Smoking statistics in Great Britain Essay Example | Topics and Well Written Essays - 1000 words

Smoking statistics in Great Britain - Essay Example Smoking is incontestably one of the dangerous habits that impose great danger to both smokers and non-smokers. The issue of smoking is a very important matter that needs keen observation due to its worldwide effect. Apart from health problems, smoking also affects the economy of the countries since there are several great hardworking citizens who regularly lost their lives due to smoking. Most governments in the world set big budgets to fight smoking habits instead of using the funds in other sectors that can improve the general lifestyles of their citizens. It is therefore paramount to address smoking and other smoking related issues, as we tend to head to a smoking free world with an intention of saving our lives and economies. This piece of writing features the burning issue of smoking in UK. According to Cancer research in UK, tobacco was initially introduced in UK in the 16th century where it was being smoked in pipes, which later turned to snuff taking and cigar smoking. There has been a record increase in smokers among men since its introduction especially in 1945. Smoking in UK involves both men and women but the number of men smokers are more compared to woman. Smoking is not a common habit among women as compared to men. According to Health and Social Care Information Centre (HSCIC) which gave statistical report regarding smoking such as prevalence, habits , attitudes, NHS costs and deaths from smoking related diseases current smokers smoked average of 12.7 cigarettes per day where 20% of the smokers were adults who were aged 16 and over. The report also found that 25% of pupils aged 11 to 15 had tried smoking where as 5% were regular smokers. The number of adult smokers in UK reduced from 39% in 1980 to 20% in 2010 where those aged 20-34 reported the highest prevalence rate of about 27% and adults aged 60 and above reported the lowest prevalence of 13% in 2010. The majority of smokers begin smoking at teenage and the addiction intensifies when they become adults and at this stage, it becomes very difficult to quit the habit. People smoke for different reasons such as the need for adolescent to look mature, peer influence and finally to try out. The fact that most old people such as parents and relat ives smoke, lures the children also to smoke so that they can also look mature. Children may at times be involved in smoking if they see their friends and their peers smoke perhaps to be accepted. People have the tendency of experimenting prohibited things so that they can actually find out the reason for it being outlawed. Parents and the government normally prohibit smoking among children hence making the children sneak away and smoke. It is however interesting to note that grown-ups smoke for some reasons different from the children such as relieving them from stress and pressures due to economic or personal problems. Adults feel that smoking make them feel relaxed or boost their energy as they undergo difficulties such as family burdens or relationship challenges. Adolescent stage is the right age of ascertaining whether a child will be a heavy smoker or not by paying much attention on their behaviors. Smoking vs Demography Marital status according to the HSCIC, plays a signific ant role in smoking where most smokers are reported to be either divorced, separated or unmarried. However, single people are not likely to be chain smokers as it is in the case of the separated and the divorced individuals who take most of their time smoking due to frustrations. The married people are said to be less likely to smoke compared to the unmarried and widowed individuals. Smoking Vs Socioeconomic It is fascinating that the degree of smoking also depends on socioeconomic class where the people in the manual and routine groups were found to comprise of heavy smokers compared to people in the management and specialized groups. Most people in the higher socioeconomic cla

Marketing Products and Services in a Dynamic Environment Assignment

Marketing Products and Services in a Dynamic Environment - Assignment Example The author makes special references to the claims advanced by Adam Smith and other prominent economic thinkers as understood within the domain of goods-dominant logic with the intention of exposing its fundamental strengths and weaknesses as compared with the service-dominant logic. The theoretical foundation of the article marks a determined departure from the conventional systems of through that privilege the goods-dominant logic as a key determinant of economic exchange. The author affirms that all kinds of exchange are based on service (Vargo, Maglio, & Akaka, 2008, p. 145). This marked departure from the conventions of goods-based logic promotes a sense of disharmony between traditional accounting practices and the modern economic assumptions that emphasize more on the need to develop value-based systems. In essence, the author makes the claim that all forms of transactions are ultimately reducible to service for the benefit of the end users. The author explores the dimensions of service science from the multiple dimensions that include the relationship between production and utilization of the value. Other relationships explored include the product and process in light of their relationship with the generation of value. The study trains some significant focus on the connection between transaction and relationship between the transacting parties. The difference between the goods-dominant logic and the service-dominant logic as understood within the framework of this study involves a range of options that significantly connect within the element of productivity (Vargo, Maglio, & Akaka, 2008, p. 147). The goods-dominant logic operates under a system that offers unique advantages to the end user. Theoretically, this concept is built on the assumption that the roles of the producer and that of the end user are clearly distinct. In line with this ideal, the consumer primarily plays the role of utilizing the value. The value o f a good

The Effectiveness Of Subliminal Mind Messaging

The Effectiveness Of Subliminal Mind Messaging Subliminal stimuli, contrary to supraliminal stimuli or above threshold, are any sensory stimuli below an individuals absolute threshold for conscious perception. Visual stimuli may be quickly flashed before an individual may process them, or flashed and then masked, thereby interrupting the processing. Audio stimuli may be played below audible volumes, similarly masked by other stimuli, or recorded backwards in a process called backmasking. Introduced in 1897, the concept became controversial as subliminal messages in 1957 when marketing practitioners claimed its potential use in persuasion. Subsequent scientific research, however, has been unable to replicate most of these marketing claims beyond a mere placebo effect. Used in advertising to create familiarity with new products, subliminal messages make familiarity into a preference for the new products. Johan Karremans suggests that subliminal messages have an effect when the messages are goal-relevant. Karremans did a study assessing whether subliminal priming of a brand name of a drink would affect a persons choice of drink, and whether this effect is caused by the individuals feelings of being thirsty. His study sought to ascertain whether or not subliminally priming or preparing the participant with text or an image without being aware of it would make the partaker more familiar with the product. Half of his participants were subliminally primed with Lipton Ice (Lipton Ice was repeatedly flashed on a computer screen for 24 milliseconds), while the other half was primed with a control that did not consist of a brand. In his study he found that subliminally priming a brand name of a drink (Lipton Ice) made those who were thirsty want the Lipton Ice. Those who were not thirsty, however, were not influenced by the subliminal message since their goal was not to quench their thirst. Subconscious stimuli by single words are well known to be modestly effective in changing human behaviour or emotions. This is evident by a pictorial advertisement that portrays four different types of rum. The phrase U Buy was embedded somewhere, backwards in the picture. A study was done to test the effectiveness of the alcohol ad. Before the study, participants were able to try to identify any hidden message in the ad, none found any. In the end, the study showed 80% of the subjects unconsciously perceived the backward message, meaning they showed a preference for that particular rum. Though many things can be perceived from subliminal messages, only a few words or a single image of unconscious signals can be internalized. As only a word or image can be effectively perceived, the simpler features of that image or word will cause a change in behaviour (i.e., beef is related to hunger). This was demonstrated by Byrne in 1959. The word beef was flashed for several, five millisecond intervals during a sixteen-minute movie to experimental subjects, while nothing was flashed to control subjects. Neither the experimental nor control subjects reported for a higher preference for beef sandwiches when given a list of five different foods, but the experimental subjects did rate themselves as hungrier than the control subjects when given a survey. If the subjects were flashed a whole sentence, the words would not be perceived and no effect would be expected. In 1983, five studies with 52 undergraduate and graduate students, found that although subliminally flashing and masking the words affects the availability of conscious processing, it however has little effect on visual processing itself. This suggests that perceptual