Has the budget outlived its usefulness in the 21st century Essay

Has the budget outlived its usefulness in the 21st century - Essay Example Budgeting also allows for proper accounting, it make it easier for accounting practices to be applied and used in making financial reports of the different environment (Bogsnes 2003, p.97). Therefore, whether budgeting is or not a prerequisite, it is a subject of serious debate that should be considered in more than one-way. Following this proposal to do away with budgets, researches have been done to evaluate and report on the efficacy of budgets in organization. One of the researchers done by Dugdale and Stephen reported that budgeting is still conseidered a very important tool in business and most firms still look upto its contribution in running the affairs of the organization. In this research, both financial and non financial organization were considered and 40 of such organizations were used in determining whether budgets are still an important factor in management (Dugdale and Stephen 2006, p.19). The managers of the organizations were followed in this regard and eigth of the m eventually interviewed. The response in all the companies in which interviews were done confirmed that they rely on bugdeting as a tool in planning, communication, co-ordination and as away of measuting perfomance. Although in the research, a significant trend was obserrved throughout-budget consideration for motivation was not approved by all the organizatins. It is also importanat to note that all the organization is which the research was done actualy approved the need for budgeting in their organization with non financial institutions considered in this research even coming out more firm on the budget issus (Dugdale and Stephen 2006, p.21). In order to find out the problematic nature associated with the budgets, the research team organized about twenty propositions on what a budget may be seen as problematic and fronted them to the respondent to either agree or disagree with them. the outcome was that all the propositions were denied as reflecting the position of a budget in a n organization except in two situation where slightly above the number of the respondent accepted that budgets are problematic, these were; that preparing bidgets is a tedious taks that consumes much time and that managers may at times be constrained by the requirement of the budgets and delay making important descision for no clear reason (Dugdale and Stephen 2006, p.30). It is then clear that there might be problems associated with budgetting but they don’t reach a propotion in which doing without a budget would be considered worthwhile. Budgets plays important roles in management and on other related areas and for predictability on perfomance it is important to have abudget in setting benchmarks. Budget Criticism by Beyond Budgeting Round Table (BBRT) vis a vis Academics Budgeting processes have received a number of criticisms in the recent past, which has subsequently attracted the public concern as to whether it is necessary, or not. The criticism has is dubbed going bey ond budgeting, the critics says that the process of budgeting has been the greatest barrier in the management the economy (Hope and Fraser 2003, p.23). Budgeting system has been implicated in making the managers and the employees to device behavioural tendencies that are counterproductive considering what strategic

Slapstick Comedy and Silent Films Essay Example | Topics and Well Written Essays - 2000 words

Slapstick Comedy and Silent Films - Essay Example Besides, enactment, the films also displayed certain captions which informed the audience about the theme of the film. The speedy actions enhanced the humor in the film. The actors who portrayed various characters were mostly shabbily or unconventionally dressed. Their funny attire supplemented by their clown like actions aroused laughter among the audiences. Thus the slapstick comedies consisted of absurd situations and vigorous actions, which had a comic tone and were performed by those actors who were highly energetic and good stuntmen. We find a detailed account on the comparative study of slapstick comedy and Commedia dell'arte in the book of David Madden, namely, -Harlequin's stick, Charlie's cane: a comparative study of commedia dell'arte and silent slapstick comedy. In his book, he gives the discrimination between the two art forms. Commedia dell'arte was performed directly in front of the audience, whereas the slapstick comedy was presented in an indirect form that is it was projected on the screen. The commedia plays were mostly for three hours whereas slapstick comedies were comparatively briefer. In commedia the actors were donned in masks and there was continuous verbal dexterity, slapstick noise, music and color, while the silent movies were devoid of sound and color as the films were Black and White. The commedia was not video graphed whereas the slapstick was video graphed and projected on the screen. (Harlequin's Stick, Charlie's Cane - David Madden, 1968) Actors like Charlie Chaplin, Buster Keaton and Harold Lloyd were considered the milestones in the world of silent cinema. Their powerful performances spell bounded... The researcher of this essay focuses mostly on presenting and discussing the slapstick comedies, that is a device in which, the characters have exaggerated and speedy physical activities backed up by accurate timing. They do this mainly to make people understand what kind of character they are portraying in that film. More emphasis is given on speed of actions and facial expressions. For example, the researcher states that in slapstick comedies we find scenes like a person slipping on the peel of banana skin, somebody hitting a person with frying pan, a person hitting his head against a suddenly opened door, etc. The central character enacts certain scene, which seems to be normal initially but suddenly the situation becomes chaotic, with all the characters running helter-skelter creating confusion. And it is during this time that the actor has to show presence of mind and has to take some action, which will make the audience laugh and also he has to do something brilliant to come ou t of that chaotic situation. The actor performs all sorts of actions like leaping, running, tumbling down etc. And for all these purposes he uses props like buckets, shovel, ladder, sea-saw, sticks, roller skates etc., which generates comedy. The researcher then presents a study on the silent films actors of early 20th century, such as Chaplin, Buster Keaton and Harold Lloyd, who were considered the milestones in the world of silent cinema and used the slapstick comedy in their films in a creative way that made their art memorable.

