How to Kill Creativity Essay Example

How to Kill Creativity Essay How_to_Kill_Creativity_www. hbrreprints. org How to Kill Creativity by Teresa M. Amabile Included with this full-text Harvard Business Review article: 1 Article Summary The Idea in Brief—the core idea The Idea in Practice—putting the idea to work 2 How to Kill Creativity 12 Further Reading A list of related materials, with annotations to guide further exploration of the article’s ideas and applications Product 98501 How to Kill Creativity The Idea in Brief If the mantra for the current business climate is Innovate or die, why do so many companies seem to be choosing the latter option? Creativity gets killed much more often than it gets supported. The problem is not that managers smother creativity intentionally— the business need for coordination and control can inadvertently undermine employees’ ability to put existing ideas together in new and useful ways. To foster an innovative workplace, you need to pay attention to employees’ expertise, creative-thinking skills, and motivation. Of these three, employees’ motivation—specifically, their intrinsic motivation, or passion for a certain kind of challenge—is the most potent lever a manager can use to boost creativity and his company’s future success. The Idea in Practice In business, it isn’t enough for an idea to be original—the idea must also be useful, appropriate, and actionable. It must somehow influence the way business gets done—for example, by significantly improving a product or service. Within every individual, creativity exists as a function of three components: 1. expertise (technical, procedural, and intellectual knowledge). The broader the expertise, the larger the intellectual space a person has to explore and solve problems. 2. creative-thinking skills. We will write a custom essay sample on How to Kill Creativity specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on How to Kill Creativity specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on How to Kill Creativity specifically for you FOR ONLY $16.38 $13.9/page Hire Writer These aptitudes, shaped by an individual’s personality, determine how flexibly and imaginatively someone approaches problems. 3. motivation. Expertise and creativethinking skills provide an individual’s natural resources for creativity; motivation determines what a person will actually do. Extrinsic motivation comes from outside the individual—whether it’s the offer of a bonus or the threat of firing. Extrinsic motivation doesn’t prevent people from being creative, but in many situations it doesn’t boost their creativity either. On its own, it can’t prompt people to be passionate about their work; in fact, it can lead them to feel bribed or controlled. Intrinsic motivation, by contrast, comes from inside the individual. It’s a person’s abiding interest in certain activities or deep love of particular challenges. Employees are most creative when they are intrinsically motivated—in other words, when the work itself is motivating. It can be time consuming to try to influence an employee’s expertise or creative-thinking skills. It’s easier to affect someone’s intrinsic motivation—and the results are more immediate. Activities that enhance intrinsic motivation fall into a few general categories: challenge, freedom, resources, work-group features, supage 1 pervisory encouragement, and organizational support. Some specific recommendations: †¢ Match the right people with the right assignments, so employees are stretched but not stretched too thin. Work teams that have diverse perspectives will generate more creativity than homogenous groups. †¢ Give people freedom within the company’s goals. Tell them which mountain to climb, but let them decide how to climb it. Keep the objectives stable for a meaningful period of time—it’s hard to reach the top of a moving mountain. †¢ Allocate appropriate amounts of time and project resources. Organizations routinely kill creativity with fake deadlines— which cause distrust—and impossibly tight ones—which cause burnout. †¢ Let employees know that what they do matters. This will help them sustain their passion for the work. COPYRIGHT  © 2000 HARVARD BUSINESS SCHOOL PUBLISHING CORPORATION. ALL RIGHTS RESERVED. Keep doing what you’re doing. Or, if you want to spark innovation, rethink how you motivate, reward, and assign work to people. How to Kill Creativity by Teresa M. Amabile COPYRIGHT  © 1998 HARVARD BUSINESS SCHOOL PUBLISHING CORPORATION. ALL RIGHTS RESERVED. When I consider all the organizations I have studied and worked with over the past 22 years, there can be no doubt: creativity gets killed much more often than it gets supported. For the most part, this isn’t because managers have a vendetta against creativity. On the contrary, most believe in the value of new and useful ideas. However, creativity is undermined unintentionally every day in work environments that were established—for entirely good reasons—to maximize business imperatives such as coordination, productivity, and control. Managers cannot be expected to ignore business imperatives, of course. But in working toward these imperatives, they may be inadvertently designing organizations that systematically crush creativity. My research shows that it is possible to develop the best of both worlds: organizations in which business imperatives are attended to and creativity ? urishes. Building such organizations, however, requires us to understand precisely what kinds of managerial practices foster creativity—and which kill it. What Is Business Creativity? We tend to associate creativity with the arts and to think of it as the expression of highly original ideas. Think of how Pablo Picasso reinvented the conventions of painting or how William Faulkner rede? ned ? ction. In business, originality isn’t enough. To be creative, an idea must also be appropriate—useful and actionable. It must somehow in? ence the way business gets done—by improving a product, for instance, or by opening up a new way to approach a process. The associations made between creativity and artistic originality often lead to confusion about the appropriate place of creativity in business organizations. In seminars, I’ve asked managers if there is any place they don’t want creativity in their companies. About 80% of the time, they answer, â€Å"Accounting. † Creativity, they seem to believe, belongs just in marketing and RD. But creativity can bene? t every function of an organization. Think of activity-based accounting. It was an invention—an accounting invention—and its impact on business harvard business review †¢ september–october 1998 page 2 How to Kill Creativity Teresa M. Amabile is the M. B. A. Class of 1954 Professor of Business Administration and senior associate dean for research at the Harvard Business School in Boston, Massachusetts. has been positive and profound. Along with fearing creativity in the accounting department—or really, in any unit that involves systematic processes or legal regulations— many managers also hold a rather narrow view of the creative process. To them, creativity refers to the way people think—how inventively they approach problems, for instance. Indeed, thinking imaginatively is one part of creativity, but two others are also essential: expertise and motivation. Expertise encompasses everything that a person knows and can do in the broad domain of his or her work. Take, for example, a scientist at a pharmaceutical company who is charged with developing a blood-clotting drug for hemophiliacs. Her expertise includes her basic talent for thinking scienti? ally as well as all the knowledge and technical abilities that she has in the ? elds of medicine, chemistry, biology, and biochemistry. It doesn’t matter how she acquired this expertise, whether through formal education, practical experience, or interaction with other professionals. Regardless, her expertise constitutes what the Nobel laureate, economist, and psychologist Herb Simon calls her â€Å"network of possible wanderings,† the intellectual space that she uses to explore and solve problems. The larger this space, the better. Creative thinking, as noted above, refers to how people approach problems and solutions— their capacity to put existing ideas together in new combinations. The skill itself depends quite a bit on personality as well as on how a person thinks and works. The pharmaceutical scientist, for example, will be more creative if her personality is such that she feels comfortable disagreeing with others—that is, if she naturally tries out solutions that depart from the status quo. Her creativity will be enhanced further if she habitually turns problems upside down and combines knowledge from seemingly disparate ? lds. For example, she might look to botany to help ? nd solutions to the hemophilia problem, using lessons from the vascular systems of plants to spark insights about bleeding in humans. As for work style, the scientist will be more likely to achieve creative success if she perseveres through a dif? cult problem. Indeed, plodding through long dry spells of tedious experim entation increases the probability of truly creative breakthroughs. So, too, does a work style that uses â€Å"incubation,† the ability to set aside dif? ult problems temporarily, work on something else, and then return later with a fresh perspective. Expertise and creative thinking are an individual’s raw materials—his or her natural resources, if you will. But a third factor— motivation—determines what people will actually do. The scientist can have outstanding educational credentials and a great facility in generating new perspectives to old problems. But if she lacks the motivation to do a particular job, she simply won’t do it; her expertise and creative thinking will either go untapped or be applied to something else. My research has repeatedly demonstrated, however, that all forms of motivation do not have the same impact on creativity. In fact, it shows that there are two types of motivation— extrinsic and intrinsic, the latter being far more essential for creativity. But let’s explore extrinsic ? rst, because it is often at the root of creativity problems in business. Extrinsic motivation comes from outside a person—whether the motivation is a carrot or a stick. If the scientist’s boss promises to reward her ? nancially should the blood-clotting project succeed, or if he threatens to ? e her should it fail, she will certainly be motivated to ? nd a solution. But this sort of motivation â€Å"makes† the scientist do her job in order to get something desirable or avoid something painful. Obviously, the most common extrinsic motivator managers use is money, which doesn’t necessarily stop people from being creative. But in many situations, it doesn’t help either, especially when it leads people to feel that they are being bribed or controlled. More important, money by itself doesn’t make employees passionate about their jobs. A cash reward can’t magically prompt people to ? d their work interesting if in their hearts they feel it is dull. But passion and interest—a person’s internal desire to do something—are what intrinsic motivation is all about. For instance, the scientist in our example would be intrinsically motivated if her work on the blood-clotting drug was sparked by an intense interest in hemophilia, a personal sense of challenge, or a drive to crack a problem that no one else has been able to solve. When people are intrinsically motivated, they engage in their work for the challenge and enjoyment of it. The work itself is motivating. In fact, in our creativity research, my students, colleagues, and I have found so harvard business review †¢ september–october 1998 page 3 How to Kill Creativity much evidence in favor of intrinsic motivation that we have articulated what we call the Intrinsic Motivation Principle of Creativity: people will be most creative when they feel motivated primarily by the interest, satisfaction, and challenge of the work itself—and not by external pressures. (For more on the differences between intrinsic and extrinsic motivation, see the insert â€Å"The Creativity Maze. †) Managing Creativity Managers can in? ence all three components of creativity: expertise, creative-thinking skills, and motivation. But the fact