate) The Sandman: Overture, by Neil Gaiman J. H. Williams III (Vertigo/DC) Best New Series The Fade Out, by Ed Brubaker Sean Phillips (Image) Lumberjanes, by Shannon Watters, Grace Ellis, Noelle Stevenson, Brooke A. Allen (BOOM! Box) Ms. Marvel, by G. Willow Wilson Adrian Alphona (Marvel) Rocket Raccoon, by Skottie Young (Marvel) The Wicked + The Divine, by Kieron Gillen Jamie McKelvie (Image) Best Publication for Early Readers (up to age 7) BirdCatDog, by Lee Nordling Meritxell Bosch (Lerner/Graphic Universe) A Cat Named Tim And Other Stories, by John Martz (Koyama Press) Hello Kitty, Hello 40: A Celebration in 40 Stories, edited by Traci N. Todd Elizabeth Kawasaki (VIZ) Mermin, Book 3: Deep Dives, by Joey Weiser (Oni) The Zoo Box, by Ariel Cohn Aron Nels Steinke (First Second) Best Publication for Kids (ages 8-12) Batman Li’l Gotham, vol. 2, by Derek Fridolfs Dustin Nguyen (DC) El Deafo, by Cece Bell (Amulet/Abrams) I Was the Cat, by Paul Tobin Benjamin Dewey (Oni) Little Nemo: Return to Slumberland, by Eric Shanower Gabriel Rodriguez (IDW) Tiny Titans: Return to the Treehouse, by Art Baltazar Franco (DC) Best Publication for Teens (ages 13-17) Doomboy, by Tony Sandoval (Magnetic Press) The Dumbest Idea Ever, by Jimmy Gownley (Graphix/Scholastic) Lumberjanes, by Shannon Watters, Grace Ellis, Noelle Stevenson, Brooke A. Allen (BOOM! Box) Meteor Men, by Jeff Parker Sandy Jarrell (Oni) The Shadow Hero, by Gene Luen Yang Sonny Liew (First Second) The Wrenchies, by Farel Dalrymple (First Second) Best Humor Publication The Complete Cul de Sac, by Richard Thompson (Andrews McMeel) Dog Butts and Love. And Stuff Like That. And Cats. by Jim Benton (NBM) Groo vs. Conan, by Sergio Aragonés, Mark Evanier, Tom Yeates (Dark Horse) Rocket Raccoon, by Skottie Young (Marvel) Superior Foes of Spider-Man, by Nick Spencer Steve Lieber (Marvel) Best Digital/Web Comic Bandette, by Paul Tobin Colleen Coover Failing Sky by Dax Tran-Caffee The Last Mechanical Monster, by Brian Fies Nimona, by Noelle Stephenson The Private Eye by Brian Vaughan Marcos Martin Best Anthology In the Dark: A Horror Anthology, edited by Rachel Deering (Tiny Behemoth Press/IDW) Little Nemo: Dream Another Dream, edited by Josh O’Neill, Andrew Carl, Chris Stevens (Locust Moon) Massive: Gay Erotic Manga and the Men Who Make It, edited by Ann Ishii, Chip Kidd, Graham Kolbeins (Fantagraphics) Masterful Marks: Cartoonists Who Changed the World, edited by Monte Beauchamp (Simon Schuster) To End All Wars: The Graphic Anthology of The First World War, edited by Jonathan Clode John Stuart Clark (Soaring Penguin) Best Reality-Based Work Can’t We Talk About Something More Pleasant? by Roz Chast (Bloomsbury) Dragon’s Breath and Other True Stories, by MariNaomi (2d Cloud/Uncivilized Books) El Deafo, by Cece Bell (Amulet/Abrams) Hip Hop Family Tree, vol. 2, by Ed Piskor (Fantagraphics) Nathan Hale’s Hazardous Tales: Treaties, Trenches, Mud, and Blood, by Nathan Hale (Abrams) To End All Wars: The Graphic Anthology of The First World War, edited by Jonathan Clode John Stuart Clark (Soaring Penguin) Best Graphic Albumâ€"New The Gigantic Beard That Was Evil, by Stephen Collins (Picador) Here, by Richard McGuire (Pantheon) Kill My Mother, by Jules Feiffer (Liveright) The Motherless Oven, by Rob Davis (SelfMadeHero) Seconds, by Bryan Lee O’Malley (Ballantine Books) This One Summer, by Mariko Tamaki Jillian Tamaki (First Second) Best Graphic Albumâ€"Reprint Dave Dorman’s Wasted Lands Omnibus (Magnetic Press) How to Be Happy, by Eleanor Davis (Fantagraphics) Jim, by Jim Woodring (Fantagraphics) Sock Monkey Treasury, by Tony Millionaire (Fantagraphics) Through the Woods, by Emily Carroll (McElderry Books) Best Archival Collection/Projectâ€"Strips (at least 20 years old) Winsor McCay’s Complete Little Nemo, edited by Alexander Braun (TASCHEN) Edgar Rice Burroughs’s Tarzan: The Sunday Comics, 1933â€"1935, by Hal Foster, edited by Brendan Wright (Dark Horse) Moomin: The Deluxe Anniversary Edition, by Tove Jansson, edited by Tom Devlin (Drawn Quarterly) Pogo, vol. 3: Evidence to the Contrary, by Walt Kelly, edited by Carolyn Kelly Eric Reynolds (Fantagraphics) Walt Disney’s Mickey Mouse, vols. 5-6, by Floyd Gottfredson, edited by David Gerstein Gary Groth (Fantagraphics) Best Archival Collection/Projectâ€"Comic Books (at least 20 Years Old) The Complete ZAP Comix Box Set, edited by Gary Groth, with Mike Catron (Fantagraphics) Steranko Nick Fury Agent of S.H.I.E.L.D. Artist’s Edition, edited by Scott Dunbier (IDW) Walt Disney’s Donald Duck: Trail of the Unicorn, by Carl Barks, edited by Gary Groth (Fantagraphics) Walt Disney’s Uncle Scrooge and Donald Duck: The Son of the Son, by Don Rosa, edited by David Gerstein (Fantagraphics) Walt Kelly’s Pogo: The Complete Dell Comics, vols. 1â€"2, edited by Daniel Herman (Hermes) Witzend, by Wallace Wood et al., edited by Gary Groth, with Mike Catron (Fantagraphics) Best U.S. Edition of International Material Beautiful Darkness, by Fabien Vehlmann Kerascoët (Drawn Quarterly) Blacksad: Amarillo, by Juan Díaz Canales Juanjo Guarnido (Dark Horse) Corto Maltese: Under the Sign of Capricorn, by Hugo Pratt (IDW/Euro Comics) Jaybird, by Lauri Jaakko Ahonen (Dark Horse/SAF) The Leaning Girl, by Benoît Peeters François Schuiten (Alaxis Press) Best U.S. Edition of International Materialâ€"Asia All You Need Is Kill, by Hiroshi Sakurazaka, Ryosuke Takeuchi, Takeshi Obata yoshitoshi ABe (VIZ) In Clothes Called Fat, by Moyoco Anno (Vertical) Master Keaton, vol 1, by Naoki Urasawa, Hokusei Katsushika, Takashi Nagasaki (VIZ) One-Punch Man, by One Yusuke Murata (VIZ) Showa 1939â€"1955 and Showa 1944â€"1953: A History of Japan, by Shigeru Mizuki (Drawn Quarterly) Wolf Children: Ame Yuki, by Mamoru Hosada Yu (Yen Press) Best Writer Jason Aaron, Original Sin, Thor, Men of Wrath (Marvel); Southern Bastards (Image) Kelly Sue DeConnick, Captain Marvel (Marvel); Pretty Deadly (Image) Grant Morrison, The Multiversity (DC); Annihilator (Legendary Comics) Brian K. Vaughan, Saga (Image); Private Eye (Panel Syndicate) G. Willow Wilson, Ms. Marvel (Marvel) Gene Luen Yang, Avatar: The Last Airbender (Dark Horse); The Shadow Hero (First Second) Best Writer/Artist Sergio Aragonés, Sergio Aragonés Funnies (Bongo); Groo vs. Conan (Dark Horse) Charles Burns, Sugar Skull (Pantheon) Stephen Collins, The Giant Beard That Was Evil (Picador) Richard McGuire, Here (Pantheon) Stan Sakai, Usagi Yojimbo: Senso, Usagi Yojimbo Color Special: The Artist (Dark Horse) Raina Telgemeier, Sisters (Graphix/Scholastic) Best Penciller/Inker Adrian Alphona, Ms. Marvel (Marvel) Mike Allred, Silver Surfer (Marvel); Madman in Your Face 3D Special (Image) Frank Quitely, Multiversity (DC) François Schuiten, The Leaning Girl (Alaxis Press) Fiona Staples, Saga (Image) Babs Tarr, Batgirl (DC) Best Painter/Multimedia Artist (interior art) Lauri Jaakko Ahonen, Jaybird (Dark Horse) Colleen Coover, Bandette (Monkeybrain) Mike Del Mundo, Elektra (Marvel) Juanjo Guarnido, Blacksad: Amarillo (Dark Horse) J. H. Williams III, The Sandman: Overture (Vertigo/DC) Best Cover Artist Darwyn Cooke, DC Comics Darwyn Cooke Month Variant Covers (DC) Mike Del Mundo, Elektra, X-Men: Legacy, A+X, Dexter, Dexter Down Under (Marvel) Francesco Francavilla, Afterlife with Archie (Archie); Grindhouse: Doors Open at Midnight (Dark Horse); The Twilight Zone, Django/Zorro (Dynamite); X-Files (IDW) Jamie McKelvie/Matthew Wilson, The Wicked + The Divine (Image); Ms. Marvel (Marvel) Phil Noto, Black Widow (Marvel) Alex Ross, Astro City (Vertigo/DC); Batman 66: The Lost Episode, Batman 66 Meets Green Hornet (DC/Dynamite) Best Coloring Laura Allred, Silver Surfer (Marvel); Madman in Your Face 3D Special (Image) Nelson Daniel, Little Nemo: Return to Slumberland, Judge Dredd, Wild Blue Yonder (IDW) Lovern Kindzierski, The Graveyard Book, vols. 1-2 (Harper) Matthew Petz, The Leg (Top Shelf) Dave Stewart, Hellboy in Hell, BPRD, Abe Sapien, Baltimore, Lobster Johnson, Witchfinder, Shaolin Cowboy, Aliens: Fire and Stone, DHP (Dark Horse) Matthew Wilson, Adventures of Superman (DC); The Wicked + The Divine (Image), Daredevil, Thor (Marvel) Best Lettering Joe Caramagna, Ms. Marvel, Daredevil (Marvel) Todd Klein, Fables, The Sandman: Overture, The Unwritten (Vertigo/DC); Nemo: The Roses of Berlin (Top Shelf) Max, Vapor (Fantagraphics) Jack Morelli, Afterlife with Archie, Archie, Betty and Veronica, etc. (Archie) Stan Sakai, Usagi Yojimbo: Senso, Usagi Yojimbo Color Special: The Artist (Dark Horse) Best Comics-Related Periodical/Journalism Alter Ego, edited by Roy Thomas (TwoMorrows) Comic Book Creator, edited by Jon B. Cooke (TwoMorrows) Comic Book Resources, edited by Jonah Weiland Comics Alliance, edited by Andy Khouri, Caleb Goellner, Andrew Wheeler, Joe Hughes tcj.com,  edited by Dan Nadel Timothy Hodler (Fantagraphics) Best Comics-Related Book Comics Through Time: A History of Icons, Idols, and Ideas (4 vols.), edited by M. Keith Booker (ABC-CLIO) Creeping Death from Neptune: The Life and Comics of Basil Wolverton, by Greg Sadowski (Fantagraphics) Genius Animated: The Cartoon Art of Alex Toth, vol. 3, by Dean Mullaney Bruce Canwell (IDW/LOAC) What Fools These Mortals Be: The Story of Puck, by Michael Alexander Kahn Richard Samuel West (IDW/LOAC) 75 Years of Marvel Comics: From the Golden Age to the Silver Screen, by Roy Thomas Josh Baker (TASCHEN) Best Scholarly/Academic Work American Comics, Literary Theory, and Religion: The Superhero Afterlife, by A. David Lewis (Palgrave Macmillan) Considering Watchmen: Poetics, Property, Politics, by Andrew Hoberek (Rutgers University Press) Funnybooks: The Improbable Glories of the Best American Comic Books, by Michael Barrier (University of California Press) Graphic Details: Jewish Women’s Confessional Comics in Essays and Interviews, edited by Sarah Lightman (McFarland) The Origins of Comics: From William Hogarth to Winsor McCay, by Thierry Smolderen, tr. by Bart Beaty Nick Nguyen (University Press of Mississippi) Wide Awake in Slumberland: Fantasy, Mass Culture, and Modernism in the Art of Winsor McCay, by Katherine Roeder (University Press of Mississippi) Best Publication Design Batman: Kelley Jones Gallery Edition, designed by Josh Beatman/Brainchild Studios (Graphitti/DC) The Complete ZAP Comix Box Set, designed by Tony Ong (Fantagraphics) Little Nemo: Dream Another Dream, designed by Jim Rugg (Locust Moon) Street View, designed by Pascal Rabate (NBM/Comics Lit) Winsor McCay’s Complete Little Nemo, designed by Anna Tina Kessler (TASCHEN) Sign up to The Stack to receive  Book Riot Comic's best posts, picked for you. 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Olaudah Equiano s Life Of The Nineteenth Century African...

â€Å"I was named Olaudah, which in our language signifies vicissitude, or fortunate; also, one favored, and having a loud voice and well spoken† (Equiano 23). This quote comes from the autobiography The Interesting Narrative of the Life of Olaudah Equiano, which as the title states, illustrates the life of the eighteenth century African American writer, Olaudah Equiano. The quote mentioned foreshadows the more favorable slave life the author experienced in contrast to the average Atlantic serf in the eighteenth century. After reading the narrative, the reader can infer Equiano’s enslavement at a young age, paired with his upbringing away from the western European colonies, contributed to his uncommon fortune, which would later give him promising opportunities. Throughout his book, we can compare his fortune to the disparaging lifestyle of a common slave. Equiano’s experience should not be used to generalize typical Atlantic slavery during the eighteenth century, however through his eyes, we gain crucial insight into slavery and race relations at that point in history. In order to understand Equiano’s fortunes that set him apart from the average Atlantic slave, it is important to understand the different aspects that contributed to his distinct experiences. Equiano’s initial enslavement as a youth likely allowed him to receive empathy from various masters. Furthermore, his early enslavement in a more tolerable Europe, instead of the cruel, rigid western European coloniesShow MoreRelatedThe Life Of Frederick Douglass And Olaudah Equiano1398 Words   |  6 Pageseighteenth century is something that in today’s millennium a person could not even dream of. Slaves were known to be illiterate; however there are few that had the opportunity to be educated and from them society has a small glimpse into the past. There are two slaves in particular that give people a way to see life through their eyes. Frederick Douglass and Olaudah Equiano were two slaves during those times that were forced into the world of slavery. Frederick Douglassà ¢â‚¬â„¢s â€Å"Narrative of the Life of FrederickRead More Interpretations of Slavery Essay3734 Words   |  15 PagesInterpretations of Slavery INTRODUCTION Slavery is known to have existed as early as the 18th century B.C. during the Shang Dynasty of China. Slavery was widely practiced in many other countries, including, Korea, India, Greece, Mexico and Africa. (Britannica 288-89). When most people consider slavery, however, they think of Western slavery in North America because it is well documented and it was such a horrible institution. Even though there is no one definition of slavery, the people who studyRead MoreThe Harlem Renaissance and Slave Narratives1431 Words   |  6 PagesRenaissance began around the 1920’s and was the hub of African American artistic endeavors, with less discrimination, more freedom, and amazing strides in politics and economics which was very different from how the slaves lived and hoped, but there still were similarities like a will for a better life, and hope for the future which both embraced even though they were in a dreadful position. Of course there also are differences, in this case that Harlem writers and artist were more educated and sawRead MoreThe Transatlantic Slave Trade Often Known As The Triangular1411 Words   |  6 Pagesapproximately four centuries and can be viewed as one of the first ideas of globalization . The ship would move from the Americas to Western Europe with raw materials, then to Africa with manufactured goods. Lastly, from Africa the Americas with African slaves. Thus the movement of over 12.5 million slaves from Africa and 10.7 million slaves arriving in the Americas. The slave trade changed to the demographics of the world forever. Many historians ask why did the European countries choose African for theirRead MoreThe Emergence Of The United States As An Independent Country, And African American Literature Essay1769 Words   |  8 PagesAfrican -American history predated the emergence of the United States as an independent country, and African – American literature was similarly in deep roots. Jupiter Hammon who was considered as the first published Black writer in America. In 1761, he published his first poem named â€Å"An Evening Thought: Salvation by Christ with Penitential Cries†. Through his poem, he implemented the idea of a gradual emancipation as a way to end slavery. 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Beginnings to 1700 Great mixing of peoples from the whole Atlantic basin Bloody conflicts between Native Americans (or American Indians) and European explorers and settlers who had both religious and territorial aspirations - Native American oral literature / oral tradition - European explorers’ letters, diaries, reports, etc., such as Christopher Columbus’s letters about his voyage to the â€Å"New world†. - Anglo (New England) settlers’ books, sermonsRead MoreBibliographic Essay on African American History6221 Words   |  25 PagesBibliographic Essay on African American History Introduction In the essay â€Å"On the Evolution of Scholarship in Afro- American History† the eminent historian John Hope Franklin declared â€Å"Every generation has the opportunity to write its own history, and indeed it is obliged to do so.†1 The social and political revolutions of 1960s have made fulfilling such a responsibility less daunting than ever. Invaluable references, including Darlene Clark Hine, ed. Black Women in

Pros of Lowering Drinking Age Outline Free Essays

Affirmative side for Lowering Legal Drinking Age (OUTLINE) 1) Human rights. * Individuals who are legally allowed to vote and get married, sign legal contracts, smoke cigarettes, can be responsible when it comes to drinking alcohol as well. Turning 18 allows one to make their own decisions in life. We will write a custom essay sample on Pros of Lowering Drinking Age Outline or any similar topic only for you Order Now * Evidence #1: â€Å"National Youth Rights Association does not feel this is an issue primarily about alcohol; rather it is an issue about equality, respect, discrimination and freedom. Americans of all ages, races, genders, and ethnicities deserve equal respect, and they deserve the right to make their own choices in life. † 2) Drink safely in regulated environments * Prohibiting this age group from drinking in bars, restaurants, and other licensed locations causes them to drink in unsupervised places such as house parties where they may be more prone to binge drinking and other unsafe behavior. * Evidence #1: â€Å"Among college students, a decade’s worth of research in the College Alcohol Study found the proportion of students engaging in frequent binge drinking had increased. Compared to 1993, more 18- 24 year students who chose to drink in 2001 were drinking excessively- as defined by frequency of drinking occasions, frequency of drunkenness, and drinking to get drunk. † * Evidence #2: â€Å"College students experienced a nearly 10 percent increase in the rate of drinking to get drunk between 1993 and 2001, which corresponded to an increase in secondary consequences and treatment for alcohol overdose. * Evidence #3: â€Å" National estimates suggest that among full-time college students, 690,000 are involved in assaults, 97,000 are involved in rapes, and 599,000 are injured as a result of alcohol† 3) Ineffective * Evidence #1 (Prohibition did not work then): â€Å"In 1920, alcoholic beverages were banned in the United States. However, the government had created a huge black market for the intoxicating substance by encouraging the drinkers to switch to spirits. It is believed widely to have been a misguided and failed social experiment that made alcohol problems worse. † Evidence #2 (Prohibition did not work now): â€Å"95% of those who will be alcohol consumers in their lifetime take their first drink before age 21† * Evidence #3(Prohibition did not work now): â€Å"50% of 18-20 year olds consume alcohol regularly† * Evidence #4(Prohibition did not work now): â€Å"75% of high school seniors, 60% of sophomores and 40% of eight graders have consumed alcohol† * Evidence #5(Prohibition did not work now): â€Å" 5,000 lives were lost each year by those under the age of 21. Of these, fewer than 40% are traffic fatalities. The vast majority- over 60%- of alcohol-related fatalities take place off roadways† How to cite Pros of Lowering Drinking Age Outline, Essay examples

Collaborative Critical Appraisal of Vulnerable Populations in Disaster

Question: Describe about collaborative critical appraisal of vulnerable populations in disasters. Answer: Vulnerable populations refer to a wide range of individuals such as the homeless, the ethnic and racial minorities, the low-income children who are uninsured, chronically ill individuals, the economically disadvantaged and the elderly. These populations are highly vulnerable in their day-to-day lives and more so, when they are faced with emergencies or particular disasters. Dadaab, Kenya is the largest refugee camp in the world. More than 400,000 people fled from their countries in times of disaster, to settle there. The place is hot, sandy and windy and it stays for long before receiving rains. Among the residents of the camp, are 13,000 elderly people. This article critically appraises the vulnerability of the elderly (people above 50 years old) by assessing their immediate nutritional needs. In order to assess these nutritional needs, the article identifies nutritional status indicators that would be used, provides a description of how the vulnerability would be investigated, how the elderly would be involved and the particular challenges that would be faced in the process. Several guiding principles have been created to help the older people to deal with situations of emergencies and/or disasters. The International Plan of Action on Ageing was endorsed by the United Nations General Assembly in 1982. The action plan was created to act as a guide for the thinking as well as for formulating programmes and policies for the aged. Nine years later after the plan was endorsed, the UN principles for Older Persons was adopted (Hokenstad and Restorick Roberts, A 2013). These principles addressed the issues of dignity, care, participation, self-fulfillment and independence. The Madrid International Plan of Action on Ageing (MIPAA) was the first global agreement to recognize older population as contributors to societal development. The plan committed governments to include ageing in all policies on economic and social development as well as programmes that reduce poverty. It also urged governments to ensure that old people are included in programmes and policies to