Harley Davidson History Essay Example for Free

Harley Davidson History Essay Actually, the history of the Harley-Davidson Company began in 1903, when two brothers, Bill Harley and Walter Davidson, invented their first motorcycle in Milwaukee (Gannon, 2002, p. 8). At that period of time other companies produced motorcycles in the North-American states and one of them, the Indian Motorcycle Company, became the main competitor of Harley-Davidson for many years. In fact, it was a bicycle, equipped with a one-cylinder motor. All details of that motorcycle were produced manually. Later, the second version of that bike was produced with more powerful motor and it became the first motorcycle for sale (p. 10). Three bikes were assembled that year and the Harley-Davidson Company opened the first page of its history. In 1904, the brothers produced 8 motorcycles and in 1906 it were 50. The company developed very quickly and by that period of time it included about 20 employees hired. Harley-Davidson constantly aspired to create a high speed bike and as a result the new model known as V-twin was introduced in 1909. The specially designed vacuum valves and a belt transmission were the main features of that model (Oliver, 1957, p. 26). In 1910, the legendary Bar and Shield logo was developed. It continues to be the main defining symbol of Harley-Davidson bikes today (p. 28). The significant progress of the Harley-Davidson Company took place in 1912. A new 6-story factory was built and first overseas sales were made in Japan. That year Harley-Davidson presented its first version of gear box. The mechanism of chain gear was designed in 1913 and a three-speed sliding-gear transmission was developed in 1915 (p. 32). It should be emphasized that the First World War played a big role in the development of the Harley-Davidson Company. So, about 20,000 motorcycles were sold to the U. S. military forces by the end of 1918 (Walker, 2000, p. 67). The given order significantly improved the reputation of Harley-Davidson and having 2,000 additional dealerships worldwide the company managed to become the biggest motorcycle factory in the world (Oliver, 1957, p. 34). Improving the construction of V-twin motors, company’s constructors couldn’t get rid of the main problems, typical for the given class of motors. The opened valves often clogged up and had a lot of maintenance problems. At that time, Indian Motorcycle Company used another construction of V-motors. Though, theoretically that construction was less effective the engineers managed to bring it to perfection and got the maximal power and maintenance simplicity. For that reason, the administration of the Harley-Davidson Company took decision to create its own class of V-motors with longitudinal placement. The first pattern of that bike appeared in the last days of the second decade (p. 35). The new model, equipped with the Flathead V-twin engine was invented in 1929 (Walker, 2000, p. 72). The motors of the given model were equipped with side-valves and the classical Flathead could successfully compete with the production of the Indian Motorcycle Company. Unfortunately, Flathead appeared two months earlier the moment when the Great Depression began. The number of sales decreased in several times, but the company managed to survive when others went bankrupt. However, having survived the depression time the company managed to stabilize its economy and was in very advantageous position – huge demand and the absence of supply. In 1932, the three-wheel Servi-Car was developed (Oliver, 1957, p. 38). Together with the change, called as the eagle design, which was painted on all Harley-Davidson gas tanks, there were a lot of changes made in the engine’ s construction. Afterwards, the given model made a good impression on the U. S. police, as a result, Servi-Car managed to become police vehicle (p. 38). In 1936, the Knucklehead motorbike was invented and managed to become the victory over the Indian (p. 39). The given model took place on the market for 12 years and had a huge influence on the further developments. The engineers continued working on Knucklehead model even during the Second World War. Having changed the motor’s configuration and added the hydraulic device intended for pushing valves, the constructors managed to get rid of adjusting gaps. Due to the aluminum body of engine the motor’s heat emission was increased. Afterwards, bikers called that model – Penhead. The main event which took place in 1953, it was the collapse of the main competitor of Harley Davidson Indian Motorcycle Company (Walker, 2000, p. 88). Nevertheless, the company faced a lot of problems in the marketing field due to the fast development of Japanese and European motorbike companies. Thus, having sold the part of its stocks, Harley Davidson was involved in the cruel fight against foreign producers. In 1969, American Machine and Foundry Company bought the control packet of shares of Harley Davidson and became its actual owner (Oliver, 1957, p. 40). The new motorcycles had a negative impact on the company’s reputation and Harley Davidson began to lose the market of Big-twin and Sportster models. In 1971, FX Super Glide model was produced (p. 43). Although the given model wasn’t popular, Harley Davidson developed its further unique motorcycles on the basis of FX Super Glide. By the middle of 70-s the given models couldn’t cope with the production of Japanese competitors. As a result, in 1981 senior members of Harley-Davidson bought back Harley-Davidson Motor Company from AMF (Walker, 2000, p. 90). In 1983 the group H. O. G was founded and became the largest factory-sponsored motorcycle club in the world. By the year 2000, the club had over 500,000 members (Gannon, 2002, p. 15). In 1984, the new Evolution V2 model with an aluminum head was presented to public (Oliver, 1957, p. 42). At the end of this revolutionary decade for Harley-Davidson, the FXSTS Springer Softail model was introduced into the lineup. It was made on the basis of motorcycles of the 1940-s and equipped with the modern 1340 cc motor (Walker, 2000, p. 92). The appearance of the given engine allowed the Harley Davidson Company to produce many motorcycles by individual orders. So, introduction of such model as FLSTF Fat-Boy in the early 1990-s can be considered as a good evidence of that fact. In 2001, the new model of Harley-Davidson was presented for the 2002 model year. The main feature of the given model was suggested to be the modern engine, equipped with a liquid-cooled system. It should be pointed out that today the Harley Davidson Company takes the leading position in the business World, when demand exceeds supply, that allows to increase the prices of production and stock. References Gannon E. , Veno A. (2002). Brotherhoods: Inside the Outlaw Motorcycle Clubs. Crows Nest: Allen Unwin Oliver S. H. (1957). Automobiles and Motorcycles in the U. S. National Museum. Washington: Smithsonian Institution Walker S. M. (2000). Bikers: Culture, Politics and Power. New York: Berg

