#Essay on how to draw gooder

[crooked-wasteland]

Micro Essay: Aristotle’s Nicomachean Ethics

Synopsis: Virtue Ethics and the moral obligation to “virtue” as a basis of privilege from the perspective of the Absurdist.

When Aristotle wrote about his philosophy in Nicomachean Ethics, he spoke of a variety of variability in what he called virtue. Specifically, he spoke at length of the epidemiology of ethics, talking of the potential of humanity and their capacity for good and how one becomes “good”. He wrote of how human nature exists as a dichotomy of man, both naturally inclined while unnaturally desired. With this foundation, Aristotle draws a distinct line between those who do good and those that simply are good, elevating the latter above the former. He delineates the difference when he writes, “These actions that produce moral value are not good in the same sense as those that flow from it … if the acts that are in accordance with the virtues have themselves a certain character it does not follow that they are done justly or temperately” (Aristotle 146-147). In essence outlining that acting in the expectation of good that goes against one's nature or is in so many ways a product of what Aristotle called “passions” and “faculties” (174), that the actions themselves are held up by nothing. When virtue is a product of one's character, they will be consistent in their actions while those who lack such character are feckless do-gooders who cannot be relied upon to be good.

While I recognize Aristotle's hesitancy towards those who cannot be trusted to do good, I find it outside of our moral duty to hold others to the standard of virtuousness, nor our right to judge how or why someone chooses to behave a certain way. Aristotle's fixation on achieving a virtuous character, however, overlaps slightly with my own beliefs born from Camus’ writings on what he called Truth. Aristotle’s philosophy hinges on this idea of something innate and pure that moves us to do good, but is not so innate as to be natural from birth. This concept requires the idea of molding oneself into a person who merely is virtuous for its own sake and not for the value of that virtue. Aristotle dog-ears the idea of what a virtuous character is by describing it as, “Pleasure in doing virtuous acts” (Aristotle 146). Whereas the absurd belief in Truth is more about accepting what is, and that this truth has a multitude of ways it will be understood by others. Aristotle grounds his philosophy in an unattainable objectivity that is fundamentally fluid, which is where I disagree with it. And that concept runs aground with Aristotle's claims of certain actions being deplorable at all times. While I don't believe there is ever a time to justify adultery, I must side with Camus again when he writes, “Supposing that living in this way were not honorable, then true propriety would command me to be dishonorable” (Camus 63). Aristotle claims theft is never justifiable, but would it not be deplorable for a parent to do nothing to save their starving child in poverty? Would it not be wrong to take no action at all if it meant saving a life, even if that action was generally seen as morally conflicted?

In how Aristotle devalues good deeds through the lens of true character, he still argues for dishonesty of those who do not meet his standards and judges the people instead of the actions. Whereas Camus is not judging the moral value of people. Actions are either altruistic or cause harm, and the intent behind such actions is wholly irrelevant. The type of people we are amounts to the actions we commit in the presence of every different person. The truth is neither our own, nor consistent, and Aristotle's philosophy of virtue tries to take that in account while still dictating an objective reality that can only truly exist in privilege.

[zoomy-brain]

2014 vs 2021

I rediscovered my old deviantart from when I was 11 and if I felt like my art was meh lately... WELL THAT FEELING GONE NOW

This btw is a redraw of a lil drawing I made of @helaia when I was like 18, for some colour challenge. This was BEFORE I had a tablet with pen sensitivity, my GOHD

So let’s talk about the evolution of how-to-draw-gooder!

(if I’m going through my old digital art cringe-town, I’M TAKING YOU WITH ME)

2010 (age 13)

So my first shitty drawing tablet was one my dad had found somewhere in a closet at his work, which has nothing to do with graphic design or drawing or anything. It was old, the pen was falling apart and it didn’t have settings options or anything. I just plugged it in, hoped it worked, and then got working on GIMP. Photoshop was then too complicated and too expensive.

Most of the stuff you’ll see will have quite a few things in common: no control over the pen, no width variation in the lineart, ugly or saturated colours, no full grasp on anatomy, the same stupid brush everywhere and what I did for shading was just pick the colour i did for normal light, dragged it a little towards black and just did that on a different layer. At least I actually used layers!

