The Medium Is the Massage Mcluhan Essay Example for Free

The Medium Is the Massage Mcluhan Essay This change in our perceptions of reality is the metaphor. â€Å"Our metaphors create the content of our culture. † (Postman, 1986) Postman compares the prophecies of George Orwell’s 1984 with the Aldus Huxley’s Brave New World. Orwell’s warning is of an â€Å"externally imposed oppression† while Huxley’s warning is of â€Å"people who will come to love their oppression, to adore their technologies that undo their capacities to think,† amusing their selves to death (Postman, 1986). Our culture is in danger of trivialization due to the distractions, amusements and limitations of our media today. It is our esponsibility to study the effects of our technologies to prevent any detrimental unanticipated consequences they may have on our society. Samuel Morse when he invented telegraphy, predicted that it would make â€Å"one neighborhood of the whole country. † According to Postman telegraphy â€Å"destroyed the prevailing definition of information, and in doing so gave a new meaning to public discourse. † It is with telegraphy and its union with the press that the value of information changed. Information became context- ­? free and a commodity. Information was bought and sold irrespective of its use or eaning, 1 and this is how the value of news has come to rely on its novelty, interest and curiosity and not on its functionality (Postman, 1986). â€Å"Television speaks in only one persistent voice – the voice of entertainment,† (Postman, 1986). Like the primitive technology of smoke signals, television is a medium restricted by its form. A Cherokee philosopher cannot communicate his ideas with smoke signals. Likewise, television with its inherent bias cannot be used for complex discussions. â€Å"The average length of a shot on network television is only 3. 5 seconds so that the eye never rests, lways has something new to see. † (Postman, 1986) Television favors fascinating dynamic visuals over ‘boring’ complexity and coherence- ­? which do not play well on television. All content is presented as entertainment, â€Å"requiring minimal skills to comprehend it, and is largely aimed at emotional gratification. † (Postman, 1986) However, this does not mean that there is anything wrong with entertainment or that all TV programs are useless. What is wrong is to turn to television for anything serious, expecting the meaningful. It is our obligation to be aware of the metaphor. The metaphor is new culture centered on the need to be entertained and incapable of filtering information, distinguishing what is relevant, or questioning what needs to be questioned. As we are now experiencing the boom in social media with 955 million active users on Facebook in June 2012 (Wikipedia, 2012), it is apparent that we should follow the advice of McLuhan and Postman, and study the elusive effects of social media on our culture today. Facebook tends to encourage people to only show how wonderful their life is. They engage in a form of personal propaganda, indulging in narcissistic behaviors n an environment where it is the norm to do so. It is true that social media brought the world closer together but it has also distanced us. We stay in touch without actually having a conversation through broadcasts and status messages. People compete to have as many friends as possible, making relationships shallow and communications superficial. With more than half of Facebook users accessing Facebook on their mobile devices, it is also important to note the distractions and disconnect these devices cause in our relationships in the real world. â€Å"People know what they do; they frequently now why they do what they do; but what they don’t know is what what they do does† Foucault (Mahon, 1992). In a world where technology is the way of life, it is crucial for us to investigate the effects these tools have on our societies. These tools are extensions of our human experience and therefore must be examined as phenomena that shape the very form of our existence, altering our day- ­? to- ­? day lives and dynamically influencing our culture. These influences maybe indirect and subtle and it is our responsibility to be simply conscious of their effects regardless of whether they are eneficial or not. It is through this awareness that we would be able to 2 prevent the changes that we decide do not suit our visions and goals for the human race. References: †¢ McLuhan, M. (1994). Understanding media: The extensions of man. (pp. 721). Cambridge, MA: MIT Press. Postman, N. (1986). Amusing ourselves to death. New York, NY: Penguin Group. Mahon, M. (1992). Foucaults nietzschean genealogy: Truth, power, and the subject. (p. 130). Albany, NY: State University of New York Press. Wikipedia. (2012, August 20). http://en. wikipedia. org/wiki/Facebook    Facebook. Retrieved from †¢ †¢ †¢ 3