Impact Magnum Has Had On Photography Photography Essay

Impact Magnum Has Had On Photography Photography Essay Magnum Agency was created in the 1947 just after Second World War .Agency was formed by photographers themselves Henri Cartier Bresson, Robert Capa, George Rodger and David Chim Seymour. They created Magnum to show their independence as photographers but also as a people who highlighted not only what was seen but the way one sees it. After the destruction to the world as a consequence of the War they were scared but full of believes that the world survived and that is still more to be explored out there (Magnum in motion website). Furthermore the history of documentary photography show us the most accurate records of events that we have in the past and the documentary photography was used to capture almost everything such as terrorism and war, world events right to documenting peoples lives. Early stage of documentary photography focused on urban settings, industry and often artist used photography as a tool for social reform. For example Walker Evans and Dorothea Lange created images for Farm Security Administration (FSA) who documented workers and their lives in America and also how the depression had an impact on them. Lewis Hine exposed horrors of child labour, homelessness and immorality. These photographs helped to pass the Child Labour Law in America. In addition a lot of images produced during World War II were captured by Magnum photographers. Magnum ability of storytelling and to work in series drew a line between documentary photography and photojournalism. Often attached with a moral position on th e artist who belief to show the viewer the best understanding of his subjects live. Altogether this kind of photo essay or series of images are more powerful to conveying the message then the single image. Sebastiao Salgado probably the best documentary photographer joined Magnum agency in 1994 creating artistic meaningful documents of cultures, world issues and places that would be better remember before human take their action. Salgado has earned his high reputation from his black and white photographs of places and people from all over the world. His work is about showing the world the war effects, poverty, disease and famine. His work was evidence what was happening on our planet. However the Martin Parr photographs strongly contrasts from work of Salgado. Parr humorous images document contemporary society, for example the image of the tourist in Mexico show us a woman in pink shirt taking a picture of something that we cannot see. Martin Parr takes the over dressed tourist one step up. The woman is a contemporary simple person who aimed her camera the wrong way. Ancient pyramid full of cultural and historical significance becomes an excuse just to be there. Parr demonstrate lack t o cultural values and intellectual pursuits. Also he contrasts form, colour and scale of the woman on the washout stone pyramid to depict society little interests and intellectual curiosity. In 1938 the British magazine Picture Post announced Robert Capa the greatest war photographer in the world, mostly based on his photojournalistic work in the Spanish Civil War and on the war in China. Capas photography is all about being there, close, telling a story about events he witnessed. It was him who made blurred, visceral images of the D-Day invasion that became its symbols. (Magnum Stories, p.67-73). On the other hand Henri Crtier Bresson had a different point of view ,interested in finding a visual agreement that he later called the organic coordination of the elements seeing by the eye'(In Our Time: The World as Seen by Magnum Photographers).His photographs mostly emphasized the complexity of whole piece seeing itself and often avoiding a narrative. Furthermore he was creating a broad essay concerned with a countrys past and present during a period of rapid social change. Also he was fascinated by Gandhi and India. Bresson written notes about Gandhi dead and they reveal a narrative writer, eloquently involved with negotiating the issues of Indias society and history. Even though he was denying his interest in the formulas of photojournalism Bresson was nevertheless engaged with what the photo story involved (Magnum Stories, p.74-75). Today people love snapshots in USA alone we take 7 billion images a year but it is a sad fact that in most of them people are photographing each other. In a way we submit to anonymity for example names of builders of Notre Dame or the Cologne Dom were lost in that age of faith. However the 21th century is exact opposite because we are possessed by overweening sense of self. Every moment is captured and posted in albums, every wedding are choreographed and videotaped for future generations. Another rising distinction between a picnic shoot and a great photograph is not subtle. You can look at the image and stay passive while art photograph engages you and force your instincts to participate. Photographers often deal with harsh, ironical material thats why sometimes their scepticism is shown in their work. Nevertheless we were and we will be enriched by their vision, by the strength of the world that they stalked, searching for decisive moments. Some photographers adapted techniques fr om great Magnum artists and using them today. Although documentary photography today does not trying to improve the situation of people or help resolve problems is just trying to get best shot and it is nothing else behind while 60 years ago it was life changing profession. Today photojournalists barely are present at the events they cover. The function changed from realism to consequence. Also what we seeing today for example in war photography is meant to show us the impact of war not its devices. I would point out that days of war photographer are long gone because nowadays photojournalists are fulfil with their own imagination of telling a story for less than a large conflict or issues. Images move from one category to another over period of time for example press photography of crime in the 1940s has moved to the art books and museum, as also Dorothea Langes documentary photographs of migrants in depression era and Robert Capa war images. Therefore all that definitions are just the schematic and act as a help for descriptions. I believe that documentary photography emphasizes in depth ongoing story on the long term basis. Documentary projects often lasts for years and focus on social issues rather than news. Again documentary is mostly assumed to be subjective because photographer has a point of view on what he is about to photograph. Not only had that it also believed to be honest reporting from witnessed event. As Henri Cartier Bresson said as far as I am concerned, taking photographs is a means of understanding which cannot be separated from each other means of visual expression. It is a way of shouting, of freeing oneself, not of proving or asserting ones own o riginality. It is a way of life (Masters of Photography Aperture, p.8). Other, art photography is more about creating and expressing personal points of view which is done to be sold or hang in galleries. Nevertheless some of its art may deal with issues but they are usually already covered by photojournalism and documentary, such as famine and war. At the end of the day of course all photography is an interpretation of what is in front of the lens. Summarising, for todays generation of young photographers there is much more complex awareness to what is or is not possible to explain. Today, if you pictures arent good enough you might be too close then not close enough, as Capa said (Time article, 2002). All those years Magnum promoted abstracted generalized narratives about human condition and their photographs often aim to the almost iconic status to represent themes about humanity. Magnum and its members had a political impact; they were interested how they can use their cameras to examine political and social issues. They showed examples of suffering and human dignity, brutality of war and photographer braveness in witnessing. This raises an important thought of what can be learn from images is still important and Susan Sontag wrote in her essays that The knowledge gained through still photograph will be some kind of sentimentalism, knowledge at bargain prices a semblance of knowledge and wisdom(On Photography,p.23-24). Today we are still learning how world changed since Capa found Magnum. From its beginnings which truly marked the advent of photojournalism legendary figures like Bresson and Capa aimed to record the truest and most essential stories, moods of our time. The drama of war and despair in Eastern Europe, the wounded and the dead in brush fire wars around the world. Finally, the greatest change over taking stills images is an introduction to computer technology which allows to generate imagery that appears to be as realistic as photograph, without using a camera.