is that the ? rst two are more dif? cult and time consuming to in? uence than motivation. Yes, regular scienti? c seminars and professional conferences will undoubtedly add to the scientist’s expertise in hemophilia and related ? elds. And trainin g in brainstorming, problem solving, and so-called lateral thinking might give her some new tools to use in tackling the job. But the time and money involved in broadening her knowledge and expanding her creative-thinking skills would be great. By contrast, our research has shown that intrinsic motivation can be increased considerably by even subtle changes in an organization’s environment. That is not to say that managers should give up on improving expertise and creative-thinking skills. But when it comes to pulling levers, they should know that those that affect intrinsic motivation will yield more immediate results. More speci? cally, then, what managerial practices affect creativity? They fall into six general categories: challenge, freedom, resources, work-group features, supervisory encouragement, and organizational support. These categories have emerged from more than two decades of research focused primarily on one question: What are the links between work environment and creativity? We have used three methodologies: experiments, interviews, and surveys. While controlled experiments allowed us to identify causal links, the interviews and surveys gave us insight into the richness and complexity of creativity within business organizations. We have studied dozens of companies and, within those, hundreds of individuals and teams. In each research initiative, our goal has been to identify which managerial practices are de? itively linked to positive creative outcomes and which are not. For instance, in one project, we interviewed dozens of employees from a wide variety of companies and industries and asked them to describe in detail the most and least creative events in their careers. We then closely studied the transcripts of those interviews, noting the managerial practices—or other patterns that appeared repeatedly in the successful creativity stories and, conversely, in those that were unsuccessful. Our research has also been bolstered by a quantitative survey instrument The Creativity Maze To understand the differences between extrinsic and intrinsic motivation, imagine a business problem as a maze. One person might be motivated to make it through the maze as quickly and safely as possible in order to get a tangible reward, such as money—the same way a mouse would rush through for a piece of cheese. This person would look for the simplest, most straightforward path and then take it. In fact, if he is in a real rush to get that reward, he might just take the most beaten path and solve the problem exactly as it has been solved before. That approach, based on xtrinsic motivation, will indeed get him out of the maze. But the solution that arises from the process is likely to be unimaginative. It won’t provide new insights about the nature of the problem or reveal new ways of looking at it. The rote solution probably won’t move the business forward. Another person might have a different approach to the maze. She might actually ? nd the process of wander ing around the different paths—the challenge and exploration itself—fun and intriguing. No doubt, this journey will take longer and include mistakes, because any maze— any truly complex problem—has many more dead ends than exits. But when the intrinsically motivated person ? nally does ? nd a way out of the maze—a solution—it very likely will be more interesting than the rote algorithm. It will be more creative. There is abundant evidence of strong intrinsic motivation in the stories of widely recognized creative people. When asked what makes the difference between creative scientists and those who are less creative, the Nobel prize–winning physicist Arthur Schawlow said, â€Å"The labor-oflove aspect is important. The most successful scientists often are not the most talented, but the ones who are just impelled by curiosity. They’ve got to know what the answer is. † Albert Einstein talked about intrinsic motivation as â€Å"the enjoyment of seeing and searching. † The novelist John Irving, in discussing the very long hours he put into his writing, said, â€Å"The unspoken factor is love. The reason I can work so hard at my writing is that it’s not work for me. † And Michael Jordan, perhaps the most creative basketball player ever, had a â€Å"love of the game† clause inserted into his contract; he insisted that he be free to play pick-up basketball games any time he wished. Creative people are rarely superstars like Michael Jordan. Indeed, most of the creative work done in the business world today gets done by people whose names will never be recorded in history books. They are people with expertise, good creative-thinking skills, and high levels of intrinsic motivation. And just as important, they work in organizations where managers consciously build environments that support these characteristics instead of destroying them. harvard business review †¢ september–october 1998 page 4 How to Kill Creativity Deciding how much time and money to give to a team or project is a judgment call that can either support or kill creativity. called KEYS. Taken by employees at any level of an organization, KEYS consists of 78 questions used to assess various work-place conditions, such as the level of support for creativity from top-level managers or the organization’s approach to evaluation. Taking the six categories that have emerged from our research in turn, let’s explore what managers can do to enhance creativity—and what often happens instead. Again, it is important to note that creativity-killing practices are seldom the work of lone managers. Such practices usually are systemic—so widespread that they are rarely questioned. Challenge. Of all the things managers can do to stimulate creativity, perhaps the most ef? cacious is the deceptively simple task of matching people with the right assignments. Managers can match people with jobs that play to their expertise and their skills in creative thinking, and ignite intrinsic motivation. Perfect matches stretch employees’ abilities. The amount of stretch, however, is crucial: not so little that they feel bored but not so much that they feel overwhelmed and threatened by a loss of control. Making a good match requires that managers possess rich and detailed information about their employees and the available assignments. Such information is often dif? cult and time consuming to gather. Perhaps that’s why good matches are so rarely made. In fact, one of the most common ways managers kill creativity is by not trying to obtain the information necessary to make good connections between people and jobs. Instead, something of a shotgun wedding occurs. The most eligible employee is wed to the most eligible—that is, the most urgent and open—assignment. Often, the results are predictably unsatisfactory for all involved. Freedom. When it comes to granting freedom, the key to creativity is giving people autonomy concerning the means—that is, concerning process—but not necessarily the ends. People will be more creative, in other words, if you give them freedom to decide how to climb a particular mountain. You needn’t let them choose which mountain to climb. In fact, clearly speci? ed strategic goals often enhance people’s creativity. I’m not making the case that managers should leave their subordinates entirely out of goal- or agenda-setting discussions. But they should understand that inclusion in those dis- cussions will not necessarily enhance creative output and certainly will not be suf? cient to do so. It is far more important that whoever sets the goals also makes them clear to the organization and that these goals remain stable for a meaningful period of time. It is dif? ult, if not impossible, to work creatively toward a target if it keeps moving. Autonomy around process fosters creativity because giving people freedom in how they approach their work heightens their intrinsic motivation and sense of ownership. Freedom about process also allows people to approach problems in ways that make the most of their expertise and their creative-thinking skills. The task may end up being a stretch for them, but they can use their strengths to meet the challenge. How do executives mismanage freedom? There are two common ways. First, managers tend to change goals frequently or fail to de? ne them clearly. Employees may have freedom around process, but if they don’t know where they are headed, such freedom is pointless. And second, some managers fall short on this dimension by granting autonomy in name only. They claim that employees are â€Å"empowered† to explore the maze as they search for solutions but, in fact, the process is proscribed. Employees diverge at their own risk. Resources. The two main resources that affect creativity are time and money. Managers need to allot these resources carefully. Like matching people with the right assignments, deciding how much time and money to give to a team or project is a sophisticated judgment call that can either support or kill creativity. Consider time. Under some circumstances, time pressure can heighten creativity. Say, for instance, that a competitor is about to launch a great product at a lower price than your offering or that society faces a serious problem and desperately needs a solution—such as an AIDS vaccine. In such situations, both the time crunch and the importance of the work legitimately make people feel that they must rush. Indeed, cases like these would be apt to increase intrinsic motivation by increasing the sense of challenge. Organizations routinely kill creativity with fake deadlines or impossibly tight ones. The former create distrust and the latter cause burnout. In either case, people feel overcontrolled and unful? lled—which invariably damages motivation. Moreover, creativity often harvard business review †¢ september–october 1998 page 5 How to Kill Creativity In many companies, new ideas are met not with open minds but with time-consuming layers of evaluation. takes time. It can be slow going to explore new concepts, put together unique solutions, and wander through the maze. Managers who do not allow time for exploration or do not schedule in incubation periods are unwittingly standing in the way of the creative process. When it comes to project resources, again managers must make a ? t. They must determine the funding, people, and other resources that a team legitimately needs to complete an assignment—and they must know how much the organization can legitimately afford to allocate to the assignment. Then they must strike a compromise. Interestingly, adding more resources above a â€Å"threshold of suf? ciency† does not boost creativity. Below that threshold, however, a restriction of resources can dampen creativity. Unfortunately, many managers don’t realize this and therefore often make another mistake. They keep resources tight, which pushes people to channel their creativity into ? nding additional resources, not in actually developing new products or services. Another resource that is misunderstood when it comes to creativity is physical space. It is almost conventional wisdom that creative teams need open, comfortable of? es. Such an atmosphere won’t hurt creativity, and it may even help, but it is not nearly as important as other managerial initiatives that in? uence creativity. Indeed, a problem we have seen time and time again is managers paying attention to creating the â€Å"right† physical space at the expense of more high-impact actions, such as matching people to the right assignments and granting freedom around work processes. Work-Group Features. If you want to build teams that come up with creative ideas, you must pay careful attention to the design of such teams. That is, you must create mutually supportive groups with a diversity of perspectives and backgrounds. Why? Because when teams comprise people with various intellectual foundations and approaches to work— that is, different expertise and creative thinking styles—ideas often combine and combust in exciting and useful ways. Diversity, however, is only a starting point. Managers must also make sure that the teams they put together have three other features. First, the members must share excitement over the team’s goal. Second, members must display a willingness to help their teammates through dif? ult periods and setbacks. And third, every member must recognize the unique knowledge and perspective that other members bring to the table. These factors enhance not only intrinsic motivation but also expertise and creative-thinking skills. Again, creating such teams requires managers to have a deep understanding of their people. They must be able to assess them not just f or their knowledge but for their attitudes about potential fellow team members and the collaborative process, for their problem-solving styles, and for their motivational hot buttons. Putting together a team with just the right chemistry—just the right level of diversity and supportiveness—can be dif? cult, but our research shows how powerful it can be. It follows, then, that one common way managers kill creativity is by assembling homogeneous teams. The lure to do so is great. Homogeneous teams often reach â€Å"solutions† more quickly and with less friction along the way. These teams often report high morale, too. But homogeneous teams do little to enhance expertise and creative thinking. Everyone comes to the table with a similar mind-set. They leave with the same. Supervisory Encouragement. Most managers are extremely busy. They are under pressure for results. It is therefore easy for them to let praise for creative efforts—not just creative successes but unsuccessful efforts, too—fall by the wayside. One very simple step managers can take to foster creativity is to not let that happen. The connection to intrinsic motivation here is clear. Certainly, people can ? nd their work interesting or exciting without a cheering section—for some period of time. But to sustain such passion, most people need to feel as if their work matters to the organization or to some important group of people. Otherwise, they might as well do their work at home and for their own personal gain. Managers in successful, creative organizations rarely offer speci? c extrinsic rewards for particular outcomes. However, they freely and generously recognize creative work by individuals and teams—often before the ultimate commercial impact of those efforts is known. By contrast, managers who kill creativity do so either by failing to acknowledge innovative efforts or by greeting them with skepticism. In many companies, for instance, new ideas are met not with open minds but with timeconsuming layers of evaluation—or even with arvard business review †¢ september–october 1998 page 6 How to Kill Creativity harsh criticism. When someone suggests a new product or process, senior managers take weeks to respond. Or they put that person through an excruciating critique. Not every new idea is worthy of consideration, of course, but in many organizations, managers habitually demonstr ate a reaction that damages creativity. They look for reasons to not use a new idea instead of searching for reasons to explore it further. An interesting psychological dynamic underlies this phenomenon. Our research shows that people believe that they will appear smarter to their bosses if they are more critical—and it often works. In many organizations, it is professionally rewarding to react critically to new ideas. Unfortunately, this sort of negativity bias can have severe consequences for the creativity of those being evaluated. How? First, a culture of evaluation leads people to focus on the external rewards and punishments associated with their output, thus increasing the presence of extrinsic motivation and its potentially negative effects on intrinsic motivation. Second, such a culture creates a climate of fear, which again undermines intrinsic motivation. Finally, negativity also shows up in how managers treat people whose ideas don’t pan out: often, they are terminated or otherwise warehoused within the organization. Of course, ultimately, ideas do need to work; remember that creative ideas in business must be new and useful. The dilemma is that you can’t possibly know beforehand which ideas will pan out. Furthermore, dead ends can sometimes be very enlightening. In many business situations, nowing what doesn’t work can be as useful as knowing what does. But if people do not perceive any â€Å"failure value† for projects that ultimately do not achieve commercial success, they’ll become less and less likely to experiment, explore, and connect with their work on a personal level. Their intrinsic motivation will evaporate. Supervisory encouragement comes in other forms besides rewards and punishment. Another way managers can support creativity is to serve as role models, persevering through tough problems as well as encouraging collaboration and communication within the team. Such behavior enhances all three components of the creative process, and it has the added virtue of being a high-impact practice that a single manager can take on his or her own. It is better still when all managers in an organization serve as role models for the attitudes and behaviors that encourage and nurture creativity. Organizational Support. Encouragement from supervisors certainly fosters creativity, but creativity is truly enhanced when the entire organization supports it. Such support is the job of an organization’s leaders, who must put in place appropriate systems or procedures and emphasize values that make it clear that creative efforts are a top priority. For example, creativity-supporting organizations consistently reward creativity, but they avoid using money to â€Å"bribe† people to come up with innovative ideas. Because monetary rewards make people feel as if they are being controlled, such a tactic probably won’t work. At the same time, not providing suf? cient recognition and rewards for creativity can spawn negative feelings within an organization. People can feel used, or at the least under-appreciated, for their creative efforts. And it is rare to ? nd the energy and passion of intrinsic motivation coupled with resentment. Most important, an organization’s leaders can support creativity by mandating information sharing and collaboration and by ensuring that political problems do not fester. Information sharing and collaboration support all three components of creativity. Take expertise. The more often people exchange ideas and data by working together, the more knowledge they will have. The same dynamic can be said for creative thinking. In fact, one way to enhance the creative thinking of employees is to expose them to various approaches to problem solving. With the exception of hardened misanthropes, information sharing and collaboration heighten peoples’ enjoyment of work and thus their intrinsic motivation. Whether or not you are seeking to enhance creativity, it is probably never a good idea to let political problems fester in an organizational setting. In? ghting, politicking, and gossip are particularly damaging to creativity because they take peoples’ attention away from work. That sense of mutual purpose and excitement so central to intrinsic motivation invariably lessens when people are cliquish or at war with one another. Indeed, our research suggests that intrinsic motivation increases when people are aware that those around them are excited by their jobs. When political problems abound, people feel that their work is threatened by harvard business review †¢ september–october 1998 page 7 How to Kill Creativity others’ agendas. Finally, politicking also undermines expertise. The reason? Politics get in the way of open communication, obstructing the ? ow of information from point A to point B. Knowledge stays put and expertise suffers. From the Individual to the Organization Can executives build entire organizations that support creativity? The answer is yes. Consider the results of an intensive research project we recently completed called the Team Events Study. Over the course of two years, we studied more than two dozen teams in seven companies across three industries: high tech, consumer products, and chemicals. By following each team every day through the entire course of a creative project, we had a window into the details of what happened as the project progressed—or failed to progress, as the case may be. We did this through daily con? dential e-mail reports from every person on each of the teams. At the end of each project, and at several points along the way, we used con? dential reports from company experts and from team members to assess the level of creativity used in problem solving as well as the overall success of the project. As might be expected, the teams and the companies varied widely in how successful they were at producing creative work. One organization, which I will call Chemical Central Research, seemed to be a veritable hotbed of creativity. Chemical Central supplied its parent organization with new formulations for a wide variety of industrial and consumer products. In many respects, however, members of Chemical Central’s development teams were unremarkable. They were well educated, but no more so than people in many other companies we had studied. The company was doing well ? nancially, but not enormously THE THREE COMPONENTS OF CREATIVITY Expertise is, in a word, knowledge—technical, procedural, and intellectual. Expertise Creativity Creativethinking skills Motivation harvard business review †¢ september–october 1998 page 8 How to Kill Creativity Some creative ideas soar; others sink. To enhance creativity, there should always be a safety net below the people who make suggestions. better than most other companies. What seemed to distinguish this organization was the quality of leadership at both the topmanagement level and the team level. The way managers formed teams, communicated with them, and supported their work enabled them to establish an organization in which creativity was continually stimulated. We saw managers making excellent matches between people and assignments again and again at Chemical Central. On occasion, team members were initially unsure of whether they were up to the challenge they were given. Almost invariably, though, they found their passion and interest growing through a deep involvement in the work. Their managers knew to match them with jobs that had them working at the top of their competency levels, pushing the frontiers of their skills, and developing new competencies. But managers were careful not to allow too big a gap between employees’ assignments and their abilities. Moreover, managers at Chemical Central collaborated with the teams from the outset of a project to clarify goals. The ? al goals, however, were set by the managers. Then, at the day-to-day operational level, the teams were given a great deal of autonomy to make their own decisions about product development. Throughout the project, the teams’ leaders and top-level managers periodically checked to see that work was directed toward the overall goals. But people were given real free dom around the implementation of the goals. As for work-group design, every Chemical Central team, though relatively small (between four and nine members), included members of diverse professional and ethnic backgrounds. Occasionally, that diversity led to communication dif? ulties. But more often, it sparked new insights and allowed the teams to come up with a wider variety of ways to accomplish their goals. One team, for example, was responsible for devising a new way to make a major ingredient for one of the company’s most important products. Because managers at Chemical Central had worked consciously to create a diverse team, it happened that one member had both a legal and a technical background. This person realized that the team might well be able to patent its core idea, giving the company a clear advantage in a new market. Because team members were mutually supportive, that ember was willing and eager to work closely with the inventor. Together, these individuals hel ped the team navigate its way through the patent application process. The team was successful and had fun along the way. Supervisory encouragement and organizational support were also widespread at Chemical Central. For instance, a member of