Oedipus The King Essay Example for Free

Oedipus The King Essay Oedipus is written as a play, there is no narrator, Sophocles explains the story line and then runs the story into playwright. I like this point of view because it can sometimes be more clear to the reader. There are many points of view in this play. That is there are many different individuals addressed this playwright. Thus there are many different points of view. I think that Oedipus generally speaks in place of a narrator, because he is the main character. I believe he expresses some of the things that Sophocles is trying to say to the audience. An example of this is when he says: Speak out, speak to us all. I grieve for these, my people, far more that I fear for my own life. (Sophocles, 395) I think that Sophocles is trying to get people to speak their own mind, come together, and establish a community. He is saying this through Oedipus. Oedipus goes through many changes. He goes through a state of innocence or ignorance, then through a state of denial and finally a state of acceptance and guilt. Throughout these different stages in his life, he reveals to his audience who he really is. Oedipus believing he is innocent is part of the form in this play. Oedipus has come to the throne of Thebes by solving the Riddle of the Sphinx. There is a plague upon Thebes which Oedipus desires to heal. Creon returns to the palace after his visit to the Pythian House of Phoebus, an oracle. The oracle has said that the only way to cure the illness in Thebes is to find the man whom killed Laius, the previous king of Thebes. Odeipus tries to discover the murderer and requests that the murderer come forward and promises that instead of being killed, he will be banished from Thebes. If any man comes forward with the murderer he will be rewarded and if any guilty man is found and has not confessed, the murderer will be banished from all aspects of society. Tiresias, an aged, blind prophet is brought to Oedipus to reveal the murderer. Tiresias says that Oedipus unknowingly killed Laius. Disbelieving this, Oedipus blames Creon for plotting this against him to gain the throne  of Thebes. Tiresias states his innocence and before he leaves the palace, he gives Oedipus a riddle: The murderer seemed an alien is really a native to Theban, was once poor and now is rich, is the brother of his children and the child of his wife, the heir to his fathers bed and the cause of his fathers death. The form in this part of the play, plays into the certain buildup of the plot. Now Creon comes to the palace after hearing of Oedipus charges against him. Oedipus questions Creon as to why Tiresias didnt come forward when the initial investigation of Laius death occured. Creon says he is happy with his position in court and has no desire to take the throne from Oedipus. He tells Oedipus that for proof he can go to the oracle at Pytho and ask if Creon is telling the truth. Jocasta, Oedipus wife, tells him that an oracle came to Laius saying that he would die by the hand of his child. Learning this Laius has his newborn son tied at the ankles and taken away to be killed. She says that Laius was killed by robbers on his way to the oracle at Delphi at the place where three roads meet. The content of this play is that of Greek tragedy, son of Laius, king of Thebes, and his wife, Jocasta. Laius had been warned by an oracle that he was fated to be killed by his own son; he therefore abandoned Oedipus on a mountainside. The baby was rescued, however, by a shepherd and brought to the king of Corinth, who adopted him. When Oedipus is grown, he learns from the oracle that he would kill his father and marry his mother. He fled Corinth to escape this fate, believing his foster parents to be his real parents. At a crossroad Oedipus encountered Laius(his father), and killed him. He continued on to Thebes, where the Sphinx was talking and all who could not solve her riddle. Oedipus answered it correctly and so he won the widowed queens hand(his mother). The prophecy was fulfilled. Two sons, Polynices and Eteocles, and two daughters, Antigone and Ismene, were born to the unwittingly incestuous pair. When a plague descended on  Thebes, an oracle declared that the only way to rid the land of its illness was to expel the murderer of Laius. Through a series of painful revelations, the king learned the truth and in an agony of horror blinded himself. His daughters, Antigone and Ismene, are left in the hands of Kreon, who proves to be a true friend of Oedipus. The content of this play regarding time is that the time wasnt very specific, but it does say that Sophocles lived from 496-406 BC. The place on the other hand is very specific, it introduces you saying: The royal house of Thebes. Double doors dominate the facade, a stone altar stands at the center of the stage. Many years have passed since Oedipus has solved the riddle of the Sphinx and ascended the throne of Thebes, and now a plague has struck the city. A procession of priests enters ¦(Sophocles, 392) I think that this introduction leads the reader into a world of curiosity. We really dont know what is going to happen to Oedipus, all we know is there is a plague across the town that Oedipus must do something about. This leads the reader into Oedipus stages of innocence or ignorance, denial and finally guilt. The content in the choice of setting affects the theme because it makes this story more believable, in a time unfamiliar to us, long ago.

Theory of the Prism Spectrometer Experiment

Theory of the Prism Spectrometer Experiment Introduction When a beam of light is transmitted from air to glass, the ray is bent according to Snells law sin0air= nsin0glass Where the angles are measured from the surface normal (the line perpendicular to the surface) and n is the index of refraction of the glass. The index of refraction is a dimension-less number and is a measure of how strongly the medium bends light. The greater n is, the more the light is bent. The index of refraction of air is 1. For glass, n varies from 1.3 to 1.8, depending on the type of glass and on the wavelength of the light. White light is made up of all the colors of the rainbow red, yellow, green, blue, and violet. Different colors correspond to different wavelengths. Human eyes are sensitive to light with wavelengths in the range 390 nm (violet) to 750 nm (red) (1 nm = nanometer = 10-9 m). Range of human vision Glass has a greater index of refraction at shorter wavelengths, that is, it bends blue light more than red light. So a prism can be used to disperse white light into its component colors. Blue red wavelength In this experiment, we will use a prism spectrometer to measure the dispersion angle of various wavelengths. From the measurements, we will make a graph of the index of refraction vs. wavelength. The form of the curve of index of refraction as a function of wavelength, known as the Cauchy formula, is n = A + B/l2 Or n = A + (b/l)2 As a light source, we will use a mercury lamp, which emits light at several discrete wavelengths. The device we are using is called a prism spectrometer because, once the prism is calibrated, it can be used to measure the wavelengths of the lines in the spectra produced by various atoms. The spectra contain bright lines at particular wavelengths, which correspond to light emitted during the transition between different energy states of the atoms. You see distinct lines because the atoms exist only in distinct, quantized energy states. Trying to explain the data from such experiments— the existence and pattern of sharp spectral lines—led to the development of quantum mechanics. When a ray of light is refracted by a prism, the angle between the incoming and outgoing rays is called the angle of deviation (b). For a given prism and a given wavelength, the value of b depends on the angle between the incoming ray and the surface of the prism. b is minimum when the angles of the incoming and outgoing rays make equal angles with the prism surfaces. In this special symmetric case, the prisms index of refraction (n) is related to b and the apex angle of the prism N= The prisms that we will use all have a = 60 ° (exactly, we assume).There exist extensive tables of the line spectra of many elements. In the first part of the experiment, you will be using the known spectrum of mercury to calibrate your prism spectrometer. As a result, you have measured the curve of index of refraction as a function of wavelength. So if you measure a new line of a spectrum, you can calculate the index of refraction and use your curve to look up the wavelength for the new line. This process is used in identifying the elements present in unknown samples, such as the atmospheres of distant stars. The element helium, now used to inflate birthday balloons, was first discovered by observing the atmosphere of a nearby the star, the sun (helios is Greek for sun). In the last part of the experiment you will have the opportunity to measure the spectrum of a gas in this fashion. The fine prism spectrometers used in this lab were purchased in 1970 for $700 each. Today inferior models are available for $1700. Handle them with respect! Never force any parts!à ¢Ã¢â€š ¬Ã†â€™ OBJECTIVES: Learn the theory of the prism spectrometer, and be able to explain the functions of its various components. Observe the spectrum of a mercury discharge lamp and record the angle of deviation for the spectral lines. Determine the index of refraction of a glass prism for various wavelengths. Use the calibrated prism to measure unknown wavelengths. Observe color sensation caused by light of particular wavelengths. Methodology 1. Become familiar with the spectrometer a) Identify each component: the black table, the prism table, the collimator, and the telescope b) Note the clamping screws and the fine adjustment screws for the telescope and the black table. Note the clamping screw for the prism table. c) Note how to adjust the telescope focus and the eyepiece. d) Note how to adjust the slit focusing in the collimator tube. Note how the slit width can be adjusted and how the slit orientation can be rotated. 2. Practice reading the angle from a precise protractor scale on the rim of the black table. Use the Vernier scale with the little magnifying glass to read the angle to the nearest arc minute. 3. Align the spectrometer In order to correctly measure angles with the spectrometer, we must first align it. To do so, use the following steps: a) Telescope focus: Do not put the prism onto the silver table yet. That will come later. Notice that there are two knobs associated with the telescope. They are located directly under the telescope barrel. One points along the barrel and one is perpendicular to it. The knob that is along the barrel will lock the telescope’s position and will prevent it from rotating. When it is locked down in this way, you can use the other knob for a fine adjustment, to rotate it by very small amounts. If the telescope is not unlocked, turn the knob that is parallel to the barrel counterclockwise until you can freely rotate the telescope. Turn the telescope so that it is not pointing at the collimator but is instead aimed at something as far away from you in the room as possible. Now rotate the focus adjustment (See diagram on page 5) until you can see through the telescope clearly. You may notice that the image is upside down. This is normal. Just ensure that it is as clear and in