achieve Millennium Development Goals of reducing people who were living in extreme poverty. According to Sidorenko and Walker (2004), 159 countries were in agreement with this action plan, but the problem is that it was not binding legally because its implementation is voluntary. In the Madrid plan, the core issues that can improve the lives of old people, which were recommended were as follows. On decision making and discrimination issues, governments were obliged to implement and promote human rights conventions as well as any other human rights instruments; on the issue of pensions and work, it was recommended that older people be allowed to work for as long as they would like; on health issue, governments agreed to ensure that old people gained access to curative and preventive care and rehabilitation like all other groups; and finally on the supportive environment issue, governments promised to ensure that old people had access to housing that is decent and that they would be free from violence, abuse and neglect (Sidorenko, Mikhailova and Anisimov, 2007). Even though the International plan and the UN Principles provide an action framework, more nutritional approaches and principles are required. HelpAge International (HAI), an international non-governmental organization which helps the elderly to claim their rights, recommended several principles to be used. The principles are specific to nutrition and food interventions in times when there are disasters and they assist in reinforcing the plan of action on ageing of 1982. They are six principles in total. First, older people are supposed to easily access the adequate general ration which is appropriate in terms of quality and quantity and that which is culturally acceptable and easily digestible. Second, the physiological changes which are related to ageing as well as consequences for special needs and nutrition should be reflected in the design of the programmes. Thirdly the elderly should be involved during the assessments, designs and programme implementation. Fourth, the chronic nature of the old peoples needs should be represented in the programme design. Fifth, the support structures that exist within the community should be strengthened and rebuilt as the most essential strategies for nutrition and food assistance programmes for the aged. Lastly, it is important the malnourished old persons be provided equal access to the selective feeding programmes for purposes of nutritional rehabilitation (HelpAge International, 2013). Identification of Nutritional Status Indicators According to Cdc.gov (2016), Nutritional status indicators which are used with CDC growth Charts include short stature, underweight, overweight and obesity. In addition, a group or an individual is ranked on growth chart using percentiles so that they can be referenced where they fit within the population. Anthropometric evaluation would be an important for the geriatric nutritional evaluation of the old people in this population to determine their condition. Anthropometric evaluation would help to find out the individuals who are malnutritioned, underweights, obese, overweight, those who have lost muscular mass, the redistribution of adipose tissue and individuals who have gained fat mass (Snchez-Garca et al., 2007). Anthropometric indicators would be essential in the evaluating the prognosis of acute and chronic conditions in this vulnerable population and aid in coming up with the right intervention. Nutritional status and anthropometric measurements would be evaluated as they relate to gender and age of the healthy elderly individuals. These nutritional status indicators that would be used are closely related to the environment characteristics, genetic makeup, health, lifestyle. Cultural conditions and the functional status of the individuals. Snchez-Garca et al. (2007) points out that anthropometric evaluations that are conducted by trained health professionals are non-invasive, inexpensive and they provide detailed information of body structure components, especially the fat and muscular components and they also assist to assess old peoples nutritional status. The process of ageing involves nutritional and physiological changes which are manifested by the loss of weight and height, loss of muscular mass and the increase of fat mass. The measures used would held indicate the nutritional status as they differ in both women and men. The anthropometric measurements that would be taken for nutritional status indicators will include weight, height, body mass circumferences, knee-heel length, body-mass index (BMI) and Waist to hip ratio (WHR). After the collection of these measures, the data would be validated and stored in the Statistical Package for the Social Sciences (SPSS) software (Xiaoxin et al., 2014). This would make it easier to analyze data and assess the nutritional needs of this vulnerable population. How Vulnerability would be investigated Old people are nutritionally vulnerable in emergency situations. For instance, in this case study, Abdullahi, aged 70 years, flees from Somalia for insecurity reasons. He is a lucky individual who reached Dadaab Refugee camp in Kenya after travelling for fifteen days (Fritsh, 2011). Abdullahi is nutritionally vulnerable because he is issued with food for three weeks before he gets registered as a refugee. The process is expected to be complete in two months. Meanwhile, Abdullahi might be surviving from borrowing small rations from the other refugees within the camp. According to Runkle, Brock-Martin, Karmaus and Svendsen, (2012), vulnerability does not only happen in the camps, it also happens in other emergency situations. The causes of malnutrition in different situations results from food insecurities within households; inadequate care (social care and health care); and lack of healthcare services and household environments that are inadequate. In Dadaab camp, I would assess vulne rability of the elderly by relating it to either inadequate care or unhealthy environments. The common vulnerabilities that magnify the malnutrition of the elderly include their lack of understanding, disability levels, difficulties to access services and absence of family support. These make older people to be the most vulnerable group in the community. In old age, the quantity and quality of food matter in order to meet the nutrient needs (HelpAge International, 2013). The nutrient density of food should be increased so as to compensate the low energy intakes that exist in the elderly. Just like the other groups within the population, older people require balanced diet. As human body ages, muscle and fat composition changes according to the modifications caused by hormonal activities. Fat stores increase as muscles are lost progressively. This affects an individuals ability to maintain balance as they make movements. The individuals are likely to fall often and their abilities to fight or flee when there is danger are limited. When psychosocial stress, disability or illness leads to loss of appetite in the elderly, there are high chances that they would face nutritional risks which would be worsened further by emergency cases or disasters. Such situations might lead the individuals to have inadequate energy when their bodies require it. How the Old People would be involved in the Assessment In order to conduct the exercise of assessing the nutritional needs as well as vulnerability of the old people in Dadaab camp, I will have to involve them so that the assessment is efficient. The immediate nutrient needs of these individuals vary depending on the different factors that affect the individuals differently. For instance, old people often have different health complications that affect their food consumption. In this refugee camp, some elderly people might be suffering from gum disease or loss of teeth which makes it difficult for them to chew and swallow food. These will be limited to certain types of foods. Others will have physical problems and loss of senses, problems that interfere with the individuals ability to access food or sunlight which is essential for vitamin D. It is also common for individuals to be separated from their immediate family members during disasters if they were suffering from reduced eyesight or mobility. This leads to their inability to successfully find foods or cook. Social isolation occurs to individuals who have lost vision or hearing senses. Such individuals eat alone and this causes poor appetites. Such individuals are undernourished since they dont get the necessary diets (HelpAge International, 2013). In this case study it is necessary to work with the older people during the assessment in order to identify the problems that each one of them faces. This would ensure that every old person is heard and considered in any design that would later be planned. As the assessor, the best way to ensure that I engage every individual would be to move around the camp collecting the information so that even the bedridden ones and those with less mobility can be reached in their tents. Studies indicate that Dadaab Camp is located in a place where the weather is often hot. Though old people are vulnerable to dehydration, the situation may be worsened by the hot weather in the area or outbreaks such as cholera and diarrhea. While assessing the immediate nutritional needs in this area, it is important to determine how accessible safe water is. Such information would best be achieved only if the residents of the camp are engaged. The immune system of human body declines with age. Nutrient deficiencies also compromise immunity levels. When malnutrition combines with age, the older population becomes highly vulnerable to diseases that are infectious. The level of infections would help in assessing the immediate nutritional needs of elderly people in the Camp. Expected Challenges during the Assessment Like in other different cases, the common challenge I would face would be informing communities that there are laws, rules and policies which protect the rights of old people and that they need to be implemented. It is the sovereign obligation of states to protect the vulnerable populations according to the UN resolutions, different intergovernmental organizations and the international law. The international human rights law (IHRL) prohibits any kind of discrimination including discrimination on age basis (Olson, 2009). The law asserts that every individual has fundamental rights and states must protect them at all times even during emergencies. The international humanitarian law (IHL) protects all people during armed conflicts so long as they dont take part in those hostilities. The 1949 Geneva Conventions as well as other 1977 Protocols enshrine this right (Geneva Conventions, 2006). IHL does not represent certain individual groups; however, it considers certain vulnerabilities that are experienced by particular categories in the populations that are conflict-affected (Lanz, Max and Hoehne, 2014). Fourth Geneva Convention has two provisions that request for the attention and protection of groups such as the older individuals: The 14th article, first paragraph mentions aged persons among the the sick, children below fifteen years, mothers with children of less than seven, expectant mothers and the wounded, as the groups that should be specially protected. The seventeenth article of the convention also seeks to protect the infirm, sick, wounded, maternity cases, children and the aged people from conflicting parties (Geneva Conventions, 2006). Even though these conventions offer protection, it would be challenging for them to be implemented. In relation to this case study, where refugees free from their countries and settle in Dadaab, Kenya, the old people are still offered protection by certain rules, laws and policies. It will be challenging to convince the local communities that the refugees have a right to be there and must be protected. The 1951 convention that relates to Refugees status along with different regional and international treaties offer protection to populations that seek security and safety in other territories or countries. The protection also applies to individuals who have been internally displaced according to the international human rights laws. The 1998 Internal Displacement Guiding Principles protect the internally displaced individuals (Ache and Majinge, 2010). The Kampala convention came into being on December 2012. Some of these conventions are not legally binding and this provides challenges in terms of implementation (UNHCR, 2016). The governments in the affected regions are sometimes ignor ant arguing that more of their resources would be wasted. Some of the other important principles for the aged that are lightly considered and easily ignored include: The UN Principles for Older Persons that insist on the care, independence, dignity, self-fulfillment and participation of older persons; the MIPAA that was endorsed in 2002 by the UN General assembly; and the Humanitarian Charter Sphere as well as Minimum Standards of the Humanitarian Response that established assistance and protection as the main pillars in Humanitarian action (Sidorenko, 2004). The vulnerable individuals including the older people in the population are protected in a large manner internationally, regionally and locally. The main challenge remains implementation of the created rules, laws, policies and principles. This remains to be a problem for all aid agencies. In conclusion, when disasters strike, the elderly find it difficult to access food. For instance, when Abdullahi flees from his country, it becomes difficult for him to register for food immediately. For others, it becomes challenging for them to access food distribution points and even transport the food from one point to another. These challenges undermine equal access to nutritional needs. Sometimes it is difficult for them elderly to consume food that has been provided because of the various reasons such as difficulties in cooking or chewing. Like in every population with old people, Dadaab faces these challenges and the vulnerability of the elderly exacerbates due to other additional factors (Fritsh, 2011). Immediate nutritional needs of the elderly can best be assessed by taking every facto into consideration and ensuring that the elderly are involved in the assessment. References Ache, C. and Majinge, C. (2010). International Law as a Mechanism to Advance the Rights of the Displaced in Africa: Examining the Role of the African Union Convention for the Protection and Assistance of the Internally Displaced Persons in Africa. African Yearbook of International Law Online / Annuaire Africain de droit international Online, 18(1), pp.413-449. Cdc.gov, (2016). Nutritional Status Indicators, Using the CDC Growth Charts and Overview CDC Growth Charts. [online] Cdc.gov. Available at: https://www.cdc.gov/nccdphp/dnpao/growthcharts/training/overview/page5_1.html [Accessed 22 Sep. 2016]. Fritsh, P. (2011). East Africa crisis: Older refugees arrive at Dadaab in search of better life. [online] Helpage.org. Available at: https://www.helpage.org/blogs/pascale-fritsch-2312/east-africa-crisis-older-refugees-arrive-at-dadaab-in-search-of-better-life-315/ [Accessed 23 Sep. 2016]. Geneva Conventions, 2006, International Law Update, 12, pp. 124-127 HelpAge International, (2013). Nutrition Interventions for Older People in Emergencies. [online] London WC1A 9GB, UK: HelpAge International, pp.1-68. Available at: https://nutritioncluster.net/wp-content/uploads/sites/4/2015/06/Nutrition-FINAL.pdf [Accessed 23 Sep. 2016]. Hokenstad, M, Restorick Roberts, A 2013, 'The United Nations Plans for a Future Free of Ageism and Elder Invisibility', Generations, 37, 1, pp. 76-79 Lanz, M, Max, E, Hoehne, O 2014, 'The Conference of High Contracting Parties to the Fourth Geneva Convention of 17 December 2014 and the duty to ensure respect for international humanitarian law', International Review Of The Red Cross, 96, 895-896, pp. 1115-1133 Olson, L 2009, 'Practical Challenges Of Implementing The Complementarity Between International Humanitarian And Human Rights Law--Demonstrated By The Procedural Regulation Of Internment In Non-International Armed Conflict', Case Western Reserve Journal Of International Law, 40, 3, pp. 437-461, Business Source Complete Runkle, J, Brock-Martin, A, Karmaus, W, Svendsen, E 2012, 'Secondary Surge Capacity: A Framework for Understanding Long-Term Access to Primary Care for Medically Vulnerable Populations in Disaster Recovery', American Journal Of Public Health, 102, 12, pp. e24-e32 Snchez-Garca, S., Garca-Pea, C., Duque-Lpez, M., Jurez-Cedillo, T., Corts-Nez, A. and Reyes-Beaman, S. (2007). Anthropometric measures and nutritional status in a healthy elderly population. BMC Public Health, 7(1). Sidorenko, A 2004, Implementation of the Madrid International Plan of Action on Aging: Research dimension, Geriatrics Gerontology International, 4, pp. S87-S89 Sidorenko, A, Mikhailova, O, Anisimov, V 2007. Implementation of the Madrid international plan of action on aging: The role of research, Archives Of Gerontology Geriatrics, 44, pp. 365-370 Sidorenko, A, Walker, A 2004, The Madrid International Plan of Action on Ageing: from conception to implementation, Ageing Society, 24, 2, pp. 147-165 UNHCR, (2016). African Union Convention for the Protection and Assistance of Internally Displaced Persons in Africa (Kampala Convention). [online] UNHCR. Available at: https://www.unhcr.org/4ae9bede9.html [Accessed 22 Sep. 2016]. Xiaoxin, D, Ling, L, Shiyi, C, Huajie, Y, Fujian, S, Chen, Y, Yanhong, G, Yunxia, W, Xiaoxu, Y, Xing, X, Jun, X, Yi, S, Zuxun, L 2014, Focus on vulnerable populations and promoting equity in health service utilization an analysis of visitor characteristics and service utilization of the Chinese community health service, BMC Public Health, 14, 1, pp. 900-919

Euclid Essay Research Paper Euclid of Alexandria free essay sample

Euclid Essay, Research Paper Euclid of Alexandria is thought to hold lived from about 325 BC until 265 BC in Alexandria, Egypt. There is really small known about his life. It was thought he was born in Megara, which was proven to be wrong. There is in fact a Euclid of Megara, but he was a philosopher who lived 100 old ages before Euclid of Alexandria. Besides people say that Euclid of Alexandria is the boy of Naucrates, but there is no cogent evidence of this premise. Euclid was a really common name at that clip, so it was difficult to separate one Euclid from another. That is the large ground why there is small known about Euclid of Alexandria. Euclid of Alexandria, whose main work, Elementss, is a comprehensive treatise on mathematics in 13 volumes on such topics as plane geometry, proportion in general, the belongingss of Numberss, incommensurable magnitudes, and solid geometry. He was likely educated at Athens by students of Plato. We will write a custom essay sample on Euclid Essay Research Paper Euclid of Alexandria or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page He taught geometry in Alexandria and founded a school of mathematics at that place. The Data, a aggregation of geometrical theorems ; the Phenomena, a description of the celestial spheres ; the Optics: the Division of the Scale, a mathematical treatment of music ; and several other books have been attributed to him. Historians disagree as to the originality of some of his other parts. Probably, the geometrical subdivisions of the Elementss were chiefly a rearrangement of the plants of old mathematicians such as those of Eudoxus, but Euclid himself is thought to hold made several original finds in the theory of Numberss. Euclid laid down some of the conventions cardinal to modern mathematical cogent evidence. His book The Elements, written about 300 BC, contains many cogent evidences in the field of geometry and algebra. This book illustrates the Grecian pattern of composing mathematical cogent evidence by first clearly placing the initial premises, and so concluding from them in a logical manner in order to obtain a coveted decision. As portion of such an statement, Euclid used consequences that had been shown to be true, called theorems, or statements that were explicitly acknowledged to be axiomatic, called maxims ; this pattern continues today. One of Euclid? s finds is explained in the 9th book of the Elementss. It contains cogent evidence of the preposition that the figure of primes is infinite ; that is, no largest figure exists. He claims the cogent evidence is? unusually simple? . Let p be a premier and q=1 ten 2 ten 3 ten? ten p+1 ; That is, one more than the merchandise of all the whole numbers from 1 through p. The whole number Q is larger than P and is non divisible by any whole number from 2 through P, inclusive. Any one of its positive factors, other than 1, and any one of its premier factors, hence, must be larger than p. It follows that there must be a premier larger than P. Although small is known about Euclid himself, his work is known by many. Even though The Elementss is his best known work, he has written a figure of plants. Each one of his plant has provided us with a enormous sum of valuable information. Today? s modified version of his first few plants form the footing of high school direction in plane geometry.

