This paper will apply project management skills to Brown Educational Case Study

This paper will apply project management skills to Brown Educational Gaming studio Ltd - Case Study Example Also, we will discuss the process of exploring the model, arriving at recommended actions and implementing these actions within the culture of the organization. "Brown Educational Gaming Company (BEG) is a UK-based educational gaming company specialising in young children's educational games. The company has operated from the start through projects, starting with the development of two major and highly successful games. Now there are many more; no-one quite know how many projects are taking place at BEG at present if the truth be known. BEG has just completed their fourth year of operation. The company has received a large influx of capital for growth by issuing stock privately through an investment bank. The return on investment for the 2006 and 2007 was 80% per year and for 2007-08 will be 25%. Parents and grandparents of young children have been buying BEG products almost as fast as they are developed. Every member of the 56-person firm is enthusiastic and looking forward to helping the firm grow to be the largest and best educational gaming company in the world. The founder of the firm, Sally Peters, has been awarded the accolade of The Guardian Business Woman of the Year 2007 for her ability to develop an organizational culture in which all stakeholders are committed to innovation, continuous improvement and organizational learning. Last year, the 10 top managers of B... This year the same 10 managers had a weekend away in a 4 star hotel in Barcelona, to formulate next year's strategic plan, using the same strategic plan. Most executives seem to have a consensus of where the firm should go in the intermediate and long-term, but there is little consensus on how this should be accomplished. Peters, now Managing Director of BEG feels she may be losing control. The frequency of conflicts seems to be increasing. Some individuals are always requested for any new project created. When resource conflicts occur among projects, each project managers believes his or her project is most important. More projects are not meeting deadlines and are coming in over budget. Yesterday's management meeting revealed some top BEG talent have been working on an international business game for college students. This project does not fit the organization's vision or market niche. At times it seems everyone is doing what they like. Somehow more focus is needed to ensure everyo ne agrees on how strategy should be implemented, given the resources available to the organization. Yesterday's meeting alarmed Peters. These emerging problems are coming at a bad time. Next week BEG is increasing the size of the organization, the number of new products and its marketing effort. Fifteen new people will join BEG next month. Peters is concerned that policies be in place that will ensure that the new people are used most productively. An additional potential problem looms on the horizon. Other gaming companies have noticed the success of BEG; recently one rival company tried to hire a key product development employee away from BEG. Peters wants BEG to be ready to meet any potential competition head on and to discourage any new entries

PCL Construction Paper 1 Term Example | Topics and Well Written Essays - 2000 words

PCL Construction 1 - Term Paper Example Based on the large number of employees who have been hired by the PLC construction companies, they have significantly contributed to the growth of the US economy. This has been attained from the high tax on their annual and monthly incomes. Most importantly, the construction companies embark on designing and construction of factories, learning institutions, government houses, hospitals, research centers and roads among others. Thus, the construction industry plays a vital role in the growth of the US economy. This paper seeks to discuss a profile of Parsons Corporation; a US based international construction company. Having been founded in 1944 by Ralph Parsons, Parsons Corporation is a construction company with a strong financial background that is based on the various large projects that the company has undertaken in US and in other countries. The company whose headquarters are located in Pasadena, California is highly involved in designing and construction of large projects such as industrial facilities. Parsons organizational structure consists of the chief executive officer, corporate and operations support, international and North America markets units and regional business units (Ralph, 1978). The board of directors is made up eleven members namely Charles Harrington, Curtis Bower, Kenneth Dahlberