Airbus A320 Control Problem Case Study Essay Example | Topics and Well Written Essays - 1500 words

Airbus A320 Control Problem Case Study - Essay Example The side sticks reacted oppositely such that when the side stick on the right was controlled, the plane moved in the opposite direction and vice versa. After the plane moved to a height of FL120 the crewmembers noticed the abnormality and sought to land the plane safely for further checking. The maintenance organization group took over the plane and repaired the plane but did not realize the fatal error they did while trying to repair the plane. No damage occurred to the plane and no injuries occurred to the people on board. This paper discusses and analyzes the findings of the aviation investigation team and makes the distinguishing mistakes done on the plane by the teams handling the repair. Research Findings and Analysis The team investigating the fatal error first recognized that the plane was on maintenance two days even before the flight and the plane had indicated the problem. The problem affected both ELAC number one and ELAC number two. The errors were both visible through t he computer transmission. The elevator aileron computer controls the back angle of the plane. The researchers found out that despite repairing the elevator aileron computer, a bent pin on elevator aileron computer number one was not replaced and not repaired. The investigation also reveals that during the repair of ALAC number one, the entire rewiring process was incorrect. The command and the monitor channels faced alteration when the technicians inverted the whole wiring system after getting confused on which diagram to use on the manufacturers manual. The wire connects the plug of ELAC to the plane for ease of monitoring the back angle of the plane and other conditions of the plane. Due to lack of enough experience by both the engineers and the crewmembers, the errors remained undetected and almost led to massive losses and death. Flight controlled check group are to be blamed for failing to realize the error. The report argues that the error occurred due to the following reasons . There was an unclear information about the planes diagrams that resulted to abnormal wiring of the control and monitor channels. The researchers believe that a wrong diagram caused the problem. The research findings also indicate serious differences between the manufacturers and the engineers on the maintenance. The report argues based on the data difference used by manufacturers and the maintenance team in correcting the errors of the plane. The findings also indicate that the unambiguous instructions from the manufacturer could have led to the fatal error. According to the report, the analysts argue that the insufficient functionality of the quality assurance services undermined the quality of the work done by the maintenance and the flight control checkers. This is mainly due to the two separate groups working distinctively separate failing to identify and notice the problem. The high authority members of the organization is also to blame as they did not pass their tests in ens uring that sufficient supervision and maintenance was done to the plane before declared fit for transport. The following defenses were broken while trying to correct the error on the plane. On 18th March 2001 when the pane signaled an error message on ELAC number two, the maintenance group ought to have corrected the mistake instead of doing a RESET. Another defense broken is that the crew passed the plane fit for travel while they had not fully corrected the mis

Resistance to Change and Rapid Change Coursework

Resistance to Change and Rapid Change - Coursework Example Once such absenteeism takes place, there becomes lack of consensus to the change agenda and the subjects in turn refuse to see the need to corporate. In another breadth, resistance to change takes place because subjects develop suspicions of unfairness in regards to the changes that take place. Commonly, resistance happens through the development of organizational conflicts (Jim, 2001). Also, resistance may happen through a lack of commitment towards new regulations that are spelt out in the course of the change. What is more, resistance take place through absolute disregard and disobedience to the instructions associated with the change. To address the issues of resistance to change, managers are advised to understand why resistance would take place and a will power to address the issues head-on. A democratic organizational decision making system that takes up the interest of all stakeholders on board is for example suggested as a very useful strategy in addressing the issue of resi stance to change. This strategy is sure to work because it seeks to bring all people on board ahead of the change implementation. Once everyone gets satisfied with the need for there to be change, they are left with no other choice than to heed to the changes (Bill et al,

What do you understand by the phrase 'moral panic' Please Essay - 1

What do you understand by the phrase 'moral panic' Please refer to at least one contemporary example which illustrates how the media can be said to be responsible for creating moral panics - Essay Example ese institutions majorly use literature among the very many medium that exist to pass down morals from one generation to another.Going through the human history of literature, plenty of fictional stories, for example, the Goosebumps (Blaine, 2008). These stories served as an avenue of entertainment but also as a source of morals because they informed, improved, and instructed their readership or audience (Butts, 2006), for example, the novels by Dickens Charles, over the years have been a great source of morality. This is because Charles Dickens has extensively written on the various social and economic ills that face the society. Charles Dickens, in his book, David Copperfield talks extensively on the economic and social ills of the society (Dickens, 1899). In children’s literature, the concept of morality is widely depicted. For instance in storytelling, teachers are always concerned with the morality of the story. Literature has been widely used for purposes of explaining and imparting the concepts of morality in an individual (Butts, 2006). The concept of morality is more common in the literature of children. Literature books and stories are therefore a great source of moral teachings. Panic on the other hand is the sudden feeling of fear that is usually very great at particular instances that it replaces reasonable thinking with overwhelming agitation as well as anxiety (clarke, 2002). Panic might be experienced by an individual or get experienced by a group of people all at once at times referred to as panic of the mass or mass panic (Kenneth, 2006). Panic dates back, way back, and man over the years has deduced means of using panic to his advantage. It is believed that men used panic during the pre-historic period to hunt animals for food (Clarke, 2006). For example, pre-historic man would make weird sounds by blowing horns and would use this to direct herds to cliff edges and the animals would jump to their deaths or cripple themselves making it easy

Technical features of the sonnet form Essay Example for Free

Technical features of the sonnet form Essay There are a number of technical features of the sonnet form; first of all, all sonnets are fourteen lines long. There are ten syllables in each line, and most of the time they are in the form of iambic pentameter (limping five rhythm), this means that there are five stressed syllables at the start and then five unstressed syllables, this is repeated 5 times. However, Sir Phillip Sydneys sonnet Loving in truth has twelve syllables in each line, so that sonnet is an exception to this rule. All of the sonnets rhyme, there are two rhyme schemes, the Shakespearean and Petrarchan sonnet forms. The Shakespearean sonnet form consists of three quatrains and a rhyming couplet at the end of the sonnet. Usually, the rhyming couplet in Shakespearean sonnets summarises the whole poem. The Petrarchan form consists of an octave, and then a sestet. Another thing is that there is a lot of imagery in sonnets. The main types of imagery are similes, metaphors and personification. An example of a simile is in Percy Shelleys sonnet, To Wordsworth, when he says thou wert as a lone star. Also there are many examples of metaphors, such as in Shakespeares My mistress eyes, Shakespeare says black wires grow on her head. This means that he is comparing black wires to actual hair. There are also a lot of examples of personification in sonnets, for example Wordsworth says the very houses seem asleep; he said this in his sonnet which is called Composed upon Westminster Bridge, September 3, 1802. There are quite a few common themes in sonnets that poets write about quite often. An example of a theme is love and courtship. There are a lot of sonnets that deal with this subject, such as Shakespeares sonnet called When my love swears that she is made of truth. In this sonnet, Shakespeare talks about his love telling lies to him just to make him feel good. He even says I do believe her, though I know she lies. This shows that Shakespeare is telling us all about courtship, another thing is that he refers to her speech as a false-speaking tongue. All of this explains about courtship in Shakespeares sonnet, and almost at the end of the sonnet he states that loves best habit is seeming trust. Edmund Spencers sonnet 54, Of this worlds theatre in which we stay, is also about love. He compares love to going to the theatre, for example he says my love like the spectator ydly sits. Another thing is that he contrasts his love with comedies and tragedies in the theatre: But when I laugh she mocks, and when I cry She laughs and hardens evermore her heart. This makes it clear that this sonnet is also about love, and going to the theatre is a metaphor for his love. Another sonnet that falls into the category of love and courtship is Sir Philip Sydneys Loving in truth and in fain in verse my love to show. In this sonnet, he talks about winning the heart of someone he loves by writing a poem. By writing the poem he intends her to feel pity, and then he states that pity grace obtain. In another words, his love will feel sorry for him and feel sympathy for him. All of this illustrates that love and courtship is a common theme for sonnets. Another common theme is about poetry. The sonnet Loving in truth and fain in verse my love to show by Sir Phillip Sidney is more about poetry than love. He talks about writing a poem for his love to read, he says pleasure might cause her to read which emphasizes the power of poetry. He also points out that he needs a poem that will entertain her wits. Even in the last line, he makes reference to poetry by saying Fool, said my Muse to me, look in thy heart and write. What he meant by this is that the best poems are written by listening to your heart. However, it is ironic that Sir Phillip Sidney must have done a lot of research into writing this poem, and not by listening to his heart. Another sonnet about poetry is Shakespeares My mistress eyes. In this sonnet, Shakespeare criticises the exaggeration of other poems. He compares his mistress to coral, saying that her eyes are nowhere near as red as coral, which makes fun of the other poems. He states that when compared to perfume, his mistress breath wreaks. Right at the end of the sonnet, at the rhyming couplet he makes it clear that he isnt criticizing his mistress, but that falsely comparing his love and exaggerating isnt necessary: And yet, by heaven, I think my love as rare As any she belied with false compare. Another example of poetry as a theme for a sonnet is in Shakespeares sonnet Not marble nor the gilded monuments. In this sonnet he talks about the power of this particular sonnet that he was writing by saying that nothing shall outlive this powerful rime. He mentions that the memory of his love will always be around thanks to the poem he wrote, even after they die, her memory will still be here in the poem, this conveys the power of this particular poem. He says gainst death and all-oblivious enmity shall you pace forth. In the end he illustrates that his loves will live in this, and dwell in lovers eyes. Finally, time, death and loss are part of another theme that is common in sonnets. All these three themes are linked together. First of all, John Donnes sonnet Death be not proud is about death. He personifies death and directs his sonnet to death itself by saying Death be not proud, though some have called thee mighty and dreadful, for thou art not so. In this sonnet, John Donne illustrates that there is nothing to fear about death. He states that death is a slave to fate, chance, kings and desperate men. Even at the end, he stresses that death shall be no more and that death will die itself, this means that death is only really sending people to heaven and that eternal life shall overcome death. The next sonnet about this theme is Shakespeares No longer mourn for me when I am dead. In this sonnet he leaves a message for his love, not to feel bad when he will die. He says remember not the hand that writ it, for I love you so which means that this sonnet is also about time because he talks about his love forgetting about him after an amount of time. Also he thinks of the future, when he will be dead, which also shows that this sonnet is about time and he loss of him. Another sonnet about death and time is John Keats When I have fears that I may cease to be. At the start of the sonnet, John Keats shows that he is scared of death because he wont be able to write poems again, and that he might not live long enough to write a truly great poem. He also is worried that he wont see his lover again because he says that he shall never look upon thee more. At the end he mentions to nothingness do sink which means that he is probably near to death. Overall, he common themes that are used in sonnets are love and courtship, the power of poetry and death.

Catcher in the Rye Essay: Holden and the Complexity of Adult Life

Holden and the Complexity of Adult Life What was wrong with Holden, the main character in The Catcher in the Rye, by J.D.Salinger, was his moral revulsion against anything that was ugly, evil, cruel, or what he called "phoney" and his acute responsiveness to beauty and innocence, especially the innocence of the very young, in whom he saw reflected his own lost childhood.   There is something wrong or lacking in the novels of despair and frustration of many writers. The sour note of bitterness and the recurring theme of sadism have become almost a convention, never thoroughly explained by the author's dependence on a psychoanalytical interpretation of a major character. The boys who are spoiled or turned into budding homosexuals by their mothers and a loveless home life are as familiar to us today as stalwart and dependable young heroes such as John Wayne were to an earlier generation. We have accepted this interpretation of the restlessness and bewilderment of our young men and boys because no one had anything better to offer. It is tragic to hear the anguished cry of parents: "What have we done to harm him? Why doesn't he care about anything? He is a bright boy, but why does he fail to pass his examinations? Why won't he talk to us?" A remarkable and absorbing novel, J. D. Salinger's "The Catcher in the Rye," may serve to calm the apprehensions of fathers and mothers about their own responsibilities, though it doesn't attempt to explain why all boys who dismay their elders have failed to pass successfully the barrier between childhood and young manhood. It is profoundly moving and a disturbing book, but it is not hopeless. Holden Caulfield, sixteen years old and six foot two inches in hei... ...Boy, I was shaking like a madman." The Catcher in the Rye is not all horror of this sort. There is a wry humor in this sixteen-year-old's trying to live up to his height, to drink with men, to understand mature sex and why he is still a virgin at his age. His affection for children is spontaneous and delightful. There are few little girls in modern fiction as charming and lovable as his little sister, Phoebe. Altogether this is a book to be read thoughtfully and more than once. It is about an unusually sensitive and intelligent boy; but, then, are not all boys unusual and worthy of understanding? If they are bewildered at the complexity of modern life, unsure of themselves, shocked by the spectacle of perversity and evil around them - are not adults equally shocked by the knowledge that even children cannot escape this contact and awareness?

Communication barriers Essay

One of the most challenging issues, any manager will face, is communication barriers. Process, personal, physical, and semantic barriers is what I will focus on throughout this essay. For me, as a manager, the combination of lack of formal upbringing and non-traditional schooling contribute to my communication flaws. The process by which a person interprets a message being delivered is known as the process of communication. When an error occurs while two people are communicating this is known as a process barrier. This type of error can occur while using any form of communication including face to face, or media and can occur for many reasons. I, as a manager, struggle with encoding the messages I am trying to send. Due to my lack of formal upbringing and non-traditional schooling I have a hard time with vocabulary and correct word usage. While writing papers or emails I can use the built-in review tools to assist me such as spell check or grammar correct. I use a program like Word t o check my grammar and spelling when possible. While speaking face to face with people I use simple vocabulary and ask detailed questions to better understand them when needed. Personal barriers is defined as any individual attribute that hinders communication. This particular area of communication is one that I have struggled with my whole life. I have a tendency to talk very fast and not listen so well. I have trained myself to remember that listening is one of the most important steps in communicating with people. I have attended effective communication seminars to help me understand the importance of listening. My main source of communication is face to face and not through media. When communicating through email or text I tend to lose a lot of what I am trying to say. I also focus on using constructive criticism. I have learned from personal experience that it is easier to get your point across when the sender is open to hearing it. Factors such as bad signal, different time zone, and loud noise are known as physical barriers. Physical barriers is another huge reason why I prefer face to face meetings and conversations over media interactions. During a conversation the communicator can misperceive the receiver’s distraction by loud noise and think they are not listening or being rude. This can lead to a very frustrated communicator. When having important conversations with customers, employees, or other supervisors I  always practice active listening. In order for active listening to be effective I require the meetings to be in a designated quite open area that is distraction free. I make sure we have adequate funding for the best technology available to avoid any media physical barriers. We have the best modems, and routers available to a small business. This helps lessen the possibility of signal interruption during our virtual online meeting with the owner during our monthly meeting. The way a person interprets frequently used words can create a semantic barrier. An example of semantic barrier is a situation I personally went through. I will never forget my first experience, I was a new hire for a company within an industry I knew nothing about. I had 8 years management experience in a service industry, but the fashion industry was foreign to me. My new boss said to me, â€Å"We need to get those mannequins done tomorrow before we leave.† The next day came and I assumed we would do them together, but to my surprise my boss never mentioned them. Three days later I was being formally wrote up for not completing an assigned task, also known as insubordination. I was shocked and very frustrated. Due to this situation, when speaking with employees, I always give clear, defined instructions and check for understanding before leaving an employee to perform a task. During day to day operations I have developed Jargon for our office. Previously all the doctors were referred to as doctor and all the patients were known as patients. This became very confusing when trying to discuss specific doctors or specific types of patients. For example patient in room 5 ready for doc would be announced. Now each type of patient, hall, and doctor have a specific call. The same statement as above on the new system would be NP, blue hall, doc 5. It is very specific and leaves no room for wrong interpretation. The new practice of Jargon in the office reduced our semantic barriers dramatically. I am currently a manager for several doctors within one office here in Amarillo, Tx. I have developed procedures for my employees to follow when requesting a meeting with myself or other administrators so that we do not have any physical barriers. During the meeting I use tools such as active listening, assertive communication, and constructive criticism to ensure that there are minimal process or personal barriers. I encourage all employees to ask questions if they are not clear on what is expected of them. I have also developed a training program for our office Jargon that requires all  employees to attend meetings once a month to ensure their understanding of office terminology.

Classical Sculpture of the Greeks: a Journal Review.