focus as you can. After this adjustment, you should not adjust the focus of the telescope again. b) Telescope alignment: Now place a white light (desk lamp) in front of the slit on the end of the collimator (in the diagram on page 5, the desk lamp goes where the â€Å"HG lamp† is pictured). Now rotate the telescope until it is pointed at the collimator. You should imagine a straight line going from the lamp through the collimator, and through the telescope. By looking through the telescope, you should be able to line up the crosshair with the slit in the far end of the collimator. By locking down the telescope and using the fine adjustment (the knob perpendicular to the one that you used to lock down the telescope) you should be able to do this very accurately. If you are unable to see the slit, it may be closed too tightly. You can widen and narrow the slit by rotating the adjuster on the collimator (it is located on the far end of the collimator, much like the focus for the telescope). This will adjust the slit width, but will not focus the slit. If the slit does not have very crisp edges when you look through the telescope, move the end of the collimator near the lamp in and out to focus it. If your slit is not vertical in the telescope, you can also rotate it so that it is. Once you have a nice thin, well-focused slit, with your crosshairs centered on it and your telescope locked down, you are now ready to align the scales to read the angle. c) Angle adjustment: If you look below the set of knobs that control the telescope, you will see another pair of knobs that look identical to the ones for the telescope. These knobs perform the same functions (locking down and fine adjustment) for the black table itself. If you unlock the black table, you can rotate it. Notice that there are two windows in which you can read an angle. We want to rotate the table until one of the windows has 0 (zero) lined up with 0 (zero) or 360 (since a circle is 360 degrees, 360 is the same as 180. If at all possible, we should try to use set it so that this window is to the left of the telescope (as we are looking over the barrel toward the lamp) because this will make reading our angle easiest. (Please have a look at the diagram on page 5) On some scopes there is a small magnifier attached to the black table over one window, and this would also be advantageous to use. Once you have aligned them, you will lock down the black table and will not rot ate it again. From now on, we will only rotate the telescope. d) Prism placement: Now you should place the prism in the center of the silver table. Recall that light is bent toward the base of the prism, so it should be placed on the silver table so that the gray plastic part makes a â€Å"C† shape if you were to look at it from the telescope side of the apparatus. Now, without moving the telescope, move your head to the left (about to where the telescope is rotated to in the diagram on page 5) and look into the prism. You will have to put your head down at the height of the telescope/collimator. Now rotate the silver table clockwise until you can see a nice rainbow like spectrum â€Å"inside† the prism. (You should notice that the rainbow is inside of a black circle. You are seeing the light coming out of the collimator and bent through the prism.) If it does not look like a very nice, bright, well-formed rainbow, you probably do not have your head in the right place; move further left and try to rotate the silver table back and forth. Once you have found it, unlock the telescope (not the black table) and rotate it to the left where you were looking. Now look through the telescope, and you should be able to find the rainbow. We are now in about the right place to find our spectrum with the mercury vapor lamp and to adjust for the minimum angle of deviation. e) Minimum angle of deviation: Now, remove the white light and replace it with the mercury vapor lamp. You will want to move the lamp until it is aligned with the slit. To do this, look through the telescope and move the lamp back and forth until it is nice and bright in the telescope. Instead of a complete rainbow, you should now see only certain bands of color. If your bands do not look nice and sharp, you may have to adjust your slit focus or width. Some lines are better seen if you tighten the slit. (The lamp should be very close to the slit.) Move the telescope back and forth until you get the crosshair lined up on the green band. Now look back to the diagram on page 5. We want to make the angle b as small as possible. To do this, rotate the silver table back and forth just a little bit. You should be able to get the green line to move to the right. Now realign the crosshair on the green line and rotate the silver table a little bit again. Then realign the crosshair on the green line. You should repeat this process until no matter which way you rotate the silver table, the green line goes to the left, not the right. When this occurs, and the green line is as far as you can get it to go to the right, you are at the minimum angle of deviation. This angle should be around 51 or 52 degrees for the green line. If it is not, you may not have aligned the scales correctly, please repeat steps c, d, and e from above. (Record it below). Every time that you do a different color, you will have to repeat this process. f) Record the prism number and read the deviation angle on the protractor. Prism # _______ b = _______  ° _______ ’ = ___________ ° 4. Measure the angle of deviation for each of the spectral lines of the Mercury lamp. The wavelengths and colors of the spectral lines are given in the table below. While making measurements, unclamp and rotate the prism table to check that the prism is oriented for minimum angle of deviation for the red, green, and blue lines. When measuring very closely spaced lines, like the double yellow lines, make the slit very narrow and check the focus. When measuring dim lines, make the slit wider.