Larry :: essays research papers

1) Descartes uses a method commonly referred to as Methodical Doubt (beginning with a doubt in hopes of arriving at a given certitude). With this skepticism, Descartes questions the inherit nature of what it is to be. It is his initial perception, upon beginning his piece, again, with â€Å"methodical doubt†, which the world may not exist, but may be a facet of an individual’s imagination. However, he quickly contests this argument with his face phrase, â€Å"cogito ergo sum† which means â€Å"I think, therefore, I am† I. The Arguments for Universal Doubt: In order to show that science rested on firm foundations and that these foundations lay in the mind and not the senses, Descartes began by bringing into doubt all the beliefs that come to us from the senses. His aim in these arguments is not really to prove that nothing exists or that it is impossible for us to know if anything exists (he will prove that we can know external objects later), but to show that all our knowledge of these things through the senses is open to doubt. If our scientific knowledge came to us through the senses, we could not even be sure that anything outside of us existed. The obvious implication is that, since we do know that external objects exist, this knowledge cannot come to us through the senses, but through the mind. Descartes uses three very similar arguments to open all our knowledge to doubt: The dream argument, the deceiving God argument, and the evil demon argument. The basis idea in each of these is that we never perceive external objects directly, but only through the contents of our own mind, the images the external objects produce in us. Since sense experience never puts us in contact with the objects themselves, but only with mental images, sense perception provides no certainty that there is anything in the external world that corresponds to the images we have in our mind. Descartes introduces dreams, a deceiving God, and an evil demon as ways of motivating this doubt in the veracity of our sense experience. A. The dream argument: 1. I often have perceptions very much like the ones I usually have in sensation while I am dreaming. 2. There are no definite signs to distinguish dream experience from waking experience. therefore, 3. It is possible that I am dreaming right now and that all of my perceptions are false Larry :: essays research papers 1) Descartes uses a method commonly referred to as Methodical Doubt (beginning with a doubt in hopes of arriving at a given certitude). With this skepticism, Descartes questions the inherit nature of what it is to be. It is his initial perception, upon beginning his piece, again, with â€Å"methodical doubt†, which the world may not exist, but may be a facet of an individual’s imagination. However, he quickly contests this argument with his face phrase, â€Å"cogito ergo sum† which means â€Å"I think, therefore, I am† I. The Arguments for Universal Doubt: In order to show that science rested on firm foundations and that these foundations lay in the mind and not the senses, Descartes began by bringing into doubt all the beliefs that come to us from the senses. His aim in these arguments is not really to prove that nothing exists or that it is impossible for us to know if anything exists (he will prove that we can know external objects later), but to show that all our knowledge of these things through the senses is open to doubt. If our scientific knowledge came to us through the senses, we could not even be sure that anything outside of us existed. The obvious implication is that, since we do know that external objects exist, this knowledge cannot come to us through the senses, but through the mind. Descartes uses three very similar arguments to open all our knowledge to doubt: The dream argument, the deceiving God argument, and the evil demon argument. The basis idea in each of these is that we never perceive external objects directly, but only through the contents of our own mind, the images the external objects produce in us. Since sense experience never puts us in contact with the objects themselves, but only with mental images, sense perception provides no certainty that there is anything in the external world that corresponds to the images we have in our mind. Descartes introduces dreams, a deceiving God, and an evil demon as ways of motivating this doubt in the veracity of our sense experience. A. The dream argument: 1. I often have perceptions very much like the ones I usually have in sensation while I am dreaming. 2. There are no definite signs to distinguish dream experience from waking experience. therefore, 3. It is possible that I am dreaming right now and that all of my perceptions are false

I loved the book To Dance With The White Dog, by Terry Kay. When I firs

I loved the book To Dance With The White Dog, by Terry Kay. When I first started reading, I was afraid this was going to be another depressing book about old people and I wasn't looking forward to reading it. I loved the book To Dance With The White Dog, by Terry Kay. When I first started reading, I was afraid this was going to be another depressing book about old people and I wasn't looking forward to reading it. However, I was soon taken in by the sweet, humorous Sam Peek and couldn't put down the book. I was moved by the strong love he had for his beloved wife Cora and even more so by his strength to carry on after her death. I think it was wonderful how Sam's family came together, even in the days after Cora's death, to look after him. I thought it was funny how his daughters worried about him and questioned his sanity at times while the whole time Sam knew exactly what they were thinking of him and how they fretted. I really enjoyed Neelie and even though she seemed to get on the children's nerves you could tell that having her there helped ease their minds. The children knew Neelie had their father's best interest at heart even if she did tend to nit pick and talk too much. I really envied the closeness of the Peek family and their love and concern, even if they did go a bit overboard at times. It was not only heartwarming, but truly amusing as well, in the way that Sam Peek dealt with them. He would play into their worries and concerns. Sam Peek went from being a pretty independent man to what appeared to his children as fragile, senile and helpless overnight with the death of Cora. From the moment his wife died Sam's ability to take care of himself immediately came into question, at least by ... ...of their lives. Unfortunately, that is not always possible due to financial reasons, failing health or lack of family to help out. Sam was lucky that his family lived close by and could look out for him. This enabled him to stay home until the very end and in essence probably prolonged his life. He was also lucky that he stayed pretty healthy for as long as he did. Many elderly people aren't so lucky and must totally rely on someone else to help them with their daily needs much like a toddler needs their mother. It is sad for many to lose their independence and even harder to have to rely on their children for care when they are the parent, but that's what families are for, to be there for one another. Our parents raised us to be who were are today and the least we can do in return is to be sure that they are given the best care possible in their old age.

Second Foundation 10. Approaching Crisis

A week had passed on the Second Foundation, and the First Speaker was smiling once again upon the Student. â€Å"You must have brought me interesting results, or you would not be so filled with anger.† The Student put his hand upon the sheaf of calculating paper he had brought with him and said, â€Å"Are you sure that the problem is a factual one?† â€Å"The premises are true. I have distorted nothing.† â€Å"Then I must accept the results, and I do not want to.† â€Å"Naturally. But what have your wants to do with it? Well, tell me what disturbs you so. No, no, put your derivations to one side. I will subject them to analysis afterward. Meanwhile, talk to me. Let me judge your understanding.† â€Å"Well, then, Speaker – It becomes very apparent that a gross overall change in the basic psychology of the First Foundation has taken place. As long as they knew of the existence of a Seldon Plan, without knowing any of the details thereof, they were confident but uncertain. They knew they would succeed, but they didn't know when or how. There was, therefore, a continuous atmosphere of tension and strain – which was what Seldon desired. The First Foundation, in other words, could be counted upon to work at maximum potential.† â€Å"A doubtful metaphor,† said the First Speaker, â€Å"but I understand you.† â€Å"But now, Speaker, they know of the existence of a Second Foundation in what amounts to detail, rather merely than as an ancient and vague statement of Seldon's. They have an inkling as to its function as the guardian of the Plan. They know that an agency exists which watches their every step and will not let them fall. So they abandon their purposeful stride and allow themselves to be carried upon a litter. Another metaphor, I'm afraid.† â€Å"Nevertheless, go on.† â€Å"And that very abandonment of effort; that growing inertia; that lapse into softness and into a decadent and hedonistic culture, means the ruin of the Plan. They must be self-propelled.† â€Å"Is that all?† â€Å"No, there is more. The majority reaction is as described. But a great probability exists for a minority reaction. Knowledge of our guardianship and our control will rouse among a few, not complacence, but hostility. This follows from Korillov's Theorem-â€Å" â€Å"Yes, yes. I know the theorem.† â€Å"I'm sorry, Speaker. It is difficult to avoid mathematics. In any case, the effect is that not only is the Foundation's effort diluted, but part of it is turned against us, actively against us.† â€Å"And is that all?† â€Å"There remains one other factor of which the probability is moderately low-† â€Å"Very good. What is that?† â€Å"While the energies of the First Foundation were directed only to Empire; while their only enemies were huge and outmoded hulks that remained from the shambles of the past, they were obviously concerned only with the physical sciences. With us forming a new, large part of their environment, a change in view may well be imposed on them. They may try to become psychologists-â€Å" â€Å"That change,† said the First Speaker, coolly, â€Å"has already taken place.† The Student's lips compressed themselves into a pale line. â€Å"Then all is over. It is the basic incompatibility with the Plan. Speaker, would I have known of this if I had lived – outside?† The First Speaker spoke seriously, â€Å"You feel humiliated, my young man, because, thinking you understood so much so well, you suddenly find that many very apparent things were unknown to you. Thinking you were one of the Lords of the Galaxy; you suddenly find that you stand near to destruction. Naturally, you will resent the ivory tower in which you lived; the seclusion in which you were educated; the theories on which you were reared. â€Å"I once had that feeling. It is normal. Yet it was necessary that in your formative years you have no direct contact with the Galaxy, that you remain here, where all knowledge is filtered to you, and your mind carefully sharpened. We could have shown you this†¦ this part-failure of the Plan earlier and spared you the shock now, but you would not have understood the significance properly, as you now will. Then you find no solution at all to the problem?† The Student shook his head and said hopelessly, â€Å"None!† â€Å"Well, it is not surprising. Listen to me, young man. A course of action exists and has been followed for over a decade. It is not a usual course, but one that we have been forced into against our will. It involves low probabilities, dangerous assumptions – We have even been forced to deal with individual reactions at times, because that was the only possible way, and you know that Psychostatistics by its very nature has no meaning when applied to less than planetary numbers.† â€Å"Are we succeeding?† gasped the Student. â€Å"There's no way of telling yet. We have kept the situation stable so far – but for the first time in the history of the Plan, it is possible for the unexpected actions of a single individual to destroy it. We have adjusted a minimum number of outsiders to a needful state of mind; we have our agents – but their paths are planned. They dare not improvise. That should be obvious to you. And I will not conceal the worst – if we are discovered, here, on this world, it will not only be the Plan that is destroyed, but ourselves, our physical selves. So you see, our solution is not very good.† â€Å"But the little you have described does not sound like a solution at all, but like a desperate guess.† â€Å"No. Let us say, an intelligent guess.† â€Å"When is the crisis, Speaker? When will we know whether we have succeeded or not?† â€Å"Well within the year, no doubt.† The Student considered that, then nodded his head. He shook hands with the Speaker. â€Å"Well, it's good to know.† He turned on his heel and left. The first Speaker looked out silently as the window gained transparency. Past the giant structures to the quite, crowding stars. A year would pass quickly. Would any of them, any of Seldon's heritage, be alive at its end?