How to Kill Creativity Essay Example

How to Kill Creativity Essay Example How to Kill Creativity Essay How to Kill Creativity Essay How_to_Kill_Creativity_www. hbrreprints. org How to Kill Creativity by Teresa M. Amabile Included with this full-text Harvard Business Review article: 1 Article Summary The Idea in Brief- the core idea The Idea in Practice- putting the idea to work 2 How to Kill Creativity 12 Further Reading A list of related materials, with annotations to guide further exploration of the article’s ideas and applications Product 98501 How to Kill Creativity The Idea in Brief If the mantra for the current business climate is Innovate or die, why do so many companies seem to be choosing the latter option? Creativity gets killed much more often than it gets supported. The problem is not that managers smother creativity intentionally- the business need for coordination and control can inadvertently undermine employees’ ability to put existing ideas together in new and useful ways. To foster an innovative workplace, you need to pay attention to employees’ expertise, creative-thinking skills, and motivation. Of these three, employees’ motivation- specifically, their intrinsic motivation, or passion for a certain kind of challenge- is the most potent lever a manager can use to boost creativity and his company’s future success. The Idea in Practice In business, it isn’t enough for an idea to be original- the idea must also be useful, appropriate, and actionable. It must somehow influence the way business gets done- for example, by significantly improving a product or service. Within every individual, creativity exists as a function of three components: 1. expertise (technical, procedural, and intellectual knowledge). The broader the expertise, the larger the intellectual space a person has to explore and solve problems. 2. creative-thinking skills. These aptitudes, shaped by an individual’s personality, determine how flexibly and imaginatively someone approaches problems. 3. motivation. Expertise and creativethinking skills provide an individual’s natural resources for creativity; motivation determines what a person will actually do. Extrinsic motivation comes from outside the individual- whether it’s the offer of a bonus or the threat of firing. Extrinsic motivation doesn’t prevent people from being creative, but in many situations it doesn’t boost their creativity either. On its own, it can’t prompt people to be passionate about their work; in fact, it can lead them to feel bribed or controlled. Intrinsic motivation, by contrast, comes from inside the individual. It’s a person’s abiding interest in certain activities or deep love of particular challenges. Employees are most creative when they are intrinsically motivated- in other words, when the work itself is motivating. It can be time consuming to try to influence an employee’s expertise or creative-thinking skills. It’s easier to affect someone’s intrinsic motivation- and the results are more immediate. Activities that enhance intrinsic motivation fall into a few general categories: challenge, freedom, resources, work-group features, supage 1 pervisory encouragement, and organizational support. Some specific recommendations: Match the right people with the right assignments, so employees are stretched but not stretched too thin. Work teams that have diverse perspectives will generate more creativity than homogenous groups. Give people freedom within the company’s goals. Tell them which mountain to climb, but let them decide how to climb it. Keep the objectives stable for a meaningful period of time- it’s hard to reach the top of a moving mountain. Allocate appropriate amounts of time and project resources. Organizations routinely kill creativity with fake deadlines- which cause distrust- and impossibly tight ones- which cause burnout. Let employees know that what they do matters. This will help them sustain their passion for the work. COPYRIGHT  © 2000 HARVARD BUSINESS SCHOOL PUBLISHING CORPORATION. ALL RIGHTS RESERVED. Keep doing what you’re doing. Or, if you want to spark innovation, rethink how you motivate, reward, and assign work to people. How to Kill Creativity by Teresa M. Amabile COPYRIGHT  © 1998 HARVARD BUSINESS SCHOOL PUBLISHING CORPORATION. ALL RIGHTS RESERVED. When I consider all the organizations I have studied and worked with over the past 22 years, there can be no doubt: creativity gets killed much more often than it gets supported. For the most part, this isn’t because managers have a vendetta against creativity. On the contrary, most believe in the value of new and useful ideas. However, creativity is undermined unintentionally every day in work environments that were established- for entirely good reasons- to maximize business imperatives such as coordination, productivity, and control. Managers cannot be expected to ignore business imperatives, of course. But in working toward these imperatives, they may be inadvertently designing organizations that systematically crush creativity. My research shows that it is possible to develop the best of both worlds: organizations in which business imperatives are attended to and creativity ? urishes. Building such organizations, however, requires us to understand precisely what kinds of managerial practices foster creativity- and which kill it. What Is Business Creativity? We tend to associate creativity with the arts and to think of it as the expression of highly original ideas. Think of how Pablo Picasso reinvented the conventions of painting or how William Faulkner rede? ned ? ction. In business, originality isnâ⠂¬â„¢t enough. To be creative, an idea must also be appropriate- useful and actionable. It must somehow in? ence the way business gets done- by improving a product, for instance, or by opening up a new way to approach a process. The associations made between creativity and artistic originality often lead to confusion about the appropriate place of creativity in business organizations. In seminars, I’ve asked managers if there is any place they don’t want creativity in their companies. About 80% of the time, they answer, â€Å"Accounting. † Creativity, they seem to believe, belongs just in marketing and RD. But creativity can bene? t every function of an organization. Think of activity-based accounting. It was an invention- an accounting invention- and its impact on business harvard business review september–october 1998 page 2 How to Kill Creativity Teresa M. Amabile is the M. B. A. Class of 1954 Professor of Business Administration and senior associate dean for research at the Harvard Business School in Boston, Massachusetts. has been positive and profound. Along with fearing creativity in the accounting department- or really, in any unit that involves systematic processes or legal regulations- many managers also hold a rather narrow view of the creative process. To them, creativity refers to the way people think- how inventively they approach problems, for instance. Indeed, thinking imaginatively is one part of creativity, but two others are also essential: expertise and motivation. Expertise encompasses everything that a person knows and can do in the broad domain of his or her work. Take, for example, a scientist at a pharmaceutical company who is charged with developing a blood-clotting drug for hemophiliacs. Her expertise includes her basic talent for thinking scienti? ally as well as all the knowledge and technical abilities that she has in the ? elds of medicine, chemistry, biology, and biochemistry. It doesn’t matter how she acquired this expertise, whether through formal education, practical experience, or interaction with other professionals. Regardless, her expertise constitutes what the Nobel laureate, economist, and psychologist Herb Simon calls her â€Å"network of possible wanderings,† the intellectual space that she uses to explore and solve problems. The larger this space, the better. Creative thinking, as noted above, refers to how people approach problems and solutions- their capacity to put existing ideas together in new combinations. The skill itself depends quite a bit on personality as well as on how a person thinks and works. The pharmaceutical scientist, for example, will be more creative if her personality is such that she feels comfortable disagreeing with others- that is, if she naturally tries out solutions that depart from the status quo. Her creativity will be enhanced further if she habitually turns problems upside down and combines knowledge from seemingly disparate ? lds. For example, she might look to botany to help ? nd solutions to the hemophilia problem, using lessons from the vascular systems of plants to spark insights about bleeding in humans. As for work style, the scientist will be more likely to achieve creative success if she perseveres through a dif? cult problem. Indeed, plodding through long dry spells of tedious experimentation inc reases the probability of truly creative breakthroughs. So, too, does a work style that uses â€Å"incubation,† the ability to set aside dif? ult problems temporarily, work on something else, and then return later with a fresh perspective. Expertise and creative thinking are an individual’s raw materials- his or her natural resources, if you will. But a third factor- motivation- determines what people will actually do. The scientist can have outstanding educational credentials and a great facility in generating new perspectives to old problems. But if she lacks the motivation to do a particular job, she simply won’t do it; her expertise and creative thinking will either go untapped or be applied to something else. My research has repeatedly demonstrated, however, that all forms of motivation do not have the same impact on creativity. In fact, it shows that there are two types of motivation- extrinsic and intrinsic, the latter being far more essential for creativity. But let’s explore extrinsic ? rst, because it is often at the root of creativity problems in business. Extrinsic motivation comes from outside a person- whether the motivation is a carrot or a stick. If the scientist’s boss promises to reward her ? nancially should the blood-clotting project succeed, or if he threatens to ? e her should it fail, she will certainly be motivated to ? nd a solution. But this sort of motivation â€Å"makes† the scientist do her job in order to get something desirable or avoid something painful. Obviously, the most common extrinsic motivator managers use is money, which doesn’t necessarily stop people from being creative. But in many situations, it doesn’t help either , especially when it leads people to feel that they are being bribed or controlled. More important, money by itself doesn’t make employees passionate about their jobs. A cash reward can’t magically prompt people to ? d their work interesting if in their hearts they feel it is dull. But passion and interest- a person’s internal desire to do something- are what intrinsic motivation is all about. For instance, the scientist in our example would be intrinsically motivated if her work on the blood-clotting drug was sparked by an intense interest in hemophilia, a personal sense of challenge, or a drive to crack a problem that no one else has been able to solve. When people are intrinsically motivated, they engage in their work for the challenge and enjoyment of it. The work itself is motivating. In fact, in our creativity research, my students, colleagues, and I have found so harvard business review september–october 1998 page 3 How to Kill Creativity much evidence in favor of intrinsic motivation that we have articulated what we call the Intrinsic Motivation Principle of Creativity: people will be most creative when they feel motivated primarily by the interest, satisfaction, and challenge of the work itself- and not by external pressures. (For more on the differences between intrinsic and extrinsic motivation, see the insert â€Å"The Creativity Maze. †) Managing Creativity Managers can in? ence all three components of creativity: expertise, creative-thinking skills, and motivation. But the fact is that the ? rst two are more dif? cult and time consuming to in? uence than motivation. Yes, regular scienti? c seminars and professional conferences