Importance of Family in the Short Story, Cakes Essay -- Salvatore La P

Confucius once said, â€Å"The strength of a nation derives from the integrity of the home.† The majority of people across the world deem family as the uttermost important aspect of their life. Family is something that often teaches us moral values, and helps shape the individuals we become later in our lives. In the short story, â€Å"Cakes† Salvatore La Puma conveys the prominence of family in Italian-American immigrant culture in the 1940’s industrial era. La Puma utilizes the first paragraph as mini-ethnography to portray the unity of the Vitale family. The introduction states, That summer he sweated from the humidity which in 1940 everyone in Brooklyn sweated from; then he sweated from the hot ovens at Carlo Amato’s pastry shop in Bensonhurst four or five nights a week; then he sweated from the hot ovens at a pastry shop Downtown every day of the week except on Sunday, when he usually slept until noon. From Downtown, Giovanni Vitale came home at the end of the workday on the BMT subway to his wife, Lisa, to their three kids Anna, Steve, and Johnny. After dinner they would all listen to the Philco. Then Giovanni and the eldest kid, Johnny, eleven, walked three long blocks and two short blocks, past the old people who fanned themselves on the stoops, to Carlo’s shop on Seventeenth Avenue (4). The first paragraph evokes the normal and typical structure of the Italian-American immigrant family in the 1940’s industrial era. In the Vitale family, everyone has their own role. The father, Giovanni Vitale has the duty of working long hours to provide for his family, the mother, Lisa has the role of a homemaker, to make dinner for the family, and the eldest child, Johnny has the dutiful role of helping his father at the pastry shop.... ...ma further underscores the importance of family in Italian American culture. In the final scene in the story, when Carlo dies, Martina comforts Johnny, â€Å"Martina seated herself beside him, put her arms around him, and before he knew what happened his eyes closed and his face went down on her breast where he was held like that.† (6). Recognizing Johnny’s naivety, Martina hugs Johnny in a way that a mother would caress her newborn. An indirect reference is made, where the scene between Martina and Johnny parallels the image where mother Mary is holding baby Jesus. Although Martina is not related to Johnny, her caring and nurturing behavior towards Johnny illustrates the deep and close relationship between Italian Americans By illustrating Martina as a mother figure, La Puma is able to show the familial bond that exists between friends in Italian American culture.

Infectious Mononucleosis :: essays research papers

CauseInfectious mononucleosis is caused by the Ebstein-Barr virus, which is a member of the herpes family. This family also includes the viruses that cause cold sores, chicken pox, genital herpes, and birth defects. The Ebstein-Barr virus has a lengthy incubation period and symptoms usually take about 4-10 weeks to develop.Once a person is infected with a herpes virus, it never really goes away. The viruses are able to lie dormant in our bodies and become active at any time. The only way mono can be spread is through direct contact with infected saliva. That explains why it is known as the "kissing disease". Drinking from each- others glasses, sharing silverware, and coughing can also spread the virus. In rare cases it can be transmitted from person to person through blood transfusions.A person can only be infected when someone who has the virus passes it to someone who has never been exposed. But less than 5% of people w/ mono can recall being in contact w/ someone who had mono. That is b/c some people are strictly carriers. They carry the virus and pass it along to someone else without ever getting any symptoms themselves.Population AffectedAnyone can get mono. About 70-80% of all cases occur in people btw/ the ages of 15-30. Mono is most common among high school and college students who immune systems are usually run down from stress and fatigue. Although mono peaks earlier in females, it occurs more often in males. Females are usually 15-16 when they contract mono and males tend to be around 18-23. It is estimated that by the age of 40, 95% of the population has already had mono. That might be hard to believe, but most people who had mono didn't even know it. They had such mild cases that they thought it was just a cold or flu and their bodies were able to produce antibodies against ever having mono again.SymptomsIf symptoms do appear, they don't develop immediately. The incubation period lasts anywhere from 2 to 7 weeks. The 1st symptoms are commonly mistaken for a cold. They are headache, fatigue, loss of appetite, and chills. The symptoms become more severe as the body's lymphatic system is affected. These include extreme exhaustion, sore throat, fever and swollen glands.