It’s often said that the tools don’t make the artist and in some capacity that was true... but I was definitely working with a broken machine and it was showing. What I knew, I had learned from speedpaints on youtube. (I tried to look up the ones I learned most from but they’re no more :c)

Next I did was straight up figure out how the software worked, by using manga pages, put the layer on multiply, and colour the page in. I also tried to copy what my favourite digital artists were doing, by trying to figure out how they did what they did:

Next was just loads and loaaaads of practice and keeping it up. At this point, drawing, for me, was just a hobby. Something I did to waste time instead of doing homework. But just by doing it over and over again, and drawing my favourite characters over and over again, I started to get a subconscious grasp of how anatomy worked, especially in anime and mange.

But that was only when it came to characters and how to draw them.

I hadn’t even started to think about backgrounds, colours, composition, effects, texture! That was the next step: I learned about putting a layer on multiply helped with shading, I learned how to use different kinds of brushes, I learned textures are cool and funky! I also learned how to deal with the stupid pressure sensitivity. Not well, but still. I only learned pressure sensitivity was a thing when I was... 17 or something.

And at some point, you gotta make a choice in what works for you and what doesn’t. One can say that tools don’t make the artist but my tools were actively working against me, since I was still working with a tablet that had no smoothing or pen pressure.

(PART 2)

[makanidotdot]

Compared to BfA and Shadows Rising's portrayal, how did you like Sylvanas's portrayal in Before the Storm?

I think BTS was basically the debut of BFA and Shadows Rising Sylvanas... though I guess I could say it did feel like it got worse as BFA went on (her part in SR is so short it’s sort of whatever), so technically I liked BTS more than BFA lol, if only because in BTS she still displayed other emotions besides “cryptically smug-bored”. 

And because it’s been a while since I’ve actually specified why I felt like BTS Sylvanas was such a departure from her previous character, here’s an attempt to get down to the core of it.

In Before the Storm, this introduces a Sylvanas that has no real connection to the Forsaken as a people. She is portrayed as purely possessive and pitying of them. One of the main narrative objectives of the book itself is to actively drive a bigger wedge between Sylvanas and the Forsaken.  

Taking her character in this direction does not directly contradict anything explicitly stated about her in earlier content, there’s just a number of implications and themes in previous stuff that make this seem like a suuuuper questionable direction to take the character.  There are other little characterization problems I had with BTS, but this is the core one.

I will explain further because this is an essay blog now.

 In Edge of Night, even though she maybe doesn’t realize it, or lies to herself about it, she ultimately does end up taking the Valkyr rez not just to avoid death, but also to tell Garrosh to stop using the Forsaken as cannon fodder.  Sylvanas herself also reflects on the fact her attitude toward her people has shifted.  

Her main mission during the following expansion (Cata) was to strengthen the Forsaken, not only in numbers, but as a fully fledged people who have a secure place in the world (and who intend to take more).  The questlines in Silverpine Forest are centered around showing you some of how Sylvanas is planning for the future of the Forsaken.  Sylvanas takes you on a horsie ride and tells you the deal after you’ve helped her and the Forsaken there.  In Legion, she tries to secure the lantern not just for herself, but the Forsaken too, as a further means of stopping death and ensuring their future.  She is definitely interested in saving herself, but is also invested in her people as well.

BTS -> BFA regresses Sylvanas’s character development to Wrath Sylvanas, who doesn’t care about anything except the goal she’s tunnel visioning (in wrath it was Arthas, in BFA it’s a series of McGuffins), and the Forsaken are just a means to an end, just another part of the Horde. And, making the situation worse, the characterization of the Forsaken themselves has NOT regressed back to Wrath. They seem to be getting gooder and gooder as time goes on. 

As I read it, one of the main points of Edge of Night was to show Sylvanas actually being forced to face the consequences of one of the things she’d done in her time as Banshee Queen: create a race people to which she is their only true leader, and who, if she disappeared now, would crumble without her.  It’s not a huge stretch to draw a parallel from that to her former role as Ranger General.  And it seems that she accepts this role again as she returns to life.