one team received a company award as an outstanding scientist even though, along the way, he had experienced many failures as well as successes. At one point, after spending a great deal of time on one experiment, he told us, â€Å"All I came up with was a pot of junk. Still, the company did not punish or warehouse him because of a creative effort that had failed. Instead, he was publicly lauded for his consistently creative work. Finally, Chemical Central’s leaders did much to encourage teams to seek support from all units within their divisions and to encourage collaboration across all quarters. The general manager of the research unit himself set an example, offering both strategic and technical ideas whenever teams approached him for help. Indeed, he explicitly made cross-team support a priority among top scientists in the organization. As a result, such support was expected and recognized. For example, one team was about to test a new formulation for one of the company’s major products. Because the team was small, it had to rely on a materials-analysis group within the organization to help conduct the tests. The analysis group not only helped out but also set aside generous blocks of time during the week before testing to help the team understand the nature and limits of the information the group would provide, when they would have it, and what they would need from the team to support them effectively. Members of the team were con? dent that they could rely on the materials-analysis group throughout the process, and the trials went well—despite the usual technical dif? culties encountered in such testing. By contrast, consider what we observed at another company in our study, a consumer products company we’ll call National Houseware Products. For years, National had been well known for its innovation. But recently, the company had been restructured to accommodate a major growth spurt, and many senior managers had been ? red or harvard business review †¢ september–october 1998 age 9 How to Kill Creativity transferred. National’s work environment had undergone drastic changes. At the same time, new product successes and new business ideas seemed to be slowing to a trickle. Interestingly, the daily reports of the Team Events Study revealed that virtually all creativity killers were present. Managers undermined autonomy by continually changing goals and interfering with processes. At one quarterly review meeting, for example, four priorities that had been de? ned by management at the previous quarterly review meeting were not even mentioned. In another instance, a product that had been identi? ed as the team’s number one project was suddenly dropped without explanation. Resources were similarly mismanaged. For instance, management perennially put teams under severe and seemingly arbitrary time and resource constraints. At ? rst, many team members were energized by the ? re-? ghting atmosphere. They threw themselves into their work and rallied. But after a few months, their verve had diminished, especially because the pressures had proved meaningless. But perhaps National’s managers damaged creativity most with their approach to evaluation. They were routinely critical of new suggestions. One employee told us that he was afraid to tell his managers about some radical ideas that he had developed to grow his area of the business. The employee was wildly enthusiastic about the potential for his ideas but ultimately didn’t mention them to any of his bosses. He wondered why he should bother talking about new ideas when each one was studied for all its ? aws instead of its potential. Suggested Readings Teresa M. Amabile, Creativity in Context: Update to the Social Psychology of Creativity (Boulder, Colo. : Westview Press, 1996). Teresa M. Amabile, Robert Burnside, and Stanley S. Gryskiewicz, User’s Manual for KEYS: Assessing the Climate for Creativity (Greensboro, N. C. : Center for Creative Leadership, 1998). Rosabeth Moss Kanter, Frontiers of Management (Boston, Mass. : Harvard Business School Press, 1997). Through its actions, management had too often sent the message that any big ideas about how to change the status quo would be carefully scrutinized. Those individuals brave enough to suggest new ideas had to endure long—often nasty—meetings, replete with suspicious questions. In another example, when a team took a new competitive pricing program to the boss, it was told that a discussion of the idea would have to wait another month. One exasperated team member noted, â€Å"We analyze so long, we’ve lost the business before we’ve taken any action at all! † Yet another National team had put in particularly long hours over a period of several weeks to create a radically improved version of a major product. The team succeeded in bringing out the product on time and in budget, and it garnered promising market response. But management acted as if everything were business as usual, providing no recognition or reward to the team. A couple of months later, when we visited the team to report the results of our study, we learned that the team leader had just accepted a job from a smaller competitor. He con? ded that although he felt that the opportunities for advancement and ultimate visibility may have been greater at National, he believed his work and his ideas would be valued more highly somewhere else. And ? nally, the managers at National allowed political problems to fester. Consider the time a National team came up with a great idea to save money in manufacturing a new product—which was especially urgent because a competitor had just come out with a similar product at a lower price. The plan was nixed. As a matter of â€Å"policy†Ã¢â‚¬â€a code word for long-held allegiances and rivalries within the company—the manufacturing division wouldn’t allow it. One team member commented, â€Å"If facts and ? gures instead of politics reigned supreme, this would be a no-brainer. There are no de? able cost savings from running the products where they do, and there is no counterproposal on how to save the money another way. It’s just ‘No! ’ because this is the way they want it. † Great Rewards and Risks The important lesson of the National and Chemical Central stories is that fostering creativity is in the hands of managers as they harv ard business review †¢ september–october 1998 page 10 How to Kill Creativity Fostering creativity often requires that managers radically change how they build and interact with work groups. think about, design, and establish the work environment. Creativity often requires that managers radically change the ways in which they build and interact with work groups. In many respects, it calls for a conscious culture change. But it can be done, and the rewards can be great. The risks of not doing so may be even greater. When creativity is killed, an organization loses a potent competitive weapon: new ideas. It can also lose the energy and commitment of its people. Indeed, in all my years of research into creativity, perhaps the most dif? cult part has been hearing people complain that they feel sti? d, frustrated, and shut down by their organizations. As one team member at National told us, â€Å"By the time I get home every day, I feel physically, emotionally, and intellectually drained. Help! † Even if organizations seemed trapped in organizational ecosystems that kill creativity—as in the case of National Houseware Products— it is still possible to effect widespread change. Consider a recent transformation a t Procter Gamble. Once a hotbed of creativity, PG had in recent years seen the number of its product innovations decline signi? cantly. In response, the company established Corporate New Ventures (CNV), a small cross-functional team that embodies many of the creativity-enhancing practices described in this article. In terms of challenge, for instance, members of the CNV team were allowed to elect themselves. How better to make sure someone is intrinsically motivated for an assignment than to ask for volunteers? Building a team from volunteers, it should be noted, was a major departure from standard PG procedures. Members of the CNV team also were given a clear, challenging strategic goal: to invent radical new roducts that would build the company’s future. Again departing from typical PG practices, the team was given enormous latitude around how, when, and where they approached their work. The list of how CNV broke with PG’s creativity-killing practices is a long one. On nearly every creativity-support dimension in the KEYS work-environment survey, CNV scored higher than national norms and higher than t he pre-CNV environment at PG. But more important than the particulars is the question: Has the changed environment resulted in more creative work? Undeniably so, and the evidence is convincing. In the three years since its inception, CNV has handed off 11 projects to the business sectors for execution. And as of early 1998, those products were beginning to ? ow out of the pipeline. The ?rst product, designed to provide portable heat for several hours’ relief of minor pain, was already in test marketing. And six other products were slated to go to test market within a year. Not surprisingly, given CNV’s success, PG is beginning to expand both the size and the scope of its CNV venture. Even if you believe that your organization fosters creativity, take a hard look for creativity killers. Some of them may be ? urishing in a dark corner—or even in the light. But rooting out creativity-killing behaviors isn’t enough. You have to make a conscious effort to support creativity. The result can be a truly innovative company where creativity doesn’t just survive but actually thrives. Reprint 98501 To order, see the next page or call 800-988-0886 or 6 17-783-7500 or go to www. hbrreprints. org harvard business review †¢ september–october 1998 page 11 How to Kill Creativity Further Reading ARTICLES One More Time: How Do You Motivate Employees? by Frederick Herzberg Harvard Business Review September–October 1987 Product no. 88X Originally published in the January–February 1968 issue of HBR, this classic article offers enduring insights into the psychology of motivation, providing further explanation for why intrinsic motivation is more powerful than extrinsic. In common-sense, often humorous terms, Herzberg explores myths of motivation, outlines steps for job enrichment, and discusses the merits of various forms of the KITA (â€Å"kick in the ass†). This article includes an update by the author. Job Sculpting: The Art of Retaining Your Best People by Timothy Butler and James Waldroop Harvard Business Review September–October 1999 Product no. 282 Butler and Waldroop demonstrate how intrinsic m otivation can help companies address one of the thorniest problems in today’s economy: retaining top talent. Many managers are dangerously unfamiliar with the psychology of work satisfaction, which holds that employees are the most engaged when their responsibilities coincide with their â€Å"deeply embedded life interests. † These interests—the authors identify eight—don’t determine what people are good at; they drive the activities that make people happy. Once an employee’s life interests are known, manager and employee can customize work responsibilities through job sculpting—matching the employee to a job that allows her deeply embedded life interests to be expressed. BOOK Harvard Business Review on Breakthrough Thinking Harvard Business School Press 1999 Product no. 181X Amabile’s â€Å"How to Kill Creativity† is one of the eight articles in this collection. Other topics explored include identifying customer needs that customers themselves have not yet recognized, promoting new understanding of the competitive environment, and fostering innovation. Another article, â€Å"A Film Director’s Approach to Managing Creativity,† is an account of the filming of Night Moves. It describes how director Arthur Penn successfully managed stress, conflict, motivation, and other elements familiar to businesses. To Order For Harvard Business Review reprints and subscriptions, call 800-988-0886 or 617-783-7500. Go to www. hbrreprints. org For customized and quantity orders of Harvard Business Review article reprints, call 617-783-7626, or e-mai [emailprotected] harvard. edu page 12