Ukraine After The Chernobyl Disaster in 1986 Essay -- neutralization pr

At the beginning of our project we considered Bertolt Brecht as a possible practitioner for our piece. By using his alienation technique we planned to create a multi-media theatre performance. As a collective, we considered doing this by examining relevant topics and implementing a mixture of verbatim theatre and devised script techniques. However, Augusto Boal is the name of the practitioner that we mainly used throughout the show. We chose Boal, because of the nature of his techniques, which allowed us to experiment with various themes and ideas throughout the performance. Our genuine idea was to create a piece that would show how the media can be used as a source of manipulation of the mass population. Furthermore, showing how the government can use this medium in their advantage, hence controlling the minds of the masses. We based this idea on Boal’s techniques that would involve the audience’s participation. A member of our group came up with the idea of luring the audience into believing that something is real, when in fact it was completely made-up by our group. By using Boal’s theatre techniques such as Forum Theatre, Joker System, Newspaper Theatre and Image Theatre we set out to convince our audience that the British government are planning to release into the atmosphere a new chemical compound called E307 that slows down cells degeneration, thus making people live longer and be healthier. The E307 compound stemmed from our initial idea to create a gas called â€Å"Anarchy Gas† that would have been used to counteract and absorb some of the nuclear radiation over Ukraine after the Chernobyl Disaster in 1986 and eventually speed up the neutralization process. As we delved into our research we divided ourselves in pairs, in or... ...-techniques.html. Last accessed 19th May 2014. David Farmer. (2010). Image Theatre. Available: http://dramaresource.com/strategies/image-theatre. Last accessed 20th May 2014. S. Leigh Thompson. (2006). What is Theatre of the Oppressed?: Image Theatre. Available: http://theforumproject.org/whatisto/imagetheatre/. Last accessed 20th May 2014. Jaqueline D. Burleson (1991). AUGUSTO BOAL’S THEATRE OF THE OPPRESSED IN THE PUBLIC SPEAKING AND INTERPERSONAL COMMUNICATION CLASSROOMS . Louisiana State University: The Department of Communication Studies. 17-30. The Brecht Forum. (2007). AUGUSTO BOAL & THE THEATER OF THE OPPRESSED. Available: http://brechtforum.org/abouttop. Last accessed 22nd May 2014. Alex Maccioni. (2009). AUGUSTO BOAL: THEATRE OF THE OPPRESSED. Available: http://chiaroscuromagazine.com/critique/augusto-boal-theatre-oppressed. Last accessed 22nd May 2014.

Get Prepared My Speech Essay

Regarding our introduction speech as my first formal one in front of the class, I felt so awkward that I forgot every details which we should pay attention to. First is the Eye Contact. There was a kind of hook that I can’t control myself from moving my sights out of the back row, where our professor sat. The second Delivery part is Vocal Pause which was my most serious issue during all the speech. Words just went out of my mind since I wrote my name on the board. I was a little unaware when my name was called on the second because I preferred the third place so that I got enough time to calm down and organized sentences. Every preparation I did was showing randomly in my head. For example, my personal considerations on how tough will a military mission be had appeared first rather than an interesting getter. Some details I added to make a rich description became a simple word, not including some parts I even forgot to say. The last issue is about Body language that it may help audiences to know where the person in the speech is. Thanked for the outlines paper so that I knew where I should put my hands on. I was easily lost my minds but caught up on time by fingering which line I would read next. By recollecting fragments of my speech, I keep telling myself it would be better if I performed in that way. An interesting beginning, more eye contacts or less pause while I was expressing. All the problems I mentioned above is because I didn’t realize there was more nervousness than I expected. In another words, I didn’t rehearse enough to conquer that as Ronald B. and George states, â€Å"A smooth and natural delivery is the result of extensive practice. Get to know your material until you feel comfortable with your presentation† (page 342). After switched to a listener, contents were not the only part that attracted me but how different they performed from mine. By observing their moves, their body languages were perfectly coordinated with the rhythm of presentations. It became a talk like he or she was introducing a friend of his or her to you instead of reading a research paper. About the cadence they spoke, the variable tone caught my attention all the time and I couldn’t wait to know what was on the next. I confessed that I am the selective listener who responds only to the parts of a speaker’s remarks that interested me. With those changing tones and plentiful body languages, the contents were easily understood and appealing. I am very pleased to be enrolled in this class to figure out what is my weakness and how I can beat them to be a qualified speaker. Works Citied Adler, Ronald B. and Rodman, George. Understanding Human Communication with Carrie Cropley Hutchinson, 11th edition. Print.