Sylvanas being given this new goal to pursue after Arthas, of truly being the Queen of the Forsaken and securing a real foothold for the Forsaken on Azeroth, suggests that not only did her iron will and unrelenting nature persist from life into undeath, but a part of the ranger general who was compelled to defend those who depend on her, so much she died for it, persisted as well.  And...isn’t that sort of the whole reason Sylvanas was ever an interesting character in the first place?  Key pieces of that once great hero persisting into undeath, basically out of her sheer strength of will?  Sylvanas did some terrible things in her pursuit of Arthas, but part of her pursuit would always be something players could sympathize with- everyone wants to kill the fucker that killed them and /spits on their corpse.  Likewise, Sylvanas could do terrible things in pursuit of strengthening the Forsaken as a people, but people would always be able to empathize with wanting to protect and lift up your own. This dichotomy makes her a likable villain/antihero.  People like those.  

If Sylvanas loses all the traits that made her living self special, then Arthas really did truly kill her, and following her character after she died in WC3 is pointless, because it’s just a totally new character that just has Sylvanas’s body and memories.

Soo yeah, BTS -> BFA comes along.  She doesn’t really -get- the Forsaken, she wants to do war things because she touched Azerite.  Remember Azerite?  Remember how progress bar filler rocks that make you smart and power hungry kicked off this whole new war?   Aren’t you interested in THESE MAGIC ROCKS AND WHO GETS THEM???? Hmm hey does Azerite maybe help the Forsaken stay alive?? Oh... no actually Sylvanas doesn’t care about the Forsaken anymore really, she just cares about killing hope I guess?  She wants to get a dagger and uh.. Azshara.. Nzoth...anyway Sylvanas ACTUALLY wants lots of people to die to go to the Maw because this will help her get more power so she can eventually destroy all existence?  And she’s helping the Jailer, this rando big bad we’ve never heard of and don’t care about and she has the same goals him now so maybe they can both destroy the world or something uhhhhhhhhhh

Who caressss this could be ANY character that is fed up with existence and wants to tear it down!  Wanting to lift up the Forsaken and secure their future possibly to the detriment of other races is a motivation that would be unique to Sylvanas!  And the Future of the Forsaken is still a problem whether or not Sylvanas is worried about it, so what are they gonna do? Just take that away from Sylvanas and give it to someone el-

oh

[cynocardia]

laika, 28, they/them, white and tme. disabled furry

my eyes have gotten worse; a lot of my art has become eye strain because of this, though i tag what i can tell or suspect may be eye strain. i can't render anymore either, also because of my eyes.

this is my art blog. i mostly draw my ocs. i like animals, though i can draw humans too, i probably won't

stuff i care about a lot and depict in my art and writing that i'd like for you to maybe care about too:

this will be added to when i find things i want to add to it

what is visible difference? (changing faces uk): x

about disfiguremisia (changing faces uk): x

posts written by people with facial differences about their lives (about face): x

"something's wrong with me", a post by molly mccully brown about being visibly different: x

"visible difference & disfigurement in the arts", a pdf about how the media discriminates against people with visible differences (face equality international): x

an article about terms like "disfigurement" and "deformity": x

"the broken country", by molly mccully brown, about disability and intimacy and relationships, but she also mentions medical trauma and ableism and that's why i'm spotlighting this. there is some nsfw text in here i think, but it's not specific: x

"disability and poetry", an interview with jennifer bartlett, john lee clark, jim ferris, and the cyborg jillian weise, which i link because it can be applied to writing generally: x

"so, what's up with monster factory?" a video essay by icon, which touches on the topic of ableism and disfiguremisia in media, especially horror: x

"disability: an addendum on disposability", another video essay by icon, about eugenics and covid: x

a disclaimer: my characters are for me. my point is, if you're here for always right always good heroic perfect do gooder disabled characters you're not going to get that from me, i prefer writing characters who are like real people. i am passionate about ableism, disfiguremisia, and media representation, but i also want to have fun, and i hate media that depicts disabled people as so morally good that they've created a completely new type of inspiration porn.