Evaluate the role of intuition in different areas of knowledge Essays

Evaluate the role of intuition in different areas of knowledge Essays Evaluate the role of intuition in different areas of knowledge Essay Evaluate the role of intuition in different areas of knowledge Essay Intuition is the hunch to turn left at a crossroads when youre lost or the gut feeling that you should choose the third queue in the supermarket because you feel that its the best one. There are those who argue that intuition is in fact not a feeling and but a reasonable and logical choice that your subconscious makes for you. For example when a fireman is inside a burning building and has two seconds to decide if he should turn right or left. He thinks that its his intuition telling him to go left when it could be argued that his subconscious has made a logical calculation of his surroundings and decided that its safest to go left. It could also be argued that intuition is an instinct. If attacked by a bear, your intuition and instinct become the same; both telling you to get away as soon as possible. This is also a decision and action based on reason. Reason tells you that if you that the bear is bigger, more lethal than you and possibly dangerous and so logically it would be better if you left. But then again the fear that you experience when seeing a bear is an emotion and fear usually makes you want to get away. So is intuition based on reason or emotion? Intuition is used in the different areas of knowledge. For example mathematics is an area of knowledge where logic and reason are frequently used. Laws of physics and mathematics, like Newtons three laws and law of exponents, are generally accepted and believed to be true as they have yet to be disproved. They have complex formulas and equations as proof to back up the laws. As most of the worlds population is not very well trained and educated in mathematics and physics we believe in our authorities. In all the mathematicians and physicists who claim that these universally accepted laws are correct. Thus by calculating something we use faith (in our authorities) and the logic that we have been taught in math class to solve a mathematical/physical problem. Thus it would seem that there is no place for intuition in the area of mathematics and natural sciences (in this case physics). However, many of the students in Higher Level Mathematics claim that they often use intuition to help solve difficult problems. That they make a guess because it feels right and hope that it will lead to a correct answer. Sometimes this hunch works, most often not. But a wrong answer is not a necessary failure. You always need to start somewhere and thats where intuition helps. It becomes the hypothesis and if incorrect you learn that this was not the way to solve the problem. Now you have one choice less and are one step closer to the correct answer. Some might say that as mathematics is seen as an area of knowledge where reason and logic often rule then arts could be seen as an area of knowledge where reason and logic isnt used as often and perception senses and emotion rule instead. Art is very personal and quite often requires a lot of imagination. It is also creative and a way to express oneself. Because of this art is emotional, it creates emotional reactions by viewers/listeners/readers and shows the feelings and personality of the artist himself. The artist often writes for example a poem about how the artist feels. Every poem is new and different and so the artist always has to start from scratch which requires intuition. You have to start somewhere and intuition helps to find the right way to go. Intuition in art is also when walking down a street and a melody starts forming in your head or the words to a poem. That is why people who write or compose a lot usually carry with them a small notebook so they can write down all the brilliant ideas that they suddenly come up with. Does art always require intuition and is art always emotional? When painting a portrait of someone or scenery the artist has a model that needs to be copied. This doesnt require imagination nor creativity as there is nothing to be invented or made up from scratch because there already is a correct answer, a model to follow. This then makes art reasonable and logical as all that is required of the artist is talent and technique to know how to copy something successfully. Therefore in some cases art does indeed lack intuition and emotion. This also applies when making decisions based on experience. For example if a song producer wants to add some extra flavour to his latest rap-song he knows that a few more yeahs! or increasing the base will do the trick then his decision is based on experience and not intuition. Our former Theory of Knowledge teacher told us that it is impossible for the human mind to create or think of something that doesnt already exist. This would then mean that we could literary not think outside the box as this would be beyond our brain capacity. If this is true then every form of art is an attempt to copy something that already exists which according to what was said earlier doesnt need intuition. Thus it could be said that there is in fact no place for intuition in art. The counter argument would be to say that even though the artist is trying to copy the feeling misery by writing a poem about it he needs a place to start and a way to express his feelings on the subject and to do this he needs his intuition. So that, when writing his poem on misery he would use intuition to find the right words for his poem.

Winston Churchill Essay Example | Topics and Well Written Essays - 500 words

Winston Churchill - Essay Example Churchill served as a Member of the British Parliament between 1900 and 1905, before proceeding to serve as the Colonial Under-Secretary between 1905 and 1908. As the Colonial Under-Secretary, Churchill was the midwife the Transvaal Constitution. This was a watershed in British politics since it determined race relations among Britons and served as the genesis of recognition of the rights of blacks in Britain to participate in politics (Younger, 134, 135). In a separate wavelength, it is important to appreciate the contributions that Churchill made during his tenure as the President of the Board of Trade, during the time between 1908 and 1910. This was the time he was out of Parliament: from 24 April 1908 to May 1909, Churchill was out of Parliament. As the President of the Board of Trade, Churchill successfully made milestones in labor dispute mediation; made arbitrations in court; conducted and facilitated labor exchanges; and set the minimum wage for workers. The setting of minimum wage for workers improved people’s socio-economic welfare and increased Britain’s overall domestic purchasing power. Another way in which Churchill influenced British politics, criminal justice systems and socio-economic welfare is by championing for key reforms (in the relevant sectors) when he was the Home Secretary. This took place between 1910 and 1911. Within this time and in this capacity, Churchill successfully championed for the Home Rule for Ireland, the Strike intervention and Prison reforms. Churchill also sponsored the passage of the Insurance Act and the Labor and Shop Acts. As if the foregoing is not enough, Churchill also made immense contributions in Britain’s military progress. In this light, because of his impeccable performance in military, Churchill rose up through military ranks and the culmination of his progress was him serving as the First Lord of the Admiralty from 1911 to 1915 (DEste,

International Business Environment Essay Example | Topics and Well Written Essays - 3750 words

International Business Environment - Essay Example India is one of the largest markets in the world in terms of its size and with the growing GDP, the spending propensity too will increase within the next decade. Although there is a certain degree of political and business risks involved in Indian investments, these do not surpass that of any other developing nation. In terms of its tourism industry, the local market is equally important as the foreign tourist inflows and the industry competitiveness is currently placed in average scale though forecasted for high growth during next decade. India has changed its stance from a closed economy to a open economy with much success with a short span of time and its ranking in global trade and FDI is very promising. Many new initiatives and policy measures have been recently introduced to promote international trade and tourism industry in particular as well as creating favourable FDI climate. However the country is still saddled with bureaucratic red tape and administrative restrictions. Me mbership in WTO and being party to many regional integration agreements place India in a reliable perspective in the eyes of potential investors. The country is also extending a high regard for intellectual property rights and has already implemented WTO’s TRIPS agreement. Closely managed Indian monetary system is one of the key deterrence and hindrances faced by many international investors and the close scrutiny of profit repatriation needs to be noted.

Migration, Immigration, and Emigration, and their Effects on Religion, Research Paper

Migration, Immigration, and Emigration, and their Effects on Religion, Women, and Minorities in the Developing World - Research Paper Example The Paper Egypt serves as one of the most influential and prosperous countries of the entire African continent. Her splendid geographical position, magnificent historical background, rich cultural heritage, sound economic structure and imperative political role in the strategic affairs of the region have earned a distinguished and respectable place for her in the international arena. Being a commercial hub and a significant trade junction, people arrive here from all parts of the continent in order to establish their business and get involved into the activities related to trade and commerce on the one hand, and in search of job and employment on the other. The most important aspect of the country is her geographical location, as Egypt is situated at the junction of three continents including Asia, Europe and Africa. At one side, she appears to be the leader of Africa community, and on the other side, Egypt looks engaged in presenting the case of the Middle East problems. Similarly, she also represents the Islamic world at different occasions, which proves her significance as the representative of several most important regional, religious and political communities of the world. It is therefore, the Egyptian people have developed social and commercial ties with the Asian and European traders, corporate firms and companies. â€Å"Occupying a focal geographic bridge linking Africa and Asia, contemporary Egypt is the inheritor of a civilization dating back more than 6,000 years. Egypt’s strategic location has made it the object of numerous conquests: by the Ptolemies, Romans, Greeks, Arabs, Fatimids, Mamluks, Ottomans, and Napoleon Bonaparte. (Platan & Teal, 2001:1) Though, divergent invaders entered Egypt and subjugated her population by capturing the land, wealth and resources of this ancient civilization, yet the country maintained its identity and distinction as the independent state of the world. It is mistakenly viewed that several ethno-racial group s live in Egypt; however, an overwhelming majority of the masses is Egyptian by race. Egypt has not been famous in history for his magnificent emperors and pharaohs of ancient eras only; rather, the architecture of ancient Egypt also makes it a remarkable society of ancient world. The Egyptian pyramids are included in the Seven Wonders existing on the face of the earth. Besides, her strong economy and established infrastructure have also turned the country an attractive place particularly for the people, belonging to southern, central and western parts of the continent, who arrive Egypt in the same manner as the masses from developed Middle East and Far Eastern countries proceed to Europe in search of superior living standard and career jobs as well. Thus, Egypt is one of the most migrated countries of Africa, where perhaps few countries including South Africa, Nigeria and others surpass her in the area of migration into the country. However, the Egyptians have developed popular tre nd of immigration to the southern Europe and the Middle East states particularly Brunei and the UAE. Actually, immigration to Egypt has religious background too, where in ancient time Prophet Joseph was forced to migrate as a child by his brothers, who had thrown him into a well. However, the entire House