processing is an unconscious activity that proceeds to all levels of available and redescription analysis. For example if flashed the word butter the individual would be quicker to identify the word bread than an unrelated word such as bottle. In 1991, Baldwin and others in two studies questioned whether priming individuals with images flashed for an instant may affect experiences of self. In the first study, images were flashed of the scowling face of their faculty adviser or an approving face of another before graduate students evaluated their own research ideas. In the second study, participants who were Catholic were asked to evaluate themselves after being flashed a disapproving face of the Pope or another unfamiliar face. In both studies the self-ratings were lower after the presentation of a disapproving face with personal significance, however in the second study there was no effect if the disapproving face were unfamiliar. In 1992, Krosnick and others, in two studies with 162 undergraduates, demonstrated that attitudes can develop without being aware of its antecedents. Individuals viewed nine slides of people performing familiar daily activities after being exposed to either an emotionally positive scene, such as a romantic couple or kittens, or an emotionally negative scene, such as a werewolf or a dead body between each slide. After exposure from which the individuals consciously perceived as a flash of light, the participants gave more positive personality traits to those people whose slides were associated with a emotionally positive scene and vice-versa. Despite the statistical difference, the subliminal messages had less of an impact on judgment than the slides inherent level of physical attractiveness. In order to determine whether these images affect an individuals evaluation of novel stimuli, a study was conducted in 1993 which produced in similar results. In 1998, Bar and Biederman questioned whether an image flashed briefly would prime an individuals response. An image was flashed for 47 milliseconds and then a mask would interrupt the processing. Following the first presentation only one in seven individuals could identify the image, while after the second presentation, fifteen to twenty minutes later, one in three could identify the image. Backmasking is a recording technique in which a sound or message is recorded backward onto a track that is meant to be played forward. During the 1970s, media reports raised a series of concerns of its impact on listeners, stating that satanic messages were calling its listeners to commit suicide, murder, abuse drugs, or engage in sex-which were all rising at the time. In a series of scientific studies, individuals listening to messages played backwards with no accompanying music could discern: the gender of the speaker; whether the message was in English, French, or German; whether the sentence was declarative or a question; and occasionally a word or meaning of a sentence. However when comparing sentence pairs, individuals were more likely to be incorrect than if their response were by pure chance: if the message were spoken by different speakers; whether two sentences were semantically related; and label beyond pure chance whether a message was positive or negative in nature-suggesting that individual expectations influenced their response. Across a variety of tasks, the studies were unable to find evidence that such messages affected an individuals behaviour, and reasoned that if the individual could not discern the meaning of the message, then the presence of these messages would be more likely due to the listeners expectations than the existe nce of these messages in them. Effectiveness The effectiveness of subliminal messaging has been demonstrated to prime individual responses and stimulate mild emotional activity. Applications, however, often base themselves on the persuasiveness of the message. The near-consensus among research psychologists is that subliminal messages do not produce a powerful, enduring effect on behaviour; and that laboratory research reveals little effect beyond a subtle, fleeting effect on thinking. For example, priming thirsty people with a subliminal word may, for a brief period of time, make a thirst-quenching beverage advertisement more persuasive. Research upon those claims of lasting effects-such as weight loss, smoking cessation, how music in popular culture may corrupt their listeners, how it may facilitate unconscious wishes in psychotherapy, and how market practitioners may exploit their customers-conclude that there is no effect beyond a placebo. In a 1994 study comparing television commercials with the message either supraliminal or subliminal, individuals produced higher ratings with those that were supraliminal. Unexpectedly, individuals somehow were less likely to remember the subliminal message than if there were no message. Origins The director of Yale Psychology laboratory PhD E. W. Scripture published The New Psychology in 1897 (The Walter Scott Ltd, London), which described the basic principles of subliminal messages. In 1900, Knight Dunlap, an American professor of psychology, flashed an imperceptible shadow to subjects while showing them a Mà ¼ller-Lyer illusion containing two lines with pointed arrows at both ends which create an illusion of different lengths. Dunlap claimed that the shadow influenced his subjects subliminally in their judgment of the lengths of the lines. Although these results were not verified in a scientific study, American psychologist Harry Levi Hollingworth reported in an advertising textbook that such subliminal messages could be used by advertisers. During World War II, the tachistoscope, an instrument which projects pictures for an extremely brief period, was used to train soldiers to recognize enemy airplanes. Today the tachistoscope is used to increase reading speed or to test sight. 1950-1970 In 1957, market researcher James Vicary claimed that quickly flashing messages on a movie screen, in Fort Lee, New Jersey, had influenced people to purchase more food and drinks. Vicary coined the term subliminal advertising and formed the Subliminal Projection Company based on a six-week test. Vicary claimed that during the presentation of the movie Picnic he used a tachistoscope to project the words Drink Coca-Cola and Hungry? Eat popcorn for 1/3000 of a second at five-second intervals. Vicary asserted that during the test, sales of popcorn and Coke in that New Jersey theater increased 57.8% and 18.1% respectively. However, in 1962 Vicary admitted to lying about the experiment and falsifying the results, the story itself being a marketing ploy. An identical experiment conducted by Dr. Henry Link showed no increase in cola or popcorn sales. A trip to Fort Lee, where the first experiment was alleged to have taken place, would have shown straight away that the small cinema there couldnt possibly have had 45,699 visitors through its doors in the space of 6 weeks. This has led people to believe that Vicary actually did not conduct his experiment at all. However, before Vicarys confession, his claims were promoted in Vance Packards book The Hidden Persuaders, and led to a public out-cry, and too many conspiracy theories of governments and cults using the technique to their advantage. The practice of subliminal advertising was subsequently banned in the United Kingdom and Australia and by American networks and the National Association of Broadcasters in 1958. But in 1958, Vicary conducted a television test in which he flashed the message telephone now hundreds of times during a Canadian Broadcasting Corporation program, and found no noticeable increase in telephone calls. 1970-2000 In 1973, commercials in the United States and Canada for the game HÃ…Â «sker DÃ…Â «? flashed the message Get it. During the same year, Wilson Bryan Keys book Subliminal Seduction claimed that subliminal techniques were widely used in advertising. Public concern was sufficient to cause the FCC to hold hearings in 1974. The hearings resulted in an FCC policy statement stating that subliminal advertising was contrary to the public interest and intended to be deceptive. Subliminal advertising was also banned in Canada following the broadcasting of HÃ…Â «sker DÃ…Â «? ads there. The December 16, 1973 episode of Columbo titled Double Exposure, is based on subliminal messaging: it is used by the murderer, Dr. Bart Keppler, a motivational research specialist, played by Robert Culp, to lure his victim out of his seat during the viewing of a promotional film and by Lt. Columbo to bring Keppler back to the crime scene and incriminate him. Lt. Columbo is shown how subliminal cuts work in a scene mirroring James Vicarys experiment. In 1978, Wichita, Kansas TV station KAKE-TV received special permission from the police to place a subliminal message in a report on the BTK Killer (Bind, Torture, Kill) in an effort to get him to turn himself in. The subliminal message included the text Now call the chief, as well as a pair of glasses. The glasses were included because when BTK murdered Nancy Fox, there was a pair of glasses lying upside down on her dresser; police felt that seeing the glasses might stir up remorse in the killer. The attempt was unsuccessful, and police reported no increased volume of calls afterward. A study conducted by the United Nations concluded that the cultural implications of subliminal indoctrination are a major threat to human rights throughout the world. Campaigners have suggested subliminal messages appear in music. In 1985, two young men, James Vance and Raymond Belknap, attempted suicide. At the time of the shootings, Belknap died instantly. Vance was severely injured and survived. Their families were convinced it was because of a British rock band, Judas Priest. The families claimed subliminal messages