people who also care about media representation of disabled characters who i like a lot:

cripplecharacters: x

blindbeta: x

cy-cyborg: x

a-little-revolution: x

[mostlysignssomeportents]

#5yrsago The Incrementalists: Steven Brust and Skyler White's novel about an immortal secret society

Steven Brust and Skyler White's The Incrementalists is a spectacular new contemporary fantasy novel about an immortal cabal of dysfunctional do-gooders who use their subtle, near-wizardly powers of persuasion to alter the course of history, and change bodies by implanting their memories into the bodies of successors chosen from the population at large.

Though I'm new to Skyler White, I am a gigantic fan of Steven Brust, and this book was an absolute home-run for me. Thematically, it's close to The Sun, the Moon and the Stars -- to my mind, his great, neglected masterpiece -- in its philosophical depth, emotional range, and sense of deep, fabled magic. But the collaboration with White is extremely fruitful: the authors trade off writing from different points-of-view within chapters, providing a glimpse of the godhead-like group mind of the Incrementalists themselves. After the first couple of switches, I stopped trying to guess who was writing what -- it felt like a style that was neither Brust's, nor White's, but a superior hybrid of both.

On one level, this is a zippy, noirish story about a fractious criminal conspiracy in modern-day Las Vegas. There are murders and attempted murders, chase scenes, loud arguments and sneaky scheming. But on another level, it's a book about what duty the human race owes to itself, and what human beings owe to one another, a profound philosophical book about the theory of history, the practice of user-experience design, networked politics, and the role of ritual and convention in binding us together (you can get a flavor of this in Fireworks in the Rain, an Incrementalists story Brust published on Tor.com; and in the essay the pair wrote for John Scalzi's blog).

Brust and White are touring the book right now, and likely coming to a town near you. I highly recommend seeing them in person (I'll be at FenCon in Dallas with them next week).

The Incrementalists, a secret society of around 200 people has, since the beginning of human history, been working to make the world better, just a little bit at a time. Their ongoing argument about how to do this stretches across nations, races, and time, but they’ve been messing (“meddling”) with people’s heads just as long. Able to draw from a collective experience of over forty thousand years, and skilled in triggering precise emotions in others, they pick pivotal moments to subtly nudge people to maybe do the right thing, or maybe refrain from doing quite as much of the wrong thing.

So, if they were real (and, you know, you can’t prove they aren’t), how are they doing so far? You could say they’re doing pretty well, given all the catastrophes our species has avoided, how much progress we’ve made, and how many terrible things might have been even worse. Or you could say they are utterly ineffective, given how screwed up so many things are. They key word in all of that is: You.

You get to decide. That’s the point, and that’s one of the things that made this project so much fun, because the big idea behind The Incrementalists is a question. It’s the “what if” question that got us writing, but it is also, if we’ve done our job well, a question we’ve seeded in the minds of the readers. Just how do you fit into all of this? How do you choose to engage with the book, with the imaginary world in which it takes place, with the real world that the imaginary world is drawn from?

The Incrementalists often gets singled out as a collaborative project because there are two authors; but every book is a collaborative project. Just as the characters in The Incrementalists cooperate despite annoyances and conflicts, and just as its authors cooperated despite occasionally differing visions and expectations, this book—every book—asks readers to cooperate in the story-telling process. Writers need readers to shape the worlds they sketch, see the characters they imagine, hear what they’ve written and intuit what they’ve suggested.

As has been said many times before by many people, there is no reason to expect what the reader sees to be what we see; indeed, there is no reason to expect what Skyler sees to be what Steve sees. They don’t have to be the same; they can’t be the same. What matters is that they can dance together. The writers, the editors, the art director and everyone in production, the voice actors for the audio book, the readers, and even the reviewers are part of the process that makes a book what it is.

The Incrementalists

https://boingboing.net/2013/09/30/the-incrementalists-steven-br.html

[glittergummicandypeach]

If You Can’t Blame the Confederacy, Secede! | Abbeville Institute

American political theater has become the most entertaining show in town. Trump refuses to shake hands and Pelosi rips up his script.