Skills and Responsibilities of a Nutritionist

Skills and Responsibilities of a Nutritionist Monica Suzanne B. Castro Career Investigated: Nutrition/Diet Specialist Part 1: Educational and Career Goals There are many reasons why I chose to study nutrition. A) I will have opportunities in various fields that involve advising people on what to eat, so jobs often are easier to come by than they are in other fields. B) I will be able to work with those who are ill or need a special diet, in which case a hospital, nursing home or treatment center may be the best option for a job. C) I can become a private nutritionist, all types of people can come to me for advice on how to eat right. The nutrition industry is a field of healthcare focused on improving everyday health and state of well-being. I enjoy activities often associated with nutrition and fitness including yoga, running, outdoor activities, meditation, healthy diet, organic living, and more. My goal is to further my education, get certified and become a nutrition specialist. As the health and fitness trend is sweeping the world, it is affecting and revolutionizing the health industry like never before. The demand for young, ambitious health and wellness graduates is continuously rising and a myriad of great job opportunities are opening up in different fields of nutrition science. With the growth in this industry there is an increasing scope of enjoying a successful career in this exciting field of healthcare. It is hard work, and for the dedicated, the pay can be very good to excellent. But I would do it because I want to share my knowledge and help other people, not for the money. Part 2: Employment Opportunities and Applications of Applied Learning Potential Employers Job title: Nutrition Specialist GENERAL PURPOSE: Under close supervision, prepares hot and nutritious meals for homebound individuals and senior citizens. Qualifications Education and Experience: Two (2) years of meal preparation experience OR an equivalent combination of education and experience providing requisite skills to successfully perform position requirements. Special Requirements: Must possess Food Handler’s Card at time of hire. Physical Demands / Work Environment: Works in an industrial kitchen and senior center facility. Must be able to lift up to 50 lbs. without assistance, greater than 50 lbs. with assistance or use of mechanical aid. Miscellaneous Information Reports To: Community Center Manager Supervision Exercised: None Job Title: Nutrition Specialist/Outreach Worker PREFERRED MINIMUM QUALIFICATIONS Graduation from high school or GED equivalent, with previous public contact work experience preferred. Previous supervisory experience preferred. Two years of Food Service training required. Knowledge, Skills, and Abilities: (A) Ability to learn standard Microsoft software and Food Works software. (B) Ability to obtain yearly Food Safety Sanitation Training. (C) Ability to obtain CPR and First Aide training. (D) Ability to drive a motor vehicle. (E) Ability to handle stressful situations. (F) Ability to perform duties with a high degree of attention to detail with a high degree of accuracy. (G) Ability to establish and maintain effective working relationships with Older Americans staff and the general public. Job Title: Nutrition Specialist Qualifications: Two years’ experience as a cook in a non-fast food restaurant or healthcare setting. Familiarity with basic kitchen principles, portioning, stock management. High School Diploma or equivalent, Oregon Food Handlers card ServSafe Certification preferred. Experience growth and development through our continuous training, as well as tuition and licensure reimbursement, or pursue opportunities to advance both clinically and administratively with Youth Villages. Job Title: Nutrition Assistant In this position you will: Assemble and deliver patient, visitor, and staff meal orders in a high-volume, fast-paced environment to patients’ rooms or designated location. Visit patients who did not place a meal order and assist them as appropriate Maintain cash bank and process cash sale orders Retrieve meal trays from patients rooms Requiredqualifications for this position include: -High school Diploma or GED -Related customer service experience Job Title: Nutrition Services Substitute Essential job functions include the following: Assist with preparation of meals according to specifications from the Cook Manager, Head Satellite Cook or Nutrition Services Specialist. Clean all food service equipment and preparation and service areas; wash dishes, pots, pans and utensils used in preparation and service of meal. Set up serving line and gather carts, trays, napkins and utensils; place items in proper location for customers. Serve food to students and staff. Other functions of the job include but are not limited to the following: Operate computerized register (Point of Sale System). Attend workshops and in-services for continued professional growth and training. Other duties as assigned. Knowledge, Skills And Abilities Required: To perform this job successfully, an individual must be able to perform each essential duty satisfactorily. The requirements listed below are representative of the knowledge, skill, and/or ability required. Reasonable accommodations may be made to enable individuals with disabilities to perform the essential functions. Understand and follow oral and written directions. Understanding of sanitation and safety practices related to handling and serving food. Ability to use standard kitchen equipment, utensils and measurements. Basic food preparation including washing, cutting and assembling food items and ingredients. Regular attendance. Physical Requirements: Continuously stand, reach with one or both hands, lift up to 15 pounds; frequently twist, lift up to 40 pounds, push and pull up to 15 pounds; occasionally crouch, kneel, stoop, lift up to 50 pounds. Potential Customers In My Local Area Rachel Geller – She is interested in getting a personal nutritionist. She is trying to eat healthier and shred some unwanted pounds. In order to accomplish her goals, I have to discuss and tackle her personalized eating and exercise plan, she will have to start off slow and eventually work her way up, to an everyday natural routine. She will have to start a daily food diary; it will aid her in keeping track of her daily calorie intake. It will also aid her by showing what recommendations she need and how much of them she need, that way she can fulfill her daily nutritional recommendations. The Skills I Have Obtained Nowadays, the requirement for academic achievement play less important role as compared to the soft skills. Competitive world has led the organizations set up their recruitment based on other non-academic factors. Knowledge is being gained through experience, not from the formulae from the prescribed syllabus. The knowledge gained from syllabus 3 years ago is not necessarily applicable in today’s scenario. Therefore, students like me have to update ourselves with general knowledge and current issues happening in the world. I believe that in applying all of my lifelong studies, the lifelong study definitely increase my general knowledge and skills. I am more sensitive about the dynamic environment, have higher flexibility to make my future career as a nutritionist better. Part 3: Continuing Education and Career Development I want to further my education in nutrition sciences by researching and taking online programs. I believe in long life learning and self-paced studies. It will give me many opportunities to intensify my skills while pursuing my occupation. Having access to World Wide Web all over the world, with the information I need at my fingertips will propel me to a higher level of intellectual aptness. The immense number of nutrition programs available over the internet enables me to arm myself with the knowledge needed to aid me on any project or endeavor that I may attempt. Ashworth College is one of those ideal online institution that helped me pursue my dreams and ambitions to become a nutritionist. It goes above and beyond the call of duty to ensure that its students become useful members of society. As I commence my journey into real life challenges, Ashworth College will be my guide making sure that I follow the right track into the future. Two Universities I plan to apply after Ashworth College: Kaplan University – Bachelor of Science in Nutrition Science Total Core Credits: 33 Total Program Credits: 180 In this program you will explore various topics, concepts, values, research methods, and applications in nutrition science. Your coursework will focus on: Exploring the principles and pharmacology of nutrition and how dietary choices can contribute to a healthy lifestyle Acquiring an understanding of digestion, absorption, and metabolism of foods and nutritional needs at various stages of the life cycle Developing the administrative, ethical, and professional skills necessary for leadership positions throughout the health care field Completing an original comprehensive capstone project that demonstrates your ability to apply your nutrition science knowledge and skills to real-world scenarios University of South Dakota – Bachelor in Health Sciences This online Health Science degree program provides the opportunity for students with an interest in the health professions to explore the many opportunities in the field and to develop the knowledge, values and interpersonal skills needed to be successful in todays health and human service settings. Certifications Related to My Field of Study The Certification Board for Nutrition Specialists (CBNS) The Clinical Nutrition Certification Board (CNCB) is a 501(c)(3) non-profit Tax-exempt certification agency which provides professional training, examination and certification for health care organizations, specialty credentialing programs and state license/certification examinations. The Purpose of Certification The Certified Clinical Nutritionist (CCN) Examination Establishes reputable standards of excellence * Creation of a quality examination, based on a validated scope of practice which appropriately represents the field of clinical nutrition * Candidate access to the broad scope of clinical nutrition training and * A mechanism for re-certification every five years, recognizing continued competency in the field. The CCN Examination Candidate must: 1. Satisfy the CORE Requirements 2. Submit Credential Review Application and College Transcripts 3. Obtain Credential Review Approval 4. Complete the Post Graduate Studies in Clinical Nutrition Program (PGSCN) â„ ¢ 5. Achieve a passing score on the written CCN Examination The CCN Examination processes and the examination data bank are reviewed and revised annually, in accordance with the specifications of the Role Delineation Study. The CNCB utilizes a criterion referenced passing point for each section of the certification examination. To obtain a Certificate of Completion in the field of Clinical Nutrition ONLY: Candidate does not meet the minimum standard in core coursework or degree(s). 1. Submit your Candidate Profile Page to the CNCB. 2. Complete the 56 hour PGSCN course to obtain a Certificate of Completion in the field of Clinical Nutrition through the Clinical Nutrition Certification Board. MAINTAINING THE CERTIFICATION The CCN Credential requires on-going maintenance to verify that the practitioner is continuing to update knowledge and skills: Forty approved CE Hours every 2 years, fulfilled by the following; 1. Attendance at three out of four IAACN Annual Scientific Symposiums (60 CEs earned). 2. Payment of Annual CNCB Maintenance Fee. (No refunds in part or in full) 3. Recertification in the spring of your fifth year via annual study textbooks with contracted Open Book Exam. Recertification Text books total 24 CE hours. The CCN Continuing Education Maintenance Requirement of attendance at 3-out-of-every-4 IAACN Scientific Symposiums will satisfy the above stated CE requirements. Part 4: Job Application Details Applicant’s Name (last) Castro First Middle Initial B. Monica Suzanne Social Security #: 518-50-7839 Mailing Address (Number) Street 1632 N Normandie Avenue, Apt 315 Work Telephone # (323) 345 5839 City Los Angeles Zip code 90027 State California Education Name of School FT Career College Ashworth College Location of School Los Angeles, CA 6625 The Corners Parkway, Suite 500 Norcross, Georgia 30092 Degree or Course of Study Certified Nursing Assistant Nutrition, Diet and Health Science Date Completed May 2013 March 2014 Employment History – Begin with your most recent job. List Job Separately Job Title: Nursing Assistant Dates worked from 2012 to Present Name of Employer: Mark Auria Name of Supervisor: Estelle Francia Duties Performed: Experienced ambulatory and non- ambulatory elderly patients. Administered medication, documented food and fluid intake, measured and charted vital signs, prepared meals, provided personal care including feeding, grooming and dressing. PERSONAL REFERENCES: List the names of references that employers may contact. 1 Name Noelia Black Telephone # (323) 345 8709 Relationship Instructor Address: City State 123 Easton Blvd., Los Angeles CA Zip code 90078 2 Name April Sky Telephone # (434) 346 7563 Relationship Teacher Address: City State 564 Walnut Drive Los Angeles CA Zip code 90045