told listeners to do it in the song Better by You, Better than Me. The case was taken to court and the families sought more than US$6 million in damages. The judge, Jerry Carr Whitehead said that freedom of speech protections would not apply to subliminal messages. He said he was not convinced the hidden messages actually existed on the album, but left the argument to attorneys. The suit was eventually dismissed. In turn, he ruled it probably would not have been perceived without the power of suggestion or the young men would not have done it unless they really intended to. In 1985, Dr. Joe Stuessy testified to the United States Senate at the Parents Music Resource Center hearings that: The message of a piece of heavy metal music may also be covert or subliminal. Sometimes subaudible tracks are mixed in underneath other, louder tracks. These are heard by the subconscious but not the conscious mind. Sometimes the messages are audible but are backwards, called backmasking. There is disagreement among experts regarding the effectiveness of subliminals. We need more research on that Stuessys written testimony stated that: Some messages are presented to the listener backwards. While listening to a normal forward message (usually nonsensical), one is simultaneously being treated to a back-wards message. Some experts believe that while the conscious mind is trying to absorb the forward lyric, the subconscious is working overtime to decipher the backwards message. A few months after Judas Priests acquittal, Michael Waller, the son of a Georgia minister, shot himself in the head while supposedly listening to Ozzy Osbournes song Suicide Solution (despite the fact that the song Suicide Solution was not on the record [Ozzy Osbournes Speak Of The Devil] found playing in his room when his suicide was discovered). His parents claimed that subliminal messages may have influenced his actions. The judge in that trial granted the summary judgment because the plaintiffs could not show that there was any subliminal material on the record. He noted, however, that if the plaintiffs had shown that subliminal content was present, the messages would not have received protection under the First Amendment because subliminal messages are, in principle, false, misleading or extremely limited in their social value (Waller v. Osbourne 1991). Justice Whiteheads ruling in the Judas Priest trial was cited to support his position. 2000-Present During the 2000 U.S. presidential campaign, a television ad campaigning for Republican candidate George W. Bush showed words (and parts thereof) scaling from the foreground to the background on a television screen. When the word BUREAUCRATS flashed on the screen, one frame showed only the last part, RATS. The FCC looked into the matter, but no penalties were ever assessed in the case. A McDonalds logo appeared for one frame during the Food Networks Iron Chef America series on 2007-01-27, leading to claims that this was an instance of subliminal advertising. The Food Network replied that it was simply a glitch. On November 7, 2007, Network Ten Australias broadcast of the ARIA Awards was called out for using subliminal advertising in an exposà © by the Media Watch program on the ABC (Australian Broadcasting Corporation). In February 2007, it was discovered that 87 Konami slot machines in Ontario (OLG) casinos displayed a brief winning hand image before the game would begin. Government officials worried that the image subliminally persuaded gamblers to continue gambling; the company claimed that the image was a coding error. The machines were removed pending a fix by Konami. In 2007, to mark the 50th anniversary of James Vicarys original experiment, it was recreated at the International Brand Marketing Conference MARKA 2007. As part of the Hypnosis, subconscious triggers and branding presentation 1,400 delegates watched part of the opening credits of the film Picnic that was used in the original experiment. They were exposed to 30 subliminal cuts over a 90 second period. When asked to choose one of two fictional brands, Delta and Theta, 81% of the delegates picked the brand suggested by the subliminal cuts, Delta. Although, Delta is also a real brand. In 2010, Ferraris Formula One cars sported a barcode design that was criticized for subliminally evoking the logo of sponsor company Marlboro, flouting a ban on tobacco advertising. The design was removed in response. Backmasking Backmasking (also known as backward masking) is a recording technique in which a sound or message is recorded backward onto a track that is meant to be played forward. Backmasking is a deliberate process, whereas a message found through phonetic reversal may be unintentional. Backmasking was popularized by The Beatles, who used backward vocals and instrumentation in recording their 1966 album Revolver. Artists have since used backmasking for artistic, comedic, and satiric effect, on both analog and digital recordings. The technique has also been used to censor words or phrases for clean releases of songs. Backmasking has been a controversial topic in the United States since the 1980s, when allegations from Christian groups of its use for satanic purposes were made against prominent rock musicians, leading to record-burning protests and proposed anti-backmasking legislation by state and federal governments. Whether backmasking can be used subliminally to affect listeners is in debate by both sides Subliminal Advertising Subliminal advertising, as some call it, is primarily a set of techniques that focus and defocus the viewers attention and awareness. Doing this has an impact on what the audience will be able to consciously recall about the ad and what it will remember, but not be able to consciously recall. In magazines, for example, the advertisers main problem is that the typical reader gives a full-page ad only a glance in passing. Less than 3 seconds, typically, the time it takes to slowly turn a page and glance at it as it goes by on the way to the next page. So, in a magazine or newspaper, how can the potential buyers attention be captured and focused, in the absence of what TV depends on: motion, music and natural sound, and a human voice? To do this more efficiently, different levels of attention can be managed within microseconds of each other so that the most conscious level of perception will partially mask, but will not overwhelm low-level awareness at one or more other levels. Subliminal Marketing The use of subliminal marketing is a popular method of enhancing ones life. These messages are hidden in the many form in any music, video or text message. They reach directly the subconscious level of our mind and generally have a positive effect on our attitude, behaviour and thoughts. These subliminal marketing message are many times present in TV ads, movies and in music. They are so well implanted that they are not perceived by conscious mind, but are only received and deciphered by subconscious mind. Subliminal messages have now become a means of using in personal development. With the means of using positive statements to the subconscious mind, people have used it for losing weight, quitting bad habit or improving the overall personality. It gives a positive outlook to the person using it. You can use these subliminal messages to make your wishes and desire obvious. Many times you think of a goal as impossible, but after going through sessions of subliminal messages these goals seem to be quite probable top achieve. It is a powerful tool of your mind that allows you to do things which you consciously never attempted. It removes the mental block from your mind. It makes your brain change the way your subconscious mind wants to do it. It takes time to feel the change come through with the help of this medium, but if done properly you will notice the changes coming in your life. http://www.articlesbase.com/self-improvement-articles/subliminal-marketing-2153211.html#ixzz0vA9MCgFI Studies have shown that every day, each of us is subject to about 10,000 marketing messages, brands, logos and product offers. 10,000? Yes, thats a huge number but when you think about it, its probably close to reality. Lets see for a minute. You wake up and turn off your SONY alarm clock, go to the bathroom and brush your teeth with your BRAUN electric toothbrush and use some COLGATE toothpaste. While youre brushing, you look unconsciously look around you and see your HUGO BOSS cologne, your NIVEA lotion. You turn on your LG TV or your PIONEER radio and hear a commercial for Mossy NISSAN, another commercial for PAPA JOHNS, and another commercial for BANK OF AMERICA. You get a SMS on your APPLE iPhone; its actually a special offer from MCDONALDS because you agreed to receive SMS alerts from them. You make some STARBUCKS coffee in your BODUM French press. Its time to go to work. You grab your keys and walk through the parking lot. You walk by a FORD, a TOYOTA, a BUICK, a KIA, an AUDI (thats mine ;-). You get in, turn on the radio and hear 5 commercials for BUDWEISER, GEICO, BEST BUY, TARGET, and T-MOBILE. You drive off the parking lot and thats when the marketing hammering really starts. You drive by hundreds of different cars (different brands), some of them with stickers for various brand names, you pass hundreds of billboards. OK, lets stop here. I think you get it. How much do you think you saw of all this? None? Guess again. Reality is you saw most of it, even if youre not aware of it. Scary, huh!? But thats what marketing is all about. Its not because you didnt read the billboard that your brain didnt register the information. When you drive by this billboard, your eyes just lay on it without reading it, but your brain is smarter than you and takes a picture of the billboard, processes it in the background and register all the information without letting