This is red meat for the duly indoctrinated in the mainstream political parties, but in case you thought that Trump’s impeachment and subsequent acquittal would calm the waters and draw the final curtain on a five-month Greek comedy, the woke lunatics and their Girondist media allies have decided the show must go on.

And who can we blame? Why the Confederacy, of course, the fly in the ointment of good American government. If it wasn’t for those dastardly traitors of 1861 and their political progeny, America would be a glorious City Upon a Hill.

CNN’s John Harwood seems to think something nefarious is afoot from below the Mason Dixon:

While he clearly doesn’t know basic American geography or history, he certainly knows that the Confederacy is behind whatever problems ail America. How could these modern Confederates be so blind to the necessity of John Bolton’s important testimony, the same John Bolton whom leftists consistently called an untrustworthy warmonger until he had some dirt on Trump? They held the right opinion of Bolton before the show required a plot twist making the enemy of their enemy their friend. Except every viewer knew the end of the story before it showed up on the small screen. These people telegraph their punches like a drunk itching for a bar fight.

But Harwood’s geographic determinism thinly veils his real motivation: these Republicans who voted against his wishes are racist just like their ancestor traitors to the United States. And people wonder why Southerners still cling to the War, God, and guns.

The left won’t let them forget, except if they want to pack up or demolish a few hundred statues and remove the Confederate flag from every public space in the South.

“Hey deplorable, the War is over, except when we say it isn’t over.”

Of course, we all know that an independent South would be a vastly different country than the United States. The late Bill Cawthon did a splendid job explaining how several years ago.

And some leftists get it. The failed impeachment process has brought these woke secessionists out of the closet:

I’m all for it. “Jesusland” would be a pretty nice place to live and would be freed from the burden of being constantly overruled by some Yankee self-righteous do-gooder. It does, however, makes you wonder if “kim” realized that Trump is a byproduct of the U.S. of Canada? Maybe all these loving people north of the border are just bombastic jerks after all. Nah. That would make them Yankees, and Yankees are supposed to be the good guys.

Several hundred thousands dead Southerners would tell a different story, but what do they know? They were the ones who had the backbone to let the North go in peace in 1861 if they just sent the bluecoats back over the Mason Dixon. They tried “Jesusland” but were blown to pieces by Lincoln’s cannons. If they had their way, “kim” would already be living in a separate country.

And while the founding generation worried about the prospect of secession, very few would have wanted to go to war to prevent it. Patriots don’t kill other patriots, especially those who understood that self-determination is the bedrock of the American political tradition.

So who are the real traitors to America again?

Is Davis a Traitor? Or Was Secession a Constitutional Right Previous to the War of 1861? Albert Taylor Bledsoe, author, Brion McClanahan and Mike Church, editors Published a year after the war, it provides the best argument every assembled in one book for the constitutional right of secession. Everyone interested in the overall design of the Constitution ratified by the several States in 1788 should read this book.

Patrick Henry-Onslow Debate: Liberty and Republicanism in American Political Thought Lee Cheek, Sean R. Busick, Carey Roberts, editors A public debate carried on by President John Quincy Adams and Vice President John C. Calhoun under the pen names of “Patrick Henry” and “Onslow.” This important, but little known debate, about the limits of federal power is arguably more salient now than when it occurred.

Defending Dixie: Essays in Southern History and Culture Clyde Wilson A Collection of insightful essays on how Southerners think of themselves in the light of how they are perceived by outside cultural elites.

The Enduring Relevance of Robert E. Lee: The Ideological Warfare Underpinning the American Civil War Marshall DeRosa DeRosa uses the figure of Robert E. Lee to consider the role of political leadership under extremely difficult circumstances, examining Lee as statesman rather than just a military leader and finds that many of Lee’s assertions are still relevant today. DeRosa reveals Lee’s awareness that the victory of the Union over the Confederacy placed America on the path towards the demise of government based upon the consent of the governed, the rule of law, and the Judeo-Christian American civilization.