Silk Cut ad campaign analysis

Client Management Mucky Chain Lecturer: Bruce Stains Opinion Piece Topic: Case history of Silk Cut advertising Date: 26/8/2005 Introduction Cigarette advertising in UK has been changed because of the rules and regulation set by Advertising Standards Authority (known as AS), it basically tightens the creative freedom to cigarettes advertising. However, Silk Cut advertising has successfully launched a campaign that break through the tradition of cigarette ad, as well as print ad in the world.This document will be covered the areas of, why the campaign was launched, the location of the campaign had run, the reason behind and the people ho created it. Who creative the Silk Cut campaign? The classic Silk Cut campaign had been produced by the legendary creative director, Paul Arden and his agency's head, Charles Chitchats. Cigarette giant Gallagher corporation had entrusted the Silk Cut campaign to the British based agency, Chitchats & Chitchats. In the late ass, the account was shifted to M Chitchats until the end of the campaign as cigarettes advertising was totally banned in public.Others art directors who was involved the campaign in Chitchats & Chitchats include Graham Fink, Bill Gallagher and Alexandra Taylor. The people who were in charged the campaign in M Chitchats include, Simon Tickets, chief executive director, Moray McClellan, the chief executive officer and Martin Caisson, who was in charged the sponsored event in the 1996 Edinburgh Festival . Fig. 1 fig. 2 Why Silk Cut campaign was the classic? In the time when Chitchats & Chitchats acquired the Silk Cut account, cigarette advertising was not allowed to show to product and its name.Other regulations include, it cannot associated with any social groups, the result of success in business, evoking people to start smoking, masculinity and femininity and it is not allowed to associated with glamour and sports. On the other hand, Silk Cut was promoted as a low tar cigarette, it attracted to the women market as during the period, people got the perception that low tar cigarette is less danger to health. Women target was attracted to that point. Silk Cut cigarette was also target more up-market. In the previous advertising (fig. 1 & fig. 2), it was associated with brandy and coffee.Those objects are related to the smoothness, richness and quality . The later campaign was also associated with that image. The Silk Cut image can also be reflected in the brand name and corporate color. The meaning behind ‘Silk Cut' was a natural cigarette. Silk is a metaphor for natural product as this is a fabric that is not man-made. And ‘Cut' is the action of how tobacco leaf was cropped. Also, the dominated package color was purple, which is associated with royalty and splendor. All those factors were used in this ground- breaking campaign later. Fig. Fig. 4 When was the campaign launched? This famous Silk Cut campaign, more or less was influenced by the other classic cigarette campaign, Hedg es and Benson in the late ass. The common facts were, they were both no-copy ads, and there are some abstract objects to let audience associate o the products. The Silk Cut campaign was first launched in 1984 and ended in February 2003. The last campaign was estimated to cost 2. Mm GAP. Now in I-J, advertising was banned on direct mail, in-pack promotion and sponsorship, and of course, on all print ad and TV commercials.Where was the Silk Cut campaign run? It was run in UK and influenced to the advertising industry, like how the created the brand recognition to the audience, the craft skill that associates to the product and the market. Arguably the Silk Cut campaign was Judged to raise the femininity through its idea, target to women. For instance, the first idea of the campaign (fig. 3) showing the cut on a piece of silky fabric. The cut was associated with the symbolic female genital organ. And in fig 4, the ‘cancan' scissors were Judged as the power of women.Its distinctiv e semiotic concept influenced to the Hedges & Benson campaign later as it was showing the surreal package in all ideas as they were both under the regulation that no product can be shown in the ad. Hedges & Benson ad let people remind it name, and the Silk Cut one reminds people about its name. Fig. 5 fig. 6 How to make it success? As the advertiser understands, the brand royalty is very important to cigarette maker, people stick to a cigarette brand often Just because its name and image. In the early stage of the campaign, it was simply shown a cut silk in purple to let audience think of its brand.Later on, it was developed to showing the tool for cutting the silk, like scissors. And there are more symbolic objects to relate to women which are their target market. The obvious examples are (fig. 5 and 6) those using the scenes of the Hitchcock movies, The Birds and The Psycho. Both scenes in the movies are evicting women being attacked, by birds or killer. In the fig. 7, 8, 9 and 10 , both are related to the feminine power by implicitly showing the actions by women cutting something, or intend to do it. The campaign was success to create the brand association and recognition.As the images in those ads are surreal and symbolic, it attracts the audience to decode the ad. This action makes the whole campaign very memorable as audience spends time to think about the ad. Fig. 11 is a good example to show the twist of the creative even it is not cutting the fabric but the line (phone call). The campaign also created the brand image as mysterious and gloomy. The ads never associate people enjoying a cigarette or showing how cool and attractive a person can be if they consume the product.It differentiates the position with other brands which saying the click message. And it fig. 8 stands out in the market, especially to the women, that people could be captive with the brand, because they are associated to the brand with the gorgeous purple silk, it uses the other way t o present fashionable and modern as it seems to project an impression, that you are clever to know about this ad'. Conclusion The Silk Cut campaign was an advertising classic not Just because no more cigarette advertising can be run in I-J, but its originality and creativeness.

Discuss the economic, political and social impacts of international trade in the 21st century

Globalisation has emerged over the past 30 years bringing new dimensions to the traditional economic thinking around international trade. Discuss the economic, political and social impacts of international trade in the 21st century. Globalisation is the trend towards markets crossing international and regional borders, lessening the differences in customers' wants1. The process of globalisation, assisted by the technological revolution in communications and computers, is radically altering the shape of world markets, as well as the nature of business and everyday life. The economic, political, and social significance of international trade has been essential for the growth of globalisation. The restrictions to international trade would limit the nations to the services and goods produced within its territories, and they would lose out on the valuable revenue from the global trade. Globalisation has not only changed the way we live it has improved efficiency in flow trade and finance, modernised technology for consumers and increased wealth. International trade is the exchange of goods and services between countries. This type of trade gives rise to a world economy, in which prices, or supply and demand, affect and are affected by global events. Economically it can be extremely complicated especially the fact that all countries whether they like it or not, are related to each other in one way or another. For example, an increase in the price of one commodity such as oil creates a long and complex chain of events which makes analysis of all the causal relationships virtually impossible. The risk of the exchange rates can also be a impact between countries due to the different currencies around the world. During recession, countries suffer local pressure to change laws governing International trade to protect the local industries. The most painful and memorable of such incident is the Great Depression. However, nations with strong international trade have had the power to control the world economy and this has allowed them to reduce poverty. Trade has also allowed countries to increase in profits and sales which have allowed businesses to expand internationally. Political impacts of international trade are not taken lightly as there may be many impacts which may affect the trade of goods and services between the countries. The risk of non- renewal of import and exports licenses can affect the consumer and supplier, this is because if a license is not renewed jobs will be lost and consumers will be dissapointed as their good or service is no longer being offered to them. The risk of war is also dangerous as it can leave the country in harm and have a huge impact as businesses will no longer want to provide their goods and services to the country at war. If war is declared between to countries this impacts the economy greatly. Through diversifying cultrally and socially a nation becomes more open and desirable to tourists. It allows for major growth and change as well as initiating connection with other countries. Therefore, if more tourists are willing to come to a country it further increases economic growth. International trade may also impact the way individuals behave towards each other, as new customs from overseas are learned and adapted. According to the Australian Department of Foreign Affairs and Trade, the growth in exporting and companies becoming global has created over 250,000 new jobs. Conclusively, international trade in goods, services and finance has been increasing at an exponential rate which is giving consumers a wider choice of products and services to choose from. Globalisation has not only changed the way we live it has improved efficiency in flow trade and finance, modernised technology for consumers and increased wealth. The process of globalisation, assisted by the technological revolution in communications and computers, is radically altering the shape of world markets, as well as the nature of business and everyday life.

Third World Development essays

Third World Development essays Understanding the nature and types of underdevelopment is the key to analyzing the degree of severity in which a state is underdeveloped. The term underdeveloped can describe several different situations. These different types of underdevelopment are economic, social, and political. Underdeveloped nations may experience a combination of these types ranging in different degrees of severity. These different types also affect each other as they naturally interact. Handelman explained this perfectly when he said that wealthier, more educated countries...tend to be more stable, responsive, and democratic than desperately poor nations (11). More economically advanced countries can educate more of their population and provide better health care. An educated citizenry, in turn, contributes to economic growth and participates in politics more responsibly (10). These aspects clearly influence each other, and thus can influence progress or regression. Religion also plays a huge role in the nature of a society. If that society is based on a particular religion and the government subscribes to that religious doctrine, then the society will follow the religion before it follows the example of other societies, thus impeding progress. However, depending on the religious movement, progressive religion can actually provide a median for progress. In Latin America, the progressive Church offered a shield against political repression and a voice for the poor. As different as they are, Islamic revivalism and the progressive Catholic Church both received much of the impetus from government repression and corruption. In short, the resurgence of Third World religion was, in part, a reaction to the deficiencies of modernization and the political-economic order (43). Religious fundamentalism can cause hostility within a state as well as strained relations with other states. ...