will undoubtedly add to the scientist’s expertise in hemophilia and related ? elds. And training in brainsto rming, problem solving, and so-called lateral thinking might give her some new tools to use in tackling the job. But the time and money involved in broadening her knowledge and expanding her creative-thinking skills would be great. By contrast, our research has shown that intrinsic motivation can be increased considerably by even subtle changes in an organization’s environment. That is not to say that managers should give up on improving expertise and creative-thinking skills. But when it comes to pulling levers, they should know that those that affect intrinsic motivation will yield more immediate results. More speci? cally, then, what managerial practices affect creativity? They fall into six general categories: challenge, freedom, resources, work-group features, supervisory encouragement, and organizational support. These categories have emerged from more than two decades of research focused primarily on one question: What are the links between work environment and creativity? We have used three methodologies: experiments, interviews, and surveys. While controlled experiments allowed us to identify causal links, the interviews and surveys gave us insight into the richness and complexity of creativity within business organizations. We have studied dozens of companies and, within those, hundreds of individuals and teams. In each research initiative, our goal has been to identify which managerial practices are de? itively linked to positive creative outcomes and which are not. For instance, in one project, we interviewed dozens of employees from a wide variety of companies and industries and asked them to describe in detail the most and least creative events in their careers. We then closely studied the transcripts of those interviews, noting the managerial practices- or other patterns- that appear ed repeatedly in the successful creativity stories and, conversely, in those that were unsuccessful. Our research has also been bolstered by a quantitative survey instrument The Creativity Maze To understand the differences between extrinsic and intrinsic motivation, imagine a business problem as a maze. One person might be motivated to make it through the maze as quickly and safely as possible in order to get a tangible reward, such as money- the same way a mouse would rush through for a piece of cheese. This person would look for the simplest, most straightforward path and then take it. In fact, if he is in a real rush to get that reward, he might just take the most beaten path and solve the problem exactly as it has been solved before. That approach, based on xtrinsic motivation, will indeed get him out of the maze. But the solution that arises from the process is likely to be unimaginative. It won’t provide new insights about the nature of the problem or reveal new ways of looking at it. The rote solution probably won’t move the business forward. Another person might have a different approach to the maze. She might actually ? nd the process of wandering ar ound the different paths- the challenge and exploration itself- fun and intriguing. No doubt, this journey will take longer and include mistakes, because any maze- any truly complex problem- has many more dead ends than exits. But when the intrinsically motivated person ? nally does ? nd a way out of the maze- a solution- it very likely will be more interesting than the rote algorithm. It will be more creative. There is abundant evidence of strong intrinsic motivation in the stories of widely recognized creative people. When asked what makes the difference between creative scientists and those who are less creative, the Nobel prize–winning physicist Arthur Schawlow said, â€Å"The labor-oflove aspect is important. The most successful scientists often are not the most talented, but the ones who are just impelled by curiosity. They’ve got to know what the answer is. † Albert Einstein talked about intrinsic motivation as â€Å"the enjoyment of seeing and searching. † The novelist John Irving, in discussing the very long hours he put into his writing, said, â€Å"The unspoken factor is love. The reason I can work so hard at my writing is that it’s not work for me. † And Michael Jordan, perhaps the most creative basketball player ever, had a â€Å"love of the game† clause inserted into his contract; he insisted that he be free to play pick-up basketball games any time he wished. Creative people are rarely superstars like Michael Jordan. Indeed, most of the creative work done in the business world today gets done by people whose names will never be recorded in history books. They are people with expertise, good creative-thinking skills, and high levels of intrinsic motivation. And just as important, they work in organizations where managers consciously build environments that support these characteristics instead of destroying them. harvard business review september–october 1998 page 4 How to Kill Creativity Deciding how much time and money to give to a team or project is a judgment call that can either support or kill creativity. called KEYS. Taken by employees at any level of an organization, KEYS consists of 78 questions used to assess various work-place conditions, such as the level of support for creativity from top-level managers or the organization’s approach to evaluation. Taking the six categories that have emerged from our research in turn, let’s explore what managers can do to enhance creativity- and what often happens instead. Again, it is important to note that creativity-killing practices are seldom the work of lone managers. Such practices usually are systemic- so widespread that they are rarely questioned. Challenge. Of all the things managers can do to stimulate creativity, perhaps the most ef? cacious is the deceptively simple task of matching people with the right assignments. Managers can match people with jobs that play to their expertise and their skills in creative thinking, and ignite intrinsic motivation. Perfect matches stretch employees’ abilities. The amount of stretch, however, is crucial: not so little that they feel bored but not so much that they feel overwhelmed and threatened by a loss of control. Making a good match requires that managers possess rich and detailed information about their employees and the available assignments. Such information is often dif? cult and time consuming to gather. Perhaps that’s why good matches are so rarely made. In fact, one of the most common ways managers kill creativity is by not trying to obtain the information necessary to make good connections between people and jobs. Instead, something of a shotgun wedding occurs. The most eligible employee is wed to the most eligible- that is, the most urgent and open- assignment. Often, the results are predictably unsatisfactory for all involved. Freedom. When it comes to granting freedom, the key to creativity is giving people autonomy concerning the means- that is, concerning process- but not necessarily the ends. People will be more creative, in other words, if you give them freedom to decide how to climb a particular mountain. You needn’t let them choose which mountain to climb. In fact, clearly speci? ed strategic goals often enhance people’s creativity. I’m not making the case that managers should leave their subordinates entirely out of goal- or agenda-setting discussions. But they should understand that inclusion in those dis- cussions will not necessarily enhance creative output and certainly will not be suf? cient to do so. It is far more important that whoever sets the goals also makes them clear to the organization and that these goals remain stable for a meaningful period of time. It is dif? ult, if not impossible, to work creatively toward a target if it keeps moving. Autonomy around process fosters creativity because giving people freedom in how they approach their work heightens their intrinsic motivation and sense of ownership. Freedom about process also allows people to approach problems in ways that make the most of their expertise and their creative-thinking skills. The task may end up being a stretch for them, but they can use their strengths to meet the challenge. How do executives mismanage freedom? There are two common ways. First, managers tend to change goals frequently or fail to de? ne them clearly. Employees may have freedom around process, but if they don’t know where they are headed, such freedom is pointless. And second, some managers fall short on this dimension by granting autonomy in name only. They claim that employees are â€Å"empowered† to explore the maze as they search for solutions but, in fact, the process is proscribed. Employees diverge at their own risk. Resources. The two main resources that affect creativity are time and money. Managers need to allot these resources carefully. Like matching people with the right assignments, deciding how much time and money to give to a team or project is a sophisticated judgment call that can either support or kill creativity. Consider time. Under some circumstances, time pressure can heighten creativity. Say, for instance, that a competitor is about to launch a great product at a lower price than your offering or that society faces a serious problem and desperately needs a solution- such as an AIDS vaccine. In such situations, both the time crunch and the importance of the work legitimately make people feel that they must rush. Indeed, cases like these would be apt to increase intrinsic motivation by increasing the sense of challenge. Organizations routinely kill creativity with fake deadlines or impossibly tight ones. The former create distrust and the latter cause burnout. In either case, people feel overcontrolled and unful? lled- which invariably damages motivation. Moreover, creativity often harvard business review september–october 1998 page 5 How to Kill Creativity In many companies, new ideas are met not with open minds but with time-consuming layers of evaluation. takes time. It can be slow going to explore new concepts, put together unique solutions, and wander through the maze. Managers who do not allow time for exploration or do not schedule in incubation periods are unwittingly standing in the way of the creative process. When it comes to project resources, again managers must make a ? t. They must determine the funding, people, and other resources that a team legitimately needs to complete an assignment- and they must know how much the organization can legitimately afford to allocate to the assignment. Then they must strike a compromise. Interestingly, adding more resources above a â€Å"threshold of suf? ciency† does not boost creativity. Below that threshold, however, a restriction of resources can dampen creativity. Unfortunately, many managers don’t realize this and therefore often make another mistake. They keep resources tight, which pushes people to channel their creativity into ? nding additional resources, not in actually developing new products or services. Another resource that is misunderstood when it comes to creativity is physical space. It is almost conventional wisdom that creative teams need open, comfortable of? es. Such an atmosphere won’t hurt creativity, and it may even help, but it is not nearly as important as other managerial initiatives that in? uence creativity. Indeed, a problem we have seen time and time again is managers paying attention to creating the â€Å"right† physical space at the expense of more high-impact actions, such as matching people to the right assignments and granting freedom around work processes. Work-Group Features. If you want to build teams that come up with creative ideas, you must pay careful attention to the design of such teams. That is, you must create mutually supportive groups with a diversity of perspectives and backgrounds. Why? Because when teams comprise people with various intellectual foundations and approaches to work- that is, different expertise and creative thinking styles- ideas often combine and combust in exciting and useful ways. Diversity, however, is only a starting point. Managers must also make sure that the teams they put together have three other features. First, the members