The Founding Fathers Guide to the Constitution Brion McClanahan An article by article and clause by clause analysis of the Constitution ratified by the founding generation of 1787 and 1788, a Constitution quite different from what the political class in Washington understands.

The Morality of Everyday Life: Rediscovering An Ancient Alternative to the Liberal Tradition Thomas Fleming Fleming (editor of Chronicles, A Magazine of American Culture) explains how the morality embedded in the ideology of liberalism leads to the decadence of morality in contemporary American society.

Forgotten Conservatives in American History Clyde Wilson and Brion McClanahan A study of thinkers who exemplify conservatism in a Jeffersonian idiom rather than a Hamiltonian.

In Search of the City on a Hill: The Making and Unmaking of an American Myth Richard Gamble A history of the "city on a hill" metaphor from its Puritan beginnings to its role in American "civil religion" today.

James Madison and the Making of America Kevin Gutzman Judged by Clyde Wilson to be the "standard" on Madison for sometime.

Nullification: How to Resist Federal Tyranny in the 21st Century Thomas Woods A readable, comprehensive treatment of the constitutionality of State interposition and nullification. Should be in the hands of every State legislator.

Nullification: A Constitutional History, 1776-1833. Vol. 1: James Madison, Not the Father of the Constitution W. Kirk Wood

Nullification, A Constitutional History, 1776-1833. Vol. 2: James Madison and the Constitutionality of Nullification, 1787-1828 W. Kirk Wood In this thoroughly researched and magisterial two volume work, Wood shows how nullification was an “American” constitutional principle (essential to republicanism), and not merely a Southern sectional one. And he explains how and why republicanism has been suppressed.

Rethinking the American Union for the 21st Century Donald Livingston Essays raising the question of whether the United States has become simply too large for self-government and should be divided into a number of Unions of States as Jefferson thought it should. (The book is signed by Livingston who wrote the "Introduction" and contributed an essay).

The Broken Circle David Bridges A historical novel (as close to historical detail as a novel can be), about Major James Breathed, an officer of horse artillery for JEB Stuart. Classically educated, deeply religious, and preparing for a career in medicine when his country was invaded, he reluctantly became a fierce warrior. He was wounded several times fighting from the very beginning to the end, in 71 battles. The Sons of Confederate Veterans recently awarded him the Medal of Honor.

Superfluous Southerners, Cultural Conservatism and the South, 1920-1990 John J. Langdale, III Explores the "traditionalist" conservatism that originated with John Crowe Ransom, Donald Davidson, and Allen Tate and continued with their intellectual descendants, Cleanth Brooks, Richard Weaver, and Melvin Bradford.

A Cautious Enthusiasm: Mystical Piety and Evangelicalism in Colonial South Carolina Samuel C. Smith Smith shows how Evangelical revivalism in the colonial South Carolina low country had origins in Roman Catholic mysticism, Huguenot Calvinists and German pietism. This disposition, usually identified only with Evangelicals, touched even high Anglicans and Catholics making possible a bond of low country patriotism in the Revolutionary era.

Fiddler of Driskill Hill David Middleton A collection of this prize winning poet’s work set in his home region of rural Louisiana, a place which views the world from a conservative, southern agrarian perspective. The fiddler is a figure of the traditionalist southern-agrarian artist.

Bourbon and Kentucky: A History Distilled Explores how distilling originated in Kentucky with it’s first settlers in 1775, and takes the viewer to the sites of Central Kentucky’s earliest distilling operations. Magnificent portraits and landscapes adorn the production.

The Southern Cross: The Story of the Confederacy’s First Battle Flag Chronicles the history of the design and creation of a flag that became the prototype for the famous Confederate battle flags. The hand-stitched silk flag with gold painted stars was borne by the Fifth Company of the Washington Artillery of New Orleans through the Battles of Shiloh and Perryville. The flag was designed and made for the army after the first battle of Manassas as a military necessity and wholly without the authority or even the knowledge of the Confederate government. Mary Henry Lyon Jones of Richmond, Virginia stitched the flag together. After Generals P.G.T. Beauregard and Joseph E. Johnston approved Ms. Jones’s flag, sewing circles of more than four hundred women in Richmond sewed 120 flags made from Ms. Jones’s original design.