The Complete Guide to Ebook Publishing Platforms

The Complete Guide to Ebook Publishing Platforms The Complete Guide to Ebook Distribution At Reedsy, our goal has always been to help authors through every stage of the publishing process, from the actual writing down to the marketing and promotion. However, if there's one thing our marketplace can't do, it's the actual publishing of the book. By that, I mean pressing the button that puts your book up for sale on Amazon - and other retailers.Ebook distribution is a complex, ever-evolving topic. Every year, new retailers open their gates, while existing ones close. To make authors’ lives easier, we’ve compiled everything you need to know about ebook distribution in this guide - which we religiously update every year to make sure that all the information in it is up to date. Everything you need to know about ebook distribution (but never considered asking) Now, there are two ways to read this post. If you want to know everything, go from top to bottom and absorb all the information. If you’re just looking for simple, clear-cut instructions on how to get your books onto the major ebook stores in the best way possible, then head straight to our optimized distribution setup infographic.What you need before you publish: formats, ISBNs moreBefore you can get your book up on different ebook stores, you'll need a couple of things: your properly formatted ebook files and a professional cover design.ISBN for Self-Publishers: The Complete Guide Read post Most e-retailers (e.g. Amazon) don’t require your ebook to have an existing ISBN, and most ebook publishing platforms (e.g. Draft2Digital) will provide one for free anyway. Some platforms like PublishDrive don’t offer a free ISBN, but will instead assign to your book another kind of unique identification number which will be accepted by the different stores they publish to.So, all in all, you don’t need an ISBN for ebook publication. Are there benefits to getting one? Yes: if you purchase your own ISBN and register it to your publishing company, your book will show up on retailers as being published by you (rather than by the publishing platform you used). Top #selfpub tip: If you purchase your own ISBNs, each format of your book needs its own. If you do purchase your own ISBNs, here’s the one rule you need to know: each format of your book needs to have its own ISBN. This means, in theory, that your .mobi on Amazon should have a different ISBN from your EPUB on the other stores. If you publish a print book as well (check out our list of print  book distributors right here), then your paperback and hardback will need different ISBNs as well.In the US, you can purchase ISBNs at Bowker. In the UK, you can purchase them at Nielsen. In Canada, you’re lucky, they’re free, and available through the Canadian ISBN Service System (CISS)! 🠍 A professional cover designOn top of your EPUB or .mobi, the other file you’ll need to upload is your book cover file. It’s important to check each retailer/distributor to see exactly what dimensions they require for covers. For example, Draft2Digital recommends a JPEG with dimensions of 1600 Ãâ€" 2400 pixels (a 1.5 ratio), whereas Amazon currently recom mends dimensions of 2,560 Ãâ€" 1,600 pixels (a 1.6 ratio). Knowing your dimensions ahead of time can save you and your cover designer time and ensure that your entire design appears as you intended.We have written extensively on this blog about the importance of hiring a professional cover artist to design your cover. If you want to find out to work with a world-class designer without breaking the bank, read this.Now that you have all the files you need to publish your ebook, it’s time to make one of the biggest decisions in your author career: are you going to publish exclusively on Amazon, or â€Å"go wide†?Amazon exclusivity vs â€Å"going wide†Surely, if I want to maximize my sales, I should make my ebook available to as many retailers as possible, right? That’s true, but here’s the trick: Amazon will offer you a lot of promotional advantages to entice you to publish your book exclusively on their stores. And depending on your book, genre, and marketing strategy, these benefits can far outweigh the drawbacks of not selling on Apple Books or Kobo. When is KDP Select not your best option for ebook distribution? #selfpub tips The case for Amazon exclusivityWhether you choose to be exclusive or not, your first ebook distribution step will be to upload your book to Amazon through Kindle Direct Publishing. This is when you’ll be presented with an option: enrolling in KDP Select.KDP Select is the name of Amazon’s exclusivity program. In exchange for not listing your book anywhere else (that includes direct sales or giveaways through your website, by the way) for a minimum period of 90 days, you’ll get access to:Kindle Countdown Deals: for a period of 7 days every 90 days, you can discount your book. This â€Å"countdown deal† will be promoted to Amazon customers, and you’ll earn the 70% royalty - even on sales below $2.99.Kindle Free Promotions: for a period of 5 days every 90 days, you can set your book as free on the Kindle store. This free promotion will grant your book quite a bit of visibility on the free store.Kindle Unlimited and Kindle Owners’ Lending Library : KDP Select books are automatically enrolled in Kindle Unlimited (KU) and Kindle Owners’ Lending Library (KOLL), two subscription services that are extremely popular among Amazon customers. KU/KOLL authors are paid a percentage of the KDP Select Global Fund based on the number of pages of their books read by KU/KOLL subscribers every month.On top of these benefits, a KDP Select ebook will also earn you 70% royalty for sales to customers in Japan, India, Brazil and Mexico (35% otherwise).The case for â€Å"going wide†Amazon controls around 80% of the ebook market in the US and UK, but their market share is much lower in other countries. In Canada, for example, Kobo alone controls over 25% of the ebook market. In Germany, Tolino has the same market share as Amazon.Not being exclusive to Amazon - what we call â€Å"going wide† - gives you a chance to reach these other readers. Also, building a meaningful presence on smaller retailers can sometimes be easier than competing on Amazon (even with KDP Select’s perks).For a closer look at the pros and cons of Amazon exclusivity, take a look at this in-depth article. The ebook publishing landscape is an ever-changing one, and can be hard to navigate even for the most seasoned indie authors. We hope this post helped shed some light on the numerous distribution channels and opportunities available to authors, and how to make the most of them. We promise we'll do our best to update both our recommendations and the huge spreadsheet of aggregators and retailers on a regular basis.Acknowledgements: we'd like to give our thanks to Dan Wood at Draft2Digital, Monica Dubà © at PublishDrive and Giacomo D'Angelo at Streetlib for their help on our research. Special thanks as well to indie author Rohan Quine  whose distribution setup inspired us to write this post in the first place, and to Janell Robisch for her feedback.If you have any questions or comments about our recommended setup, or if you just want to have a virtual fireside chat with us about ebook distribution (who doesn't love that topic?!), please drop us a line in the comments below!

The Dynamic Nurse-Patient Relationship Essay Example | Topics and Well Written Essays - 1500 words - 1

The Dynamic Nurse-Patient Relationship - Essay Example She developed the dynamic nurse-patient relationship model to provide nursing practitioners a model of efficient nursing practice. She investigated nursing patient care on medical-surgical settings, not individuals with psychiatric disorders in psychiatric facilities. She recognized three aspects of nursing practice: the uniqueness and creation of nursing knowledge, the professional role of nurses, and the relationship between nurse and patient. A nursing context comprises the patient’s behavior, the nurse’s response, and all that does not alleviate the patient’s suffering. Patient distress is associated with the failure of the person to satisfy or express his/her needs. The dynamic nurse-patient relationship is derived from the assumption that the relationship between the nurse and patient is mutual, which means that the behavior or decision of one influence the other. Orlando (1961) argues that the nursing role is different from the medical role and that the re sponse of nurses is based on the urgent needs, demands, and experience of the patient. Basically speaking, the theory claims that nursing is one-of-a-kind and autonomous because it focuses on the need of an individual for help or support, actual or probable, in an urgent condition. The manner by which nurses relieve this vulnerability is reciprocal and is performed in a closely controlled or profession way that requires education and expertise. Orlando (1961) argues that one’s behavior or response must be derived from reason, not set of rules.

Ulysses Grant and His diplomatic achievements in Civil War Essay

Ulysses Grant and His diplomatic achievements in Civil War - Essay Example It is at this civil war that Ulysses Grant emerged as one of the most successful war commanders of his time after he prevented the secession from taking place. He would later become elected as the 18th president of the United States of America. Ulysses began his career in military action by first serving as a cadet after enrolling at West Point Military Academy at the age of 17 years. After graduation from the military academy, where he emerged at number 21 out of 39 cadets, Grant went on to serve in the American Mexican war. Being under generals such as Zachary Taylor and Winfield Scott, Grant was able to learn the strategies of war. He retired from active service in 1854, and was working at his father’s tannery as a clerk, when the civil war began. Born Hiram Ulysses Grant, he had to change his name due to a clerical error when at the military academy in West Point. According to Bunting and Schlesinger (2004), Grant grew up under easy discipline and devoted attention (p10). Therefore, it was not hard for him to adapt to the demands of military action. His parents were rather opposites in opinions, with his father Jesse praising the young boy at every opportunity he had while his mother Hannah, was an unbeliever in praise (Bunting and Schlessinger 10). His boyhood and education was conventional at the time (Bunting and Schlessinger 11). ... st Point but his wedding had to delay due to the threat of war with Mexico, which he later took part in unknowing that this would be an important phase of his career as a soldier. His performance in the war was exemplary, and lead to his promotion to first lieutenant due to his bravery. He played a huge part in the capture of Mexico City and his experience at this Mexico-American war would later come as an advantage to him during the civil war (Hickman Para 3). The Civil War The civil war began in 1861 when Grant was serving in his father’s tannery, and this offered him the chance he was so much willing to take- that of getting back to military action. In 1852, Grant had been stationed in Fort Vancouver, a place he considered lonely and could not take his family with him. Due to this, he started drinking heavily, and was charged for it though no formal evidence emerged. He later had to resign to avoid getting the boot. On coming back to the civil war, Grant served in the union army that was seeking to end the confederates reign. At the union army, Grant began as a trainer for the new recruits in the army and was promoted to colonel in June 1861, where Major General Fremont later appointed him as commander of the district of Cairo in Illinois. President Lincoln would later appoint him as Brigadier General of the army after serving for the adjutant in Illinois. His diplomatic achievements would start early on in his career as a civil war soldier, where after training the new recruits as commissioned by Governor Yates, he was successful in convincing congressman Elihu B Washburn to appoint him as colonel (Patterson et al 150). His colonel duty saw him lead the Illinois infantry a largely unruly unit, but was able to reform the unit into the best fighting unit in the