must share excitement over the team’s goal. Second, members must display a willingness to help their teammates through dif? ult periods and setbacks. And third, every member must recognize the unique knowledge and perspective that other members bring to the table. These factors enhance not only intrinsic motivation but also expertise and creative-thinking skills. Again, creating such teams requires managers to have a deep understanding of their people. They must be able to assess them not just for their kno wledge but for their attitudes about potential fellow team members and the collaborative process, for their problem-solving styles, and for their motivational hot buttons. Putting together a team with just the right chemistry- just the right level of diversity and supportiveness- can be dif? cult, but our research shows how powerful it can be. It follows, then, that one common way managers kill creativity is by assembling homogeneous teams. The lure to do so is great. Homogeneous teams often reach â€Å"solutions† more quickly and with less friction along the way. These teams often report high morale, too. But homogeneous teams do little to enhance expertise and creative thinking. Everyone comes to the table with a similar mind-set. They leave with the same. Supervisory Encouragement. Most managers are extremely busy. They are under pressure for results. It is therefore easy for them to let praise for creative efforts- not just creative successes but unsuccessful efforts, too- fall by the wayside. One very simple step managers can take to foster creativity is to not let that happen. The connection to intrinsic motivation here is clear. Certainly, people can ? nd their work interesting or exciting without a cheering section- for some period of time. But to sustain such passion, most people need to feel as if their work matters to the organization or to some important group of people. Otherwise, they might as well do their work at home and for their own personal gain. Managers in successful, creative organizations rarely offer speci? c extrinsic rewards for particular outcomes. However, they freely and generously recognize creative work by individuals and teams- often before the ultimate commercial impact of those efforts is known. By contrast, managers who kill creativity do so either by failing to acknowledge innovative efforts or by greeting them with skepticism. In many companies, for instance, new ideas are met not with open minds but with timeconsuming layers of evaluation- or even with arvard business review september–october 1998 page 6 How to Kill Creativity harsh criticism. When someone suggests a new product or process, senior managers take weeks to respond. Or they put that person through an excruciating critique. Not every new idea is worthy of consideration, of course, but in many organizations, managers habitually demonstrate a reaction that damages creativity. They look for reasons to not use a new idea instead of searching for reasons to explore it further. An interesting psychological dynamic underlies this phenomenon. Our research shows that people believe that they will appear smarter to their bosses if they are more critical- and it often works. In many organizations, it is professionally rewarding to react critically to new ideas. Unfortunately, this sort of negativity bias can have severe consequences for the creativity of those being evaluated. How? First, a culture of evaluation leads people to focus on the external rewards and punishments associated with their output, thus increasing the presence of extrinsic motivation and its potentially negative effects on intrinsic motivation. Second, such a culture creates a climate of fear, which again undermines intrinsic motivation. Finally, negativity also shows up in how managers treat people whose ideas don’t pan out: often, they are terminated or otherwise warehoused within the organization. Of course, ultimately, ideas do need to work; remember that creative ideas in business must be new and useful. The dilemma is that you can’t possibly know beforehand which ideas will pan out. Furthermore, dead ends can sometimes be very enlightening. In many business situations, nowing what doesn’t work can be as useful as knowing what does. But if people do not perceive any â€Å"failure value† for projects that ultimately do not achieve commercial success, they’ll become less and less likely to experiment, explore, and connect with their work on a personal level. Their intrinsic motivation will evaporate. Supervisory encouragement comes in other forms besides rewards and punishment. Another way managers can support creativity is to serve as role models, persevering through tough problems as well as encouraging collaboration and communication within the team. Such behavior enhances all three components of the creative process, and it has the added virtue of being a high-impact practice that a single manager can take on his or her own. It is better still when all managers in an organization serve as role models for the attitudes and behaviors that encourage and nurture creativity. Organizational Support. Encouragement from supervisors certainly fosters creativity, but creativity is truly enhanced when the entire organization supports it. Such support is the job of an organization’s leaders, who must put in place appropriate systems or procedures and emphasize values that make it clear that creative efforts are a top priority. For example, creativity-supporting organizations consistently reward creativity, but they avoid using money to â€Å"bribe† people to come up with innovative ideas. Because monetary rewards make people feel as if they are being controlled, such a tactic probably won’t work. At the same time, not providing suf? cient recognition and rewards for creativity can spawn negative feelings within an organization. People can feel used, or at the least under-appreciated, for their creative efforts. And it is rare to ? nd the energy and passion of intrinsic motivation coupled with resentment. Most important, an organization’s leaders can support creativity by mandating information sharing and collaboration and by ensuring that political problems do not fester. Information sharing and collaboration support all three components of creativity. Take expertise. The more often people exchange ideas and data by working together, the more knowledge they will have. The same dynamic can be said for creative thinking. In fact, one way to enhance the creative thinking of employees is to expose them to various approaches to problem solving. With the exception of hardened misanthropes, information sharing and collaboration heighten peoples’ enjoyment of work and thus their intrinsic motivation. Whether or not you are seeking to enhance creativity, it is probably never a good idea to let political problems fester in an organizational setting. In? ghting, politicking, and gossip are particularly damaging to creativity because they take peoples’ attention away from work. That sense of mutual purpose and excitement so central to intrinsic motivation invariably lessens when people are cliquish or at war with one another. Indeed, our research suggests that intrinsic motivation increases when people are aware that those around them are excited by their jobs. When political problems abound, people feel that their work is threatened by harvard business review september–october 1998 page 7 How to Kill Creativity others’ agendas. Finally, politicking also undermines expertise. The reason? Politics get in the way of open communication, obstructing the ? ow of information from point A to point B. Knowledge stays put and expertise suffers. From the Individual to the Organization Can executives build entire organizations that support creativity? The answer is yes. Consider the results of an intensive research project we recently completed called the Team Events Study. Over the course of two years, we studied more than two dozen teams in seven companies across three industries: high tech, consumer products, and chemicals. By following each team every day through the entire course of a creative project, we had a window into the details of what happened as the project progressed- or failed to progress, as the case may be. We did this through daily con? dential e-mail reports from every person on each of the teams. At the end of each project, and at several points along the way, we used con? dential reports from company experts and from team members to assess the level of creativity used in problem solving as well as the overall success of the project. As might be expected, the teams and the companies varied widely in how successful they were at producing creative work. One organization, which I will call Chemical Central Research, seemed to be a veritable hotbed of creativity. Chemical Central supplied its parent organization with new formulations for a wide variety of industrial and consumer products. In many respects, however, members of Chemical Central’s development teams were unremarkable. They were well educated, but no more so than people in many other companies we had studied. The company was doing well ? nancially, but not enormously THE THREE COMPONENTS OF CREATIVITY Expertise is, in a word, knowledge- technical, procedural, and intellectual. Expertise Creativity Creativethinking skills Motivation harvard business review september–october 1998 page 8 How to Kill Creativity Some creative ideas soar; others sink. To enhance creativity, there should always be a safety net below the people who make suggestions. better than most other companies. What seemed to distinguish this organization was the quality of leadership at both the topmanagement level and the team level. The way managers formed teams, communicated with them, and supported their work enabled them to establish an organization in which creativity was continually stimulated. We saw managers making excellent matches between people and assignments again and again at Chemical Central. On occasion, team members were initially unsure of whether they were up to the challenge they were given. Almost invariably, though, they found their passion and interest growing through a deep involvement in the work. Their managers knew to match them with jobs that had them working at the top of their competency levels, pushing the frontiers of their skills, and developing new competencies. But managers were careful not to allow too big a gap between employees’ assignments and their abilities. Moreover, managers at Chemical Central collaborated with the teams from the outset of a project to clarify goals. The ? al goals, however, were set by the managers. Then, at the day-to-day operational level, the teams were given a great deal of autonomy to make their own decisions about product development. Throughout the project, the teams’ leaders and top-level managers periodically checked to see that work was directed toward the overall goals. But people were given real free dom around the implementation of the goals. As for work-group design, every Chemical Central team, though relatively small (between four and nine members), included members of diverse professional and ethnic backgrounds. Occasionally, that diversity led to communication dif? ulties. But more often, it sparked new insights and allowed the teams to come up with a wider variety of ways to accomplish their goals. One team, for example, was responsible for devising a new way to make a major ingredient for one of the company’s most important products. Because managers at Chemical Central had worked consciously to create a diverse team, it happened that one member had both a legal and a technical background. This person realized that the team might well be able to patent its core idea, giving the company a clear advantage in a new market. Because team members were mutually supportive, that ember was willing and eager to work closely with the inventor. Together, these individuals hel ped the team navigate its way through the patent application process. The team was successful and had fun along the way. Supervisory encouragement and organizational support were also widespread at Chemical Central. For instance, a member of one team received a company award as an