you know. Then you go to the store and without thinking about it, you grab some Gatorade. Why Gatorade? Maybe because its your favourite drink? Or maybe because you heard 21 commercials about it within the last week, saw 15 football teams with the Gatorade logos on their bottles, or maybe you just really like ità ¢Ã¢â€š ¬Ã‚ ¦ No! You dont just really like it. Youve been somewhat brainwashed by marketing genius to think you really like it. These are some of the basics of marketing. I remember my first class of marketing in Business School. The teacher asked: what is the goal of marketing? Most answers were: advertising a product, or selling products. The right answer is that the goal of marketing is to create a need! Do you really an iPhone? I mean, your old BlackBerry Pearl pretty much does it all. Well, marketing creates this need for the iPhone. And theyre so good at it they even make you wait for hours in line to get ità ¢Ã¢â€š ¬Ã‚ ¦ Subliminal Messages in Marketing Fact or Fake The Latin word sublimis (meaning uplifted) is the root of the word sublime. It is not at all related to sub-limen (meaning below the threshold). Subliminal messages are very much prevalent in the world of advertising. These are messages which are presented below the threshold of human understanding. The chances of they being understood by humans is lesser than 25%. The technique is to give inputs below the threshold of conscious perception. To illustrate, consider an advertisement that flashes in front of you on TV or cinema, but is so short and fast that your conscious mind does not acknowledge it. Nevertheless, the message does get registered below your level of conscious and thus becomes an input for you to act on. This is easy to practice in cinema halls. Let me explain. It is possible to insert a single frame in twenty four. Suppose the message You are Hungry is flashed a hundred times in short periods of rime. This could stimulate your hunger and make you buy something to eat. Critics say that any kind of message can be induced in this manner, which may lead to violent and criminal tendencies in people to rise. But there is no proof to prove if this principle is true. Yes, subliminal messages are not a fiction, they are real and existent. But the issue is: How often do we encounter them? A study involving advertising executives has found that, agencies practicing subliminal messages are very few in number. Advertisements, by themselves, are very strong means to influence our brains. Hence, ad-designers will not waste efforts into inserting subliminal messages in their work. Also, if any agency practiced subliminal messages, it will sooner or later be discovered by the media. This will definitely cause a huge dent on the image of the agency. Hence subliminal messaging, although it may exist, is not commercially feasible to be practiced. Subconscious Awareness: Each of us has a certain set of principles, ethics, habits, personality which we have cultivated over a period of time. Ever wondered we develop all the above traits? Each second we are bombarded with information in all forms. Our senses observe many of them, and some get registered in our conscious mind. But the rest doesnt get wasted. It is the subconscious mind that stores it and these influence us and play a very significant role in shaping up our habits, personality and skills. So what you are today is a result of what your subconscious mind has stored. We observe a lot of things in our life, but not all information is useful to us, some of it is bad. The ratio of positive to negative feelings is very high as high as 1: 20. Though we are not conscious of these, our subconscious mind registers all the information since it takes everything to be true. Many of these thoughts also make us underestimate ourselves and limit ourselves to trying only thing we are comfortable with. This shapes us what we are today and what capabilities we believe in. We will always be subjected to good and bad experiences and we can control the amount of influence they have on us. When we limit ourselves to our comfort zone, it is indicative of the fact that we are having a high influence of our thoughts which bar us from realizing our full potential. This hampers our creative skills and out of box thinking to a very huge extent. It is very much necessary to overcome these negative influences in our personality if we ever want to taste success. Human being is different from every other living thing on the earth because we are endowed with a unique feature that of thinking. But this has the potential to be our best buddy and even the worst of all enemies. What you think largely shapes up your life. We are never bound to adhere to some predetermined set of values, ethics and culture. We are free to try out all new things and then think over to select some and reject some. The most value adding investment is on oneself. This investment should be such that we become more proactive, creative, inspired, perfectionist and confident to list few of the many possible positive traits. The subconscious mind is not a new concept at all. Its been a subject of huge research for more than a century now. A number of studies and researches have been conducted to understand fully the human behaviour. Hypnosis was a technique which became popular and known in the 1800s. It is from this time that we became our mind that in addition to the conscious intake of input we are also capable of responding to audio, visual stimuli which is below the threshold of conscious brain or in other words we can respond to subliminal stimuli too. Subliminal the literal meaning is below (sub) the threshold (limen) i.e. below the limit of our conscious mind. It is a very self explanatory term. Computers and technology have been very helpful to discover new traits about these subliminal phenomena. A thorough understanding of bio computer has also helped light some light in the dark and mysterious arena of the subconscious. It is the advertising world that is believed to be the pioneer in using subliminal concepts for practical purposes. But it came to the fore only in 1958 through James Vicarys experiment. An experiment was conducted for a period of six weeks during which people watch Kim Novak in the movie Picnic, at Fort Lee, New Jersey were subjected to flash messages displayed on the theatre screen. These messages conveyed them to eat popcorn and drink Coca- Cola. The results were astounding. The sales of Coca cola and popcorn had increased by 18 and 55 per cent! But the degree of influence was not uniform. People, who never ate them, could not be influenced. Subliminal advertising is banned in the US. There are specific norms framed so as to discourage anyone from using subliminal messages. While we can be vigilant towards things that are visible and audible, we cannot be certainly sure about monitoring things like music, colour and the fragrance. To illustrate for colour, Chinese restaurants use a lot of red while designing the ambience. Red is known to stimulate hunger, hence useful for any restaurant. A department store uses a variety of fragrance, which also is a powerful means to communicate subliminal messages. The most powerful way to influence your subconscious for self-help and self hypnosis purposes is, definitely, visual subliminal messaging. There are a lot of programs based on subliminal messages in the Web, the most powerful for today is Subliminal Flash, that displays subliminal messages on your computer screen (duration of every separate message is not more 10 milliseconds, but your subconscious mind is able to notice and accept new objectives that are being sent to it every second). Subliminal Advertising Works Subliminal advertising involves the use of messages sent to the subconscious in order to convince people about a particular product or service from the inner depths of their minds. The subconscious mind of a person is responsible for controlling every action and thought instigated by certain conditions. These thoughts and actions include memory extraction and storage as well as breathing and body temperature maintenance among others. The subconscious mind even controls most of the cor

Enzyme Experiments :: Free Essays

Enzyme Experiments Central Experiment: The Action Of An Enzyme, e.g., amylase converting starch to reducing sugar. 1. Substrate: starch - use the same volume of the same starch solution each time 2. Enzyme: amylase - use the same volume of the same amylase solution each time 3. Only use starch and amylase solutions that test negative for reducing sugar with Benedict's Reagent 4. Four test tubes individually one third full of (a) starch solution, (b) amylase solution, (c) starch solution and (d) water 5. Warm all to 37Â °C in a heated water bath at 37Â °C 6. Mix (a) and (b) - the experiment. Mix (c) and (d) - the control 7. Use a buffer to maintain the pH at a constant suitable value: pH 8 8. Every minute test a small sample of each for starch using iodine 9. Control Results: always blue-black - starch always present, starch not broken down 10. Experiment Result: eventually a yellow-brown colour - starch is not present, it has been broken down 11. Now test the experiment solution for reducing sugar using Benedict's Reagent. Result: brick-red colour formed - reducing sugar is now present 12. Repeat the entire procedure many times to verify the results 13. Conclusion: amylase converts starch to reducing sugar. Only when amylase is present does starch disappear and reducing sugar appear Note: Fehlings can be used to test for reducing sugar. Experiment: To Determine the Effect of Enzyme Concentration on the Rate of Enzyme Action. Same as the central experiment, at different amylase concentrations, as far as 10. Make up different dilutions of the amylase solution by adding increasing amounts of water.