Jefferson Davis: An American President The first and definitive documentary film on the entire life of patriot and president, Jefferson Davis. Across three beautifully shot and edited episodes, the full spectrum of Davis’ life comes into view: from his frontier origins and service to the United States as military officer, congressman, secretary of war, and two-term senator from Mississippi; to his rise and fall as Confederate President; through his unlawful two year imprisonment after the War; and finally covering his 25 years as a man struggling to find his place in a world in which it was no longer clear what it meant to be an American.

This content was originally published here.

[orderessay-us-blog]

Effective leader essay

' either drawing card is an good passenger car, though non every(prenominal) tutor is an legal leader (Nolan, 1988). This indicates that pompous capacity of at onces private instructor as an personal digital assistant and mediator of organisational processes and human resources has dramatic every(prenominal)y shifted over the years towards the modernized wisdom of the managers roles and functions.\n\nAlong with the conventional challenges involved in the modern-day line of work environs, spunkyly-diverse on the job(p) environments on the internal level, and fashion sufficient technologies and innovations on the impertinent level, alto jack offher want deeper examination and catch of the todays role of manager (Roberts, J. 1984).\n\nSince the introduction of McKinneys 7-S model in 1982, business environment has gone beyond the centre components of organisational operation:\n\n- grammatical construction;\n\n- Strategy,\n\n- Systems;\n\n- Staff;\n\n-Skills;\n\n- S tyle, and\n\n- sh ard out values.\n\nIn do-gooder to these core levers, the contemporary perception of booming business implementation is unimaginable without much(prenominal) vital factors as technologies and innovations, marketing, and emphasis on individual node needs. Altogether, these constituents present core challenges to the todays managers on both internal and outside(a) level (Peters and skimmer, 1982; Waterman et al., 1980).\n\nAs multifariousnesss in returnion systems and engineering science have interpreted place, a removedther well-nigh higher balance of equals be to be tack in confirmatory atomic number 18as. For example, take in labour party (a tralatitious live apportionment base) right off represents only a small component of corporate constitute, eyepatch expenses covering, for example, factory defend operations, marketing, distribution, engineering, and other smash-up functions have exploded. However, these developments, have, until recently, not been paralleled with corresponding changes in make up method of accounting praxiss. ABC is a costing technique based on an analysis of the resources in reality used to enhance a product or brook a improvement. It implements literal direct worldly cost, actual direct labour cost, and both manufacturing and non-manufacturing overhead cost actually incurred to create the product/service (Bouker, n.d.). Studies have shown that 20% of all customers more or less provide all the profits of a company. Another 60% break yet and the remaining 20% only sign up the bottom line.\n\nIn general, almost tralatitious costing systems utilize a sensation basis to advance the indirect cost to all products and services. This method of allocating indirect cost commonly results in erroneous cost data. In most cases, products that have high volume argon over costed. Similarly, the cost of lower volume products argon oft understated, and many of the indirect costs of t hese products are overlooked. Rather than relying on a mavin basis to turn over costs, ABC assigns costs to activities and products based on how the costs are actually consumed by the process or product. By pitiful away from traditional cost allocation methods and using modify ABC methods of touch and assignment, ABC provides managers with a clearer picture of cost of processes and the profitability of customers and products (Value domain Group, Inc, 2005, p. 1)\n\nAll focusing theories so far have mostly focused on the way of working processes and lot in organizations. Their theoretical relevance to real demeanor situations assumes that managers cope with numerous dilemmas in their day-after-day practices while pursuit adequate responses to the both major challenges, i.e. strategic development and change management inwardly organization (Drucker, 1954; Kislik, 2006).\n\nTo a large extent, managerial action consists of negotiable approaches, which selection depends on particular circumstances, to intermediate the routine organisational performance with the compulsive corporate goals. instantlys managers should check over that organization keeps up with the modern technological developments and relevant HR strategies to maintain matched advantage on the market and set out loyal workforce.\n\nFor the most part, the contemporary management theory and practice strives to promote managers hear as an effective leader able to take decisions in critical situations, and respond to internal and international challenges in a flexible way. Every business-related situation is extraordinary and therefore there is no everyday panacea for managers to cope with the emerging challenges. Thus, tractability and correctly opted leaders approach are the core features that should be possessed by the managers in site to mediate people and organizations.If you want to get a wide-eyed essay, order it on our website: Looking for a place to buy a cheap paper online? Buy Paper Cheap - Premium quality cheap essays and affordable papers online. Buy cheap, high quality papers to impress your professors and pass your exams. Do it online right now! '