outstanding scientist even though, along the way, he had experienced many failures as well as successes. At one point, after spending a great deal of time on one experiment, he told us, â€Å"All I came up with was a pot of junk. Still, the company did not punish or warehouse him because of a creative effort that had failed. Instead, he was publicly lauded for his consistently creative work. Finally, Chemical Central’s leaders did much to encourage teams to seek support from all units within their divisions and to encourage collaboration across all quarters. The general manager of the research unit himself set an example, offering both strategic and technical ideas whenever teams approached him for help. Indeed, he explicitly made cross-team support a priority among top scientists in the organization. As a result, such support was expected and recognized. For example, one team was about to test a new formulation for one of the company’s major products. Because the team was small, it had to rely on a materials-analysis group within the organization to help conduct the tests. The analysis group not only helped out but also set aside generous blocks of time during the week before testing to help the team understand the nature and limits of the information the group would provide, when they would have it, and what they would need from the team to support them effectively. Members of the team were con? dent that they could rely on the materials-analysis group throughout the process, and the trials went well- despite the usual technical dif? culties encountered in such testing. By contrast, consider what we observed at another company in our study, a consumer products company we’ll call National Houseware Products. For years, National had been well known for its innovation. But recently, the company had been restructured to accommodate a major growth spurt, and many senior managers had been ? red or harvard business review september–october 1998 age 9 How to Kill Creativity transferred. National’s work environment had undergone drastic changes. At the same time, new product successes and new business ideas seemed to be slowing to a trickle. Interestingly, the daily reports of the Team Events Study revealed that virtually all creativity killers were present. Managers undermined autonomy by continually changing goals and interfering with processes. At one quarterly review meeting, for example, four priorities that had been de? ned by management at the previous quarterly review meeting were not even mentioned. In another instance, a product that had been identi? ed as the team’s number one project was suddenly dropped without explanation. Resources were similarly mismanaged. For instance, management perennially put teams under severe and seemingly arbitrary time and resource constraints. At ? rst, many team members were energized by the ? re-? ghting atmosphere. They threw themselves into their work and rallied. But after a few months, their verve had diminished, especially because the pressures had proved meaningless. But perhaps National’s managers damaged creativity most with their approach to evaluation. They were routinely critical of new suggestions. One employee told us that he was afraid to tell his managers about some radical ideas that he had developed to grow his area of the business. The employee was wildly enthusiastic about the potential for his ideas but ultimately didn’t mention them to any of his bosses. He wondered why he should bother talking about new ideas when each one was studied for all its ? aws instead of its potential. Suggested Readings Teresa M. Amabile, Creativity in Context: Update to the Social Psychology of Creativity (Boulder, Colo. : Westview Press, 1996). Teresa M. Amabile, Robert Burnside, and Stanley S. Gryskiewicz, User’s Manual for KEYS: Assessing the Climate for Creativity (Greensboro, N. C. : Center for Creative Leadership, 1998). Rosabeth Moss Kanter, Frontiers of Management (Boston, Mass. : Harvard Business School Press, 1997). Through its actions, management had too often sent the message that any big ideas about how to change the status quo would be carefully scrutinized. Those individuals brave enough to suggest new ideas had to endure long- often nasty- meetings, replete with suspicious questions. In another example, when a team took a new competitive pricing program to the boss, it was told that a discussion of the idea would have to wait another month. One exasperated team member noted, â€Å"We analyze so long, we’ve lost the business before we’ve taken any action at all! † Yet another National team had put in particularly long hours over a period of several weeks to create a radically improved version of a major product. The team succeeded in bringing out the product on time and in budget, and it garnered promising market response. But management acted as if everything were business as usual, providing no recognition or reward to the team. A couple of months later, when we visited the team to report the results of our study, we learned that the team leader had just accepted a job from a smaller competitor. He con? ded that although he felt that the opportunities for advancement and ultimate visibility may have been greater at National, he believed his work and his ideas would be valued more highly somewhere else. And ? nally, the managers at National allowed political problems to fester. Consider the time a National team came up with a great idea to save money in manufacturing a new product- which was especially urgent because a competitor had just come out with a similar product at a lower price. The plan was nixed. As a matter of â€Å"policy†- a code word for long-held allegiances and rivalries within the company- the manufacturing division wouldn’t allow it. One team member commented, â€Å"If facts and ? gures instead of politics reigned supreme, this would be a no-brainer. There are no de? able cost savings from running the products where they do, and there is no counterproposal on how to save the money another way. It’s just ‘No! ’ because this is the way they want it. † Great Rewards and Risks The important lesson of the National and Chemical Central stories is that fostering creativity is in the hands of managers as they harvard business revie w september–october 1998 page 10 How to Kill Creativity Fostering creativity often requires that managers radically change how they build and interact with work groups. think about, design, and establish the work environment. Creativity often requires that managers radically change the ways in which they build and interact with work groups. In many respects, it calls for a conscious culture change. But it can be done, and the rewards can be great. The risks of not doing so may be even greater. When creativity is killed, an organization loses a potent competitive weapon: new ideas. It can also lose the energy and commitment of its people. Indeed, in all my years of research into creativity, perhaps the most dif? cult part has been hearing people complain that they feel sti? d, frustrated, and shut down by their organizations. As one team member at National told us, â€Å"By the time I get home every day, I feel physically, emotionally, and intellectually drained. Help! † Even if organizations seemed trapped in organizational ecosystems that kill creativity- as in the case of National Houseware Products- it is still possible to effect widespread change. Consider a recent transformation at Procter G amble. Once a hotbed of creativity, PG had in recent years seen the number of its product innovations decline signi? cantly. In response, the company established Corporate New Ventures (CNV), a small cross-functional team that embodies many of the creativity-enhancing practices described in this article. In terms of challenge, for instance, members of the CNV team were allowed to elect themselves. How better to make sure someone is intrinsically motivated for an assignment than to ask for volunteers? Building a team from volunteers, it should be noted, was a major departure from standard PG procedures. Members of the CNV team also were given a clear, challenging strategic goal: to invent radical new roducts that would build the company’s future. Again departing from typical PG practices, the team was given enormous latitude around how, when, and where they approached their work. The list of how CNV broke with PG’s creativity-killing practices is a long one. On nearly every creativity-support dimension in the KEYS work-environment survey, CNV scored higher than national norms and higher than t he pre-CNV environment at PG. But more important than the particulars is the question: Has the changed environment resulted in more creative work? Undeniably so, and the evidence is convincing. In the three years since its inception, CNV has handed off 11 projects to the business sectors for execution. And as of early 1998, those products were beginning to ? ow out of the pipeline. The ?rst product, designed to provide portable heat for several hours’ relief of minor pain, was already in test marketing. And six other products were slated to go to test market within a year. Not surprisingly, given CNV’s success, PG is beginning to expand both the size and the scope of its CNV venture. Even if you believe that your organization fosters creativity, take a hard look for creativity killers. Some of them may be ? urishing in a dark corner- or even in the light. But rooting out creativity-killing behaviors isn’t enough. You have to make a conscious effort to support creativity. The result can be a truly innovative company where creativity doesn’t just survive but actually thrives. Reprint 98501 To order, see the next page or call 800-988-0886 or 617-783 -7500 or go to www. hbrreprints. org harvard business review september–october 1998 page 11 How to Kill Creativity Further Reading ARTICLES One More Time: How Do You Motivate Employees? by Frederick Herzberg Harvard Business Review September–October 1987 Product no. 88X Originally published in the January–February 1968 issue of HBR, this classic article offers enduring insights into the psychology of motivation, providing further explanation for why intrinsic motivation is more powerful than extrinsic. In common-sense, often humorous terms, Herzberg explores myths of motivation, outlines steps for job enrichment, and discusses the merits of various forms of the KITA (â€Å"kick in the ass†). This article includes an update by the author. Job Sculpting: The Art of Retaining Your Best People by Timothy Butler and James Waldroop Harvard Business Review September–October 1999 Product no. 282 Butler and Waldroop demonstrate how intrinsic motivation can help companies address one of the thorniest problems in today’s economy: retaining top talent. Many managers are dangerously unfamiliar with the psychology of work satisfaction, which holds that employees are the most engaged when their responsibilities coincide with their â€Å"deeply embedded life interests. † These interests- the authors identify eight- don’t determine what people are good at; they drive the activities that make people happy. Once an employee’s life interests are known, manager and employee can customize work responsibilities through job sculpting- matching the employee to a job that allows her deeply embedded life interests to be expressed. BOOK Harvard Business Review on Breakthrough Thinking Harvard Business School Press 1999 Product no. 181X Amabile’s â€Å"How to Kill Creativity† is one of the eight articles in this collection. Other topics explored include identifying customer needs that customers themselves have not yet recognized, promoting new understanding of the competitive environment, and fostering innovation. Another article, â€Å"A Film Director’s Approach to Managing Creativity,† is an account of the filming of Night Moves. It describes how director Arthur Penn successfully managed stress, conflict, motivation, and other elements familiar to businesses. To Order For Harvard Business Review reprints and subscriptions, call 800-988-0886 or 617-783-7500. Go to www. hbrreprints. org For customized and quantity orders of Harvard Business Review article reprints, call 617-783-7626, or e-mai [emailprotected] harvard. edu page 12