Twilight 6. SCARY STORIES

6. SCARY STORIES As I sat in my room, trying to concentrate on the third act of Macbeth, I was really listening for my truck. I would have thought, even over the pounding rain, I could have heard the engine's roar. But when I went to peek out the curtain – again – it was suddenly there. I wasn't looking forward to Friday, and it more than lived up to my non-expectations. Of course there were the fainting comments. Jessica especially seemed to get a kick out of that story. Luckily Mike had kept his mouth shut, and no one seemed to know about Edward's involvement. She did have a lot of questions about lunch, though. â€Å"So what did Edward Cullen want yesterday?† Jessica asked in Trig. â€Å"I don't know,† I answered truthfully. â€Å"He never really got to the point.† â€Å"You looked kind of mad,† she fished. â€Å"Did I?† I kept my expression blank. â€Å"You know, I've never seen him sit with anyone but his family before. That was weird.† â€Å"Weird,† I agreed. She seemed annoyed; she flipped her dark curls impatiently – I guessed she'd been hoping to hear something that would make a good story for her to pass on. The worst part about Friday was that, even though I knew he wasn't going to be there, I still hoped. When I walked into the cafeteria with Jessica and Mike, I couldn't keep from looking at his table, where Rosalie, Alice, and Jasper sat talking, heads close together. And I couldn't stop the gloom that engulfed me as I realized I didn't know how long I would have to wait before I saw him again. At my usual table, everyone was full of our plans for the next day. Mike was animated again, putting a great deal of trust in the local weatherman who promised sun tomorrow. I'd have to see that before I believed it. But it was warmer today – almost sixty. Maybe the outing wouldn't be completely miserable. I intercepted a few unfriendly glances from Lauren during lunch, which I didn't understand until we were all walking out of the room together. I was right behind her, just a foot from her slick, silver blond hair, and she was evidently unaware of that. â€Å"†¦don't know why Bella† – she sneered my name – â€Å"doesn't just sit with the Cullens from now on.† I heard her muttering to Mike. I'd never noticed what an unpleasant, nasal voice she had, and I was surprised by the malice in it. I really didn't know her well at all, certainly not well enough for her to dislike me – or so I'd thought. â€Å"She's my friend; she sits with us,† Mike whispered back loyally, but also a bit territorially. I paused to let Jess and Angela pass me. I didn't want to hear any more. That night at dinner, Charlie seemed enthusiastic about my trip to La Push in the morning. I think he felt guilty for leaving me home alone on the weekends, but he'd spent too many years building his habits to break them now. Of course he knew the names of all the kids going, and their parents, and their great-grandparents, too, probably. He seemed to approve. I wondered if he would approve of my plan to ride to Seattle with Edward Cullen. Not that I was going to tell him. â€Å"Dad, do you know a place called Goat Rocks or something like that? I think it's south of Mount Rainier,† I asked casually. â€Å"Yeah – why?† I shrugged. â€Å"Some kids were talking about camping there.† â€Å"It's not a very good place for camping.† He sounded surprised. â€Å"Too many bears. Most people go there during the hunting season.† â€Å"Oh,† I murmured. â€Å"Maybe I got the name wrong.† I meant to sleep in, but an unusual brightness woke me. I opened my eyes to see a clear yellow light streaming through my window. I couldn't believe it. I hurried to the window to check, and sure enough, there was the sun. It was in the wrong place in the sky, too low, and it didn't seem to be as close as it should be, but it was definitely the sun. Clouds ringed the horizon, but a large patch of blue was visible in the middle. I lingered by the window as long as I could, afraid that if I left the blue would disappear again. The Newtons' Olympic Outfitters store was just north of town. I'd seen the store, but I'd never stopped there – not having much need for any supplies required for being outdoors over an extended period of time. In the parking lot I recognized Mike's Suburban and Tyler's Sentra. As I pulled up next to their vehicles, I could see the group standing around in front of the Suburban. Eric was there, along with two other boys I had class with; I was fairly sure their names were Ben and Conner. Jess was there, flanked by Angela and Lauren. Three other girls stood with them, including one I remembered falling over in Gym on Friday. That one gave me a dirty look as I got out of the truck, and whispered something to Lauren. Lauren shook out her cornsilk hair and eyed me scornfully. So it was going to be one of those days. At least Mike was happy to see me. â€Å"You came!† he called, delighted. â€Å"And I said it would be sunny today, didn't I?† â€Å"I told you I was coming,† I reminded him. â€Å"We're just waiting for Lee and Samantha†¦ unless you invited someone,† Mike added. â€Å"Nope,† I lied lightly, hoping I wouldn't get caught in the lie. But also wishing that a miracle would occur, and Edward would appear. Mike looked satisfied. â€Å"Will you ride in my car? It's that or Lee's mom's minivan.† â€Å"Sure.† He smiled blissfully. It was so easy to make Mike happy. â€Å"You can have shotgun,† he promised. I hid my chagrin. It wasn't as simple to make Mike and Jessica happy at the same time. I could see Jessica glowering at us now. The numbers worked out in my favor, though. Lee brought two extra people, and suddenly every seat was necessary. I managed to wedge Jess in between Mike and me in the front seat of the Suburban. Mike could have been more graceful about it, but at least Jess seemed appeased. It was only fifteen miles to La Push from Forks, with gorgeous, dense green forests edging the road most of the way and the wide Quillayute River snaking beneath it twice. I was glad I had the window seat. We'd rolled the windows down – the Suburban was a bit claustrophobic with nine people in it – and I tried to absorb as much sunlight as possible. I'd been to the beaches around La Push many times during my Forks summers with Charlie, so the mile-long crescent of First Beach was familiar to me. It was still breathtaking. The water was dark gray, even in the sunlight, white-capped and heaving to the gray, rocky shore. Islands rose out of the steel harbor waters with sheer cliff sides, reaching to uneven summits, and crowned with austere, soaring firs. The beach had only a thin border of actual sand at the water's edge, after which it grew into millions of large, smooth stones that looked uniformly gray from a distance, but close up were every shade a stone could be: terra-cotta, sea green, lavender, blue gray, dull gold. The tide line was strewn with huge driftwood trees, bleached bone white in the salt waves, some piled together against the edge of the forest fringe, some lying solitary, just out of reach of the waves. There was a brisk wind coming off the waves, cool and briny. Pelicans floated on the swells while seagulls and a lone eagle wheeled above them. The clouds still circled the sky, threatening to invade at any moment, but for now the sun shone bravely in its halo of blue sky. We picked our way down to the beach, Mike leading the way to a ring of driftwood logs that had obviously been used for parties like ours before. There was a fire circle already in place, filled with black ashes. Eric and the boy I thought was named Ben gathered broken branches of driftwood from the drier piles against the forest edge, and soon had a teepee-shaped construction built atop the old cinders. â€Å"Have you ever seen a driftwood fire?† Mike asked me. I was sitting on one of the bone-colored benches; the other girls clustered, gossiping excitedly, on either side of me. Mike kneeled by the fire, lighting one of the smaller sticks with a cigarette lighter. â€Å"No,† I said as he placed the blazing twig carefully against the teepee. â€Å"You'll like this then – watch the colors.† He lit another small branch and laid it alongside the first. The flames started to lick quickly up the dry wood. â€Å"It's blue,† I said in surprise. â€Å"The salt does it. Pretty, isn't it?