Article Review; â€Å"What is ‘Classical' Sculpture† by Walter R. Agard Jakob Mattern HUM 2220, prof. Warner Ph. D. Th, 6:00pm-8:45pm Word Count: 1102 The word ‘classic'; used to describe styles of music, painting, sculpture, architecture, and even manufactured consumer goods. If ever there was a period in art or manufacturing that stands out with even balance, subtle dignity, and general excellence, it will most likely be described as classical, which after all, is no easy feat, considering that anything to bear the â€Å"classical† name is decidedly, in some way or another, â€Å"The best of the best. According to Walter R. Agard however, the word has lost some of it's gusto. He states that it is so overused that it no longer describes whether or not something is in-fact excellent, but rather, if a piece fits into a time frame and location that suggests that it most likely is. Just as all cars produced between 1900 and 1972 in America are not necessarily classics, not every piece of art created in the broad history of Greeks should be considered a true classic.Rather, Agard places forth his guidelines and examples of what should classify ancient Greek art, sculpture in particular, as the best of it's time. The details of Agard's argument rest upon the structured guidelines he lays out in the beginning of his article; that to be classical, a Greek sculpture must have: The initial concept of a healthy human form. The synthesis of naturalism and clearly defined, relatively simple design. The amplification of essential planes.Refinement of detail. He also suggests that classical style sculpture took prominence between the years 500 BCE and 420 BCE, thus dismissing some of the earlier geometric style sculpture, as well as the later more expressionistic and complicated Hellenistic sculpture. He states that while some later sculptures may be more magnificent to behold, they are not embodying that which makes something a classic, and that t hey are not fulfilling the nature of the aterials or the monumental purpose of sculpture. Marble is not a soft substance, and thus, the shapes created out of it's dense composure must follow suit, according to Agard. While the presence of fine details are very necessary, he states that the overall action of the piece must be graceful, direct, noble, and strong; the sculpture must follow the ancient Greek adage, â€Å"Know thy self† to be a classic, it must appear just as powerful and eternal as the marble itself.This quality is found in the many sculptures that he analyzes in his article; the weight bearing Hermes, the tower-like Apollo, and the tensioned Heracles all display a living strength that compliment the nature of the marble. Agard also places a great deal of importance on the healthy human form, and the presence of subtle naturalism expressed through fine details. In every piece defined classic by Agard, we find a being that, while possessing a basic and strong geom etric base, is also defined by many smaller details that synthesize simple design with an idealistic human form.The curls in Hermes' beard and hair, the subtle veins and ligaments of the Charioteer's hands and feet, the calm and confident gaze of Apollo, and the bulging muscular details found on the statues of the bow wielding Heracles and the lightning lobbing Zeus all add a life-like element to the otherwise cold geometric shapes, and help to portray each character as a healthy and idealistic human being in both mind and body.For his closing statement, Agard mentions an encounter he once had with a tourist who was frustrated with how â€Å"sure of themselves† the classic Greek statues seem to be. He then refutes that they have the right to do so, simply because of the rich value and dignity confined in their strong and noble bodies, and that it was this spirit that make these statues honest and true classics of the ancient world. As a whole, I do agree with Agard in his vie wpoints and conclusions of what a true classic should consist of.Referring once more to automobiles, it is my view that for a car to be classic it must combine simple design with beautiful details while still fulfilling the function for which it was designed with full effect. With respect to Agard's definitions, the formula of classic sculpture should not be far from such ideals. I thought that Agard's affinity towards the nobility and strength of the designs was well founded, because although a statue is undoubtedly a work of art, it is also a permanent public speaker of a city's people.These strong and idealistic statues may very well have served as an ego-booster for the ancient Greeks; their solid forms and endless wisdom meant to personify the people dwelling in the polis itself. If anything however, it was this ego that catapulted these ancient people to such great heights in terms of sophistication and achievement, so while some later sculptures may have captured more emotion or better expressed the human condition, it was the dignified, strong, and direct sculptures from 500-420 BCE that best embodied the golden age of Greece.There were a few points with which I disagree however. The selection of the Statue of Hermes, firstly. Although it is a good combination of geometric driven balance and fine detail, I felt that over all it was simply not naturalistic enough to be considered a perfect synthesis of the human form and simple design. It is an impressive statue none-the-less, but it seemed a bit rudimentary compared with the other examples, a bit too two dimensional.Another idea with which I don't completely agree is the classification of two dimensional friezes with linear backdrops as the only true classical form of the frieze. Once again, It seemed to me that a frieze with a more shallow appearance did not coincide with some of the other mentioned sculptures bursting with depth and life. While the drapery of the frieze depicting Heracles and Athena was beyond impressive, the naturalism of the characters themselves did not seem to reach the same heights as some of the other pieces.In any matter however, I believe that Agard compiled an excellent definition of what a classic statue should be defined as, what it should personify, and what it's function should be, compared with the common ideal that nearly every statue from ancient Greece should be considered classical. His analysis of each sculpture was extremely thorough, and as a whole, his article gave some insight into what exactly these ancient artisans may have been thinking of when they shaped these masterpieces. Bibliography Agard, Walter R. â€Å"What Is â€Å"Classical† Sculpture? † The Classic Journal, Vol. 49, No. 8 (May, 1954): pp. 341-349. Print.