[mostlysignssomeportents]

The Incrementalists: Steven Brust and Skyler White's novel about an immortal secret society #4yrsago

Steven Brust and Skyler White's The Incrementalists is a spectacular new contemporary fantasy novel about an immortal cabal of dysfunctional do-gooders who use their subtle, near-wizardly powers of persuasion to alter the course of history, and change bodies by implanting their memories into the bodies of successors chosen from the population at large.

Though I'm new to Skyler White, I am a gigantic fan of Steven Brust, and this book was an absolute home-run for me. Thematically, it's close to The Sun, the Moon and the Stars -- to my mind, his great, neglected masterpiece -- in its philosophical depth, emotional range, and sense of deep, fabled magic. But the collaboration with White is extremely fruitful: the authors trade off writing from different points-of-view within chapters, providing a glimpse of the godhead-like group mind of the Incrementalists themselves. After the first couple of switches, I stopped trying to guess who was writing what -- it felt like a style that was neither Brust's, nor White's, but a superior hybrid of both.

On one level, this is a zippy, noirish story about a fractious criminal conspiracy in modern-day Las Vegas. There are murders and attempted murders, chase scenes, loud arguments and sneaky scheming. But on another level, it's a book about what duty the human race owes to itself, and what human beings owe to one another, a profound philosophical book about the theory of history, the practice of user-experience design, networked politics, and the role of ritual and convention in binding us together (you can get a flavor of this in Fireworks in the Rain, an Incrementalists story Brust published on Tor.com; and in the essay the pair wrote for John Scalzi's blog).

The Incrementalists, a secret society of around 200 people has, since the beginning of human history, been working to make the world better, just a little bit at a time. Their ongoing argument about how to do this stretches across nations, races, and time, but they’ve been messing (“meddling”) with people’s heads just as long. Able to draw from a collective experience of over forty thousand years, and skilled in triggering precise emotions in others, they pick pivotal moments to subtly nudge people to maybe do the right thing, or maybe refrain from doing quite as much of the wrong thing.

So, if they were real (and, you know, you can’t prove they aren’t), how are they doing so far? You could say they’re doing pretty well, given all the catastrophes our species has avoided, how much progress we’ve made, and how many terrible things might have been even worse. Or you could say they are utterly ineffective, given how screwed up so many things are. They key word in all of that is: You.

You get to decide. That’s the point, and that’s one of the things that made this project so much fun, because the big idea behind The Incrementalists is a question. It’s the “what if” question that got us writing, but it is also, if we’ve done our job well, a question we’ve seeded in the minds of the readers. Just how do you fit into all of this? How do you choose to engage with the book, with the imaginary world in which it takes place, with the real world that the imaginary world is drawn from?

The Incrementalists often gets singled out as a collaborative project because there are two authors; but every book is a collaborative project. Just as the characters in The Incrementalists cooperate despite annoyances and conflicts, and just as its authors cooperated despite occasionally differing visions and expectations, this book—every book—asks readers to cooperate in the story-telling process. Writers need readers to shape the worlds they sketch, see the characters they imagine, hear what they’ve written and intuit what they’ve suggested.

As has been said many times before by many people, there is no reason to expect what the reader sees to be what we see; indeed, there is no reason to expect what Skyler sees to be what Steve sees. They don’t have to be the same; they can’t be the same. What matters is that they can dance together. The writers, the editors, the art director and everyone in production, the voice actors for the audio book, the readers, and even the reviewers are part of the process that makes a book what it is.

The Incrementalists

https://boingboing.net/2013/09/30/the-incrementalists-steven-br.html