† He lit one more piece, placed it where the fire hadn't yet caught, and then came to sit by me. Thankfully, Jess was on his other side. She turned to him and claimed his attention. I watched the strange blue and green flames crackle toward the sky. After a half hour of chatter, some of the boys wanted to hike to the nearby tidal pools. It was a dilemma. On the one hand, I loved the tide pools. They had fascinated me since I was a child; they were one of the only things I ever looked forward to when I had to come to Forks. On the other hand, I'd also fallen into them a lot. Not a big deal when you're seven and with your dad. It reminded me of Edward's request – that I not fall into the ocean. Lauren was the one who made my decision for me. She didn't want to hike, and she was definitely wearing the wrong shoes for it. Most of the other girls besides Angela and Jessica decided to stay on the beach as well. I waited until Tyler and Eric had committed to remaining with them before I got up quietly to join the pro-hiking group. Mike gave me a huge smile when he saw that I was coming. The hike wasn't too long, though I hated to lose the sky in the woods. The green light of the forest was strangely at odds with the adolescent laughter, too murky and ominous to be in harmony with the light banter around me. I had to watch each step I took very carefully, avoiding roots below and branches above, and I soon fell behind. Eventually I broke through the emerald confines of the forest and found the rocky shore again. It was low tide, and a tidal river flowed past us on its way to the sea. Along its pebbled banks, shallow pools that never completely drained were teeming with life. I was very cautious not to lean too far over the little ocean ponds. The others were fearless, leaping over the rocks, perching precariously on the edges. I found a very stable-looking rock on the fringe of one of the largest pools and sat there cautiously, spellbound by the natural aquarium below me. The bouquets of brilliant anemones undulated ceaselessly in the invisible current, twisted shells scurried about the edges, obscuring the crabs within them, starfish stuck motionless to the rocks and each other, while one small black eel with white racing stripes wove through the bright green weeds, waiting for the sea to return. I was completely absorbed, except for one small part of my mind that wondered what Edward was doing now, and trying to imagine what he would be saying if he were here with me. Finally the boys were hungry, and I got up stiffly to follow them back. I tried to keep up better this time through the woods, so naturally I fell a few times. I got some shallow scrapes on my palms, and the knees of my jeans were stained green, but it could have been worse. When we got back to First Beach, the group we'd left behind had multiplied. As we got closer we could see the shining, straight black hair and copper skin of the newcomers, teenagers from the reservation come to socialize. The food was already being passed around, and the boys hurried to claim a share while Eric introduced us as we each entered the driftwood circle. Angela and I were the last to arrive, and, as Eric said our names, I noticed a younger boy sitting on the stones near the fire glance up at me in interest. I sat down next to Angela, and Mike brought us sandwiches and an array of sodas to choose from, while a boy who looked to be the oldest of the visitors rattled off the names of the seven others with him. All I caught was that one of the girls was also named Jessica, and the boy who noticed me was named Jacob. It was relaxing to sit with Angela; she was a restful kind of person to be around – she didn't feel the need to fill every silence with chatter. She left me free to think undisturbed while we ate. And I was thinking about how disjointedly time seemed to flow in Forks, passing in a blur at times, with single images standing out more clearly than others. And then, at other times, every second was significant, etched in my mind. I knew exactly what caused the difference, and it disturbed me. During lunch the clouds started to advance, slinking across the blue sky, darting in front of the sun momentarily, casting long shadows across the beach, and blackening the waves. As they finished eating, people started to drift away in twos and threes. Some walked down to the edge of the waves, trying to skip rocks across the choppy surface. Others were gathering a second expedition to the tide pools. Mike – with Jessica shadowing him – headed up to the one shop in the village. Some of the local kids went with them; others went along on the hike. By the time they all had scattered, I was sitting alone on my driftwood log, with Lauren and Tyler occupying themselves by the CD player someone had thought to bring, and three teenagers from the reservation perched around the circle, including the boy named Jacob and the oldest boy who had acted as spokesperson. A few minutes after Angela left with the hikers, Jacob sauntered over to take her place by my side. He looked fourteen, maybe fifteen, and had long, glossy black hair pulled back with a rubber band at the nape of his neck. His skin was beautiful, silky and russet-colored; his eyes were dark, set deep above the high planes of his cheekbones. He still had just a hint of childish roundness left around his chin. Altogether, a very pretty face. However, my positive opinion of his looks was damaged by the first words out of his mouth. â€Å"You're Isabella Swan, aren't you?† It was like the first day of school all over again. â€Å"Bella,† I sighed. â€Å"I'm Jacob Black.† He held his hand out in a friendly gesture. â€Å"You bought my dad's truck.† â€Å"Oh,† I said, relieved, shaking his sleek hand. â€Å"You're Billy's son. I probably should remember you.† â€Å"No, I'm the youngest of the family – you would remember my older sisters.† â€Å"Rachel and Rebecca,† I suddenly recalled. Charlie and Billy had thrown us together a lot during my visits, to keep us busy while they fished. We were all too shy to make much progress as friends. Of course, I'd kicked up enough tantrums to end the fishing trips by the time I was eleven. â€Å"Are they here?† I examined the girls at the ocean's edge, wondering if I would recognize them now. â€Å"No.† Jacob shook his head. â€Å"Rachel got a scholarship to Washington State, and Rebecca married a Samoan surfer – she lives in Hawaii now.† â€Å"Married. Wow.† I was stunned. The twins were only a little over a year older than I was. â€Å"So how do you like the truck?† he asked. â€Å"I love it. It runs great.† â€Å"Yeah, but it's really slow,† he laughed. â€Å"I was so relived when Charlie bought it. My dad wouldn't let me work on building another car when we had a perfectly good vehicle right there.† â€Å"It's not that slow,† I objected. â€Å"Have you tried to go over sixty?† â€Å"No,† I admitted. â€Å"Good. Don't.† He grinned. I couldn't help grinning back. â€Å"It does great in a collision,† I offered in my truck's defense. â€Å"I don't think a tank could take out that old monster,† he agreed with another laugh. â€Å"So you build cars?† I asked, impressed. â€Å"When I have free time, and parts. You wouldn't happen to know where I could get my hands on a master cylinder for a 1986 Volkswagen Rabbit?† he added jokingly. He had a pleasant, husky voice. â€Å"Sorry,† I laughed, â€Å"I haven't seen any lately, but I'll keep my eyes open for you.† As if I knew what that was. He was very easy to talk with. He flashed a brilliant smile, looking at me appreciatively in a way I was learning to recognize. I wasn't the only one who noticed. â€Å"You know Bella, Jacob?† Lauren asked – in what I imagined was an insolent tone – from across the fire. â€Å"We've sort of known each other since I was born,† he laughed, smiling at me again. â€Å"How nice.† She didn't sound like she thought it was nice at all, and her pale, fishy eyes narrowed. â€Å"Bella,† she called again, watching my face carefully, â€Å"I was just saying to Tyler that it was too bad none of the Cullens could come out today. Didn't anyone think to invite them?† Her expression of concern was unconvincing. â€Å"You mean Dr. Carlisle Cullen's family?† the tall, older boy asked before I could respond, much to Lauren's irritation. He was really closer to a man than a boy, and his voice was very deep. â€Å"Yes, do you know them?† she asked condescendingly, turning halfway toward him. â€Å"The Cullens don't come here,† he said in a tone that closed the subject, ignoring her question. Tyler, trying to win back her attention, asked Lauren's opinion on a CD he held. She was distracted. I stared at the deep-voiced boy, taken aback, but he was looking away toward the dark forest behind us. He'd said that the Cullens didn't come here, but his tone had implied something more – that they weren't allowed; they were prohibited. His manner left a strange impression on me, and I tried to ignore it without success. Jacob interrupted my meditation. â€Å"So is Forks driving you insane yet?† â€Å"Oh, I'd say that's an understatement.† I grimaced. He grinned understandingly. I was still turning over the brief comment on the Cullens, and I had a sudden inspiration. It was a stupid plan, but I didn't have any better ideas. I hoped that young Jacob was as yet inexperienced around girls, so that he wouldn't see through my sure-to-be-pitiful attempts at flirting. â€Å"Do you want to walk down the beach with me?† I asked, trying to imitate that way Edward had of looking up from underneath his eyelashes. It couldn't have nearly the same effect, I was sure, but Jacob jumped up willingly enough. As we walked north across the multihued stones toward the driftwood seawall, the clouds finally closed ranks across the sky, causing the sea to darken and the temperature to drop. I shoved my hands deep into the pockets of my jacket. â€Å"So you're, what, sixteen?† I asked, trying not to look like an idiot as I fluttered my eyelids the way I'd seen girls do on TV. â€Å"I just turned fifteen,† he confessed, flattered. â€Å"Really?† My face was full of false surprise. â€Å"I would have thought you were older.† â€Å"I'm tall for my age,† he explained. â€Å"Do you come up to Forks much?† I asked archly, as if I was hoping for a yes. I sounded idiotic to myself. I was afraid he would turn on me with disgust and accuse me of my fraud, but he still seemed flattered. â€Å"Not too much,† he admitted with a frown. â€Å"But when I get my car finished I can go up as much as I want – after I get my license,† he amended. â€Å"Who was that other boy Lauren was talking to? He seemed a little old to be hanging out with us.† I purposefully lumped myself in with the youngsters, trying to make it clear that I preferred Jacob. â€Å"That's Sam – he's nineteen,† he informed me. â€Å"What was that he was saying about the doctor's family?† I asked innocently. â€Å"The Cullens? Oh, they're not supposed to come onto the reservation.† He looked away, out toward James Island, as he confirmed what I'd thought I'd heard in Sam's voice. â€Å"Why not?† He glanced back at me, biting his lip. â€Å"Oops. I'm not supposed to say anything about that.† â€Å"Oh, I won't tell anyone, I'm just curious.† I tried to make my smile alluring, wondering if I was laying it on too thick. He smiled back, though, looking allured. Then he lifted one eyebrow and his voice was even huskier than before. â€Å"Do you like scary stories?† he asked ominously. â€Å"I love them,† I enthused, making an effort to smolder at him. Jacob strolled to a nearby driftwood tree that had its roots sticking out like the attenuated legs of a huge, pale spider. He perched lightly on one of the twisted roots while I sat beneath him on the body of the tree. He stared down at the rocks, a smile hovering around the edges of his broad lips. I could see he was going to try to make this good. I focused on keeping the vital interest I felt out of my eyes. â€Å"Do you know any of our old stories, about where we came from – the Quileutes, I mean?† he began. â€Å"Not really,† I admitted. â€Å"Well, there are lots of legends, some of them claiming to date back to the Flood – supposedly, the ancient Quileutes tied their canoes to the tops of the tallest trees on the mountain to survive like Noah and the ark.† He smiled, to show me how little stock he put in the histories. â€Å"Another legend claims that we descended from wolves – and that the wolves are our brothers still. It's against tribal law to kill them. â€Å"Then there are the stories about the cold ones.† His voice dropped a little lower. â€Å"The cold ones?† I asked, not faking my intrigue now. â€Å"Yes. There are stories of the cold ones as old as the wolf legends, and some much more recent. According to legend, my own great-grandfather knew some of them. He was the one who made the treaty that kept them off our land.† He rolled his eyes. â€Å"Your great-grandfather?† I encouraged. â€Å"He was a tribal elder, like my father. You see, the cold ones are the natural enemies of the wolf-well, not the wolf, really, but the wolves that turn into men, like our ancestors. You would call them werewolves.† â€Å"Werewolves have enemies?† â€Å"Only one.† I stared at him earnestly, hoping to disguise my impatience as admiration. â€Å"So you see,† Jacob continued, â€Å"the cold ones are traditionally our enemies. But this pack that came to our territory during my great-grandfather's time was different. They didn't hunt the way others of their kind did – they weren't supposed to be dangerous to the tribe. So my great-grandfather made a truce with them. If they would promise to stay off our lands, we wouldn't expose them to the pale-faces.† He winked at me. â€Å"If they weren't dangerous, then why†¦ ?† I tried to understand, struggling not to let him see how seriously I was considering his ghost story. â€Å"There's always a risk for humans to be around the cold ones, even if they're civilized like this clan was. You never know when they might get too hungry to resist.† He deliberately worked a thick edge of menace into his tone. â€Å"What do you mean, ‘civilized'?† â€Å"They claimed that they didn't hunt humans. They supposedly were somehow able to prey on animals instead.† I tried to keep my voice casual. â€Å"So how does it fit in with the Cullens? Are they like the cold ones your greatgrandfather met?† â€Å"No.† He paused dramatically. â€Å"They are the same ones.† He must have thought the expression on my face was fear inspired by his story. He smiled, pleased, and continued. â€Å"There are more of them now, a new female and a new male, but the rest are the same. In my great-grandfather's time they already knew of the leader, Carlisle. He'd been here and gone before your people had even arrived.† He was fighting a smile. â€Å"And what are they?† I finally asked. â€Å"What are the cold ones?† He smiled darkly. â€Å"Blood drinkers,† he replied in a chilling voice. â€Å"Your people call them vampires.† I stared out at the rough surf after he answered, not sure what my face was exposing. â€Å"You have goose bumps,† he laughed delightedly. â€Å"You're a good storyteller,† I complimented him, still staring into the waves. â€Å"Pretty crazy stuff, though, isn't it? No wonder my dad doesn't want us to talk about it to anyone.† I couldn't control my expression enough to look at him yet. â€Å"Don't worry, I won't give you away.† â€Å"I guess I just violated the treaty,† he laughed. â€Å"I'll take it to the grave,† I promised, and then I shivered. â€Å"Seriously, though, don't say anything to Charlie. He was pretty mad at my dad when he heard that some of us weren't going to the hospital since Dr. Cullen started working there.† â€Å"I won't, of course not.† â€Å"So do you think we're a bunch of superstitious natives or what?† he asked in a playful tone, but with a hint of worry. I still hadn't looked away from the ocean. I turned and smiled at him as normally as I could. â€Å"No. I think you're very good at telling scary stories, though. I still have goose bumps, see?† I held up my arm. â€Å"Cool.† He smiled. And then the sound of the beach rocks clattering against each other warned us that someone was approaching. Our heads snapped up at the same time to see Mike and Jessica about fifty yards away, walking toward us. â€Å"There you are, Bella,† Mike called in relief, waving his arm over his head. â€Å"Is that your boyfriend?† Jacob asked, alerted by the jealous edge in Mike's voice. I was surprised it was so obvious. â€Å"No, definitely not,† I whispered. I was tremendously grateful to Jacob, and eager to make him as happy as possible. I winked at him, carefully turning away from Mike to do so. He smiled, elated by my inept flirting. â€Å"So when I get my license†¦Ã¢â‚¬  he began. â€Å"You should come see me in Forks. We could hang out sometime.† I felt guilty as I said this, knowing that I'd used him. But I really did like Jacob. He was someone I could easily be friends with. Mike had reached us now, with Jessica still a few paces back. I could see his eyes appraising Jacob, and looking satisfied at his obvious youth. â€Å"Where have you been?† he asked, though the answer was right in front of him. â€Å"Jacob was just telling me some local stories,† I volunteered. â€Å"It was really interesting.† I smiled at Jacob warmly, and he grinned back. â€Å"Well,† Mike paused, carefully reassessing the situation as he watched our camaraderie. â€Å"We're packing up – it looks like it's going to rain soon.† We all looked up at the glowering sky. It certainly did look like rain. â€Å"Okay.† I jumped up. â€Å"I'm coming.† â€Å"It was nice to see you again,† Jacob said, and I could tell he was taunting Mike just a bit. â€Å"It really was. Next time Charlie comes down to see Billy, I'll come, too,† I promised. His grin stretched across his face. â€Å"That would be cool.† â€Å"And thanks,† I added earnestly. I pulled up my hood as we tramped across the rocks toward the parking lot. A few drops were beginning to fall, making black spots on the stones where they landed. When we got to the Suburban the others were already loading everything back in. I crawled into the backseat by Angela and Tyler, announcing that I'd already had my turn in the shotgun position. Angela just stared out the window at the escalating storm, and Lauren twisted around in the middle seat to occupy Tyler's attention, so I could simply lay my head back on the seat and close my eyes and try very hard not to think.

Crime Scene Sketching

Crime Scene Sketching The effect of modern media on crime scene investigation has led most people to believe that crimes are relatively easy to solve and may only take a day or two to complete. In actuality crime scene investigation is a lengthy process in which investigators can spend years investigating one crime. The components of crime scene investigation themselves can be rigorous and demanding depending on the circumstance.A vital piece of crime scene investigation is crime scene sketching; a tool that seems to be less in the forefront of modern television shows, perhaps because this is a less effective way to portray the gore that attracts the audience to most of these shows in comparison to crime scene photography that is often highlighted in shows like CSI. Crime scene sketching however is a critical part of crime scene investigation.Crime scene sketching in comparison to crime scene photography can capture a â€Å"bird’s eye† view of the crime scene, can show relativity between items and can offer a â€Å"whole crime scene picture† instead of being in fragmented pieces or from one particular angle like photographs. Crime scene sketching has been a long standing process in investigations and is a technique that has an abundance of benefits. It is a permanent record that provides supplemental information that is not easily accomplished with the exclusive use of crime scene photographs and notes.A crime scene sketch depicts the overall layout of a location and the relationship of evidentiary items to the surroundings. It can show the path a suspect or victim took and the distances involved. It can be used when questioning suspects and witnesses. During trial, the crime scene diagram correlates the testimony of witnesses and serves as a tool for relaying reference and orientation points to the prosecutor, judge and jury. A crime scene sketch is a rough drawing/scale model drawing composed by an investigating officer at the crime scene .The crime scene sketch is a simple line drawing that indicates the position of the body in relation to fixed and significant items in the scene (ex: a door, table or window)(Garrett). It is usually in addition to an officer’s written report and photographs. The crime scene sketch is an amazing visual aid, and because officers can choose which items to include in the sketch it can eliminate unnecessary items that photographs can’t like clutter or items that are unrelated, it also can highlight the significance of important items like the closeness between the victim and the murder weapon or unusual blood spatter. DOJ Wisconsin) It has been well established in court that a well drawn diagram is an aid to the judge, jury and witnesses in visualizing the crime scene. Their admissibility usually lies in their relevance and accuracy. This type of evidence may be referred to as illustrative or demonstrative evidence. (DOJ Wisconsin) Even poorly drawn sketches have been admit ted into evidence, as long as they are shown to be fair representations of the scene and it's surroundings. There are four types of crime scene sketches used in investigations; Overview sketches consist of a bird’s-eye-view or floor plan sketch of the scene.This is the most common type of sketch and consists of items on the horizontal plane. An elevation sketch portrays a vertical plane rather than a horizontal plane. Examples include bloodstain patterns on vertical surfaces such as walls or cabinetry and bullet holes through windows. Exploded view or cross-projection sketches consist of a combination of the first two sketches. It is similar to a floor plan except the walls have been laid out flat and objects on them have been shown in their relative positions.Perspective sketches depict the scene or item of interest in three dimensions. It is the most difficult sketch to create and requires some artistic skill. (Gerber, 216) When an investigating officer begins his sketch he must have paper (typically graph paper to include proper measurements to scale, but blank paper is often used), a pencil and eraser, a ruler or straight edge and a steel tape usually 100’ ft. It is also extremely beneficial to have a compass to determine true North.Measurements are an important part of the crime scene sketch, something that photographs cannot do. In photographs angles can make objects appear closer or further apart than they are in actuality. Drawing things to scale is not always necessary, although it is valuable to do so. Drawing sketches to scale avoids a distorted view of the scene; measurements must be reduced in proportion so that they bear correct relationship to each other; however, in drawing sketches not to scale Sketch can be accomplished more quickly than a scaled diagram.Items are placed in the diagram based on approximation by the investigator drawing the scene. This type of diagram may provide a distorted view of the scene. Correct proportions and relationships between objects may not be maintained. Measurements are recorded on the sketch or in a chart. This rough sketch may be used to complete a scaled diagram later. These diagrams should be clearly marked as not to scale. (Garrett) All measurements are taken from a fixed point, a door or window, stairs or a chimney. They should be exact and taken with a steel tape or ruler.Usually one investigator takes the sketch while another officer takes measurements and while investigators can often estimate relative distances or positions in rough sketches; measurements are taken for exact locations. In situations where no measurement instruments are available investigators can use pace measurements but these are not exact and are often less reliable and credible. (Hess and Orthmann) A crime scene drawing is one of the simplest and most effective ways to show measurements, these measurements are important because they show relativity and distance between significant items.The inv estigator has five ways to show these measurements in a crime scene drawing. These measurement techniques include: Straight-line in which two measurements are made, one from each side of the object, to a fixed point in the diagram. This method is usually used to mark positions of furniture or evidence against a wall like blood spatter. The second method an investigator can use is the rectangular coordinates or perpendicular distance method in which two measurements are taken at right angles of an item to the nearest two permanent objects, often walls.This method is usually the best way to mark the location of a body or other significant evidence. The polar coordinates or triangulation method is done by using a compass and a protractor, the investigator locates two fixed points and transfers this information to the sketch. Measurements are then taken from these two fixed points to the object, forming a triangle, where these two points intersect is the exact location of the object. Th e fourth method used for finding measurements is the base line method; this method is used for a scene that doesn’t have a straight perimeter like a large wooded area or a river.In the baseline method a straight line is drawn through the scene and each end is located and measured. A starting point is designated (ex: the north side of the river is determined the starting point) and the base line is then used as a reference for all of the other measurements. The final technique for measurements is the two fixed point method where an investigator takes two straight line measurements to two fixed points within the scene. In this method no right angle is required, but the two points used should not be close together.In a professional and legally correct crime scene sketch an officer will include a title block, this title block includes: the name and title of the investigator who drew the sketch, the date and time that the sketch was made, the classification of the crime (homicide, burglary etc. ), the identification of the victim if known, the agency’s case number, any names of persons assisting in taking measurements, the location of the location sketched, and the reference points included in the legend such as compass directions.Several CAD based programs are commercially available that can be used to create a professional and accurate crime scene diagram. With laptops becoming more common, these types of programs can be used at the scene to record measurements and generate sketches. These diagrams can also be generated back at the office using rough sketch(es) created at the scene. Portable devices now exist that can perform a 360 ° scan of a crime scene in as little as 20 minutes, capturing millions of measurements of all objects visible to the scanner. Dozens of high-resolution images are captured automatically.The device requires only the space needed by a standard photographer’s tripod. The data generated can be used to find the distan ce between any two points in the scene, to view the scene from any vantage point (including directly overhead), and to create a full-color, 3D model for investigative and courtroom purposes. (DOJ Wisconsin) With the benefits of crime scene sketching and the advancement of technology, crime scene sketching is more than ever being helpful in investigations and court. The benefit of crime scene sketching will continue to develop as more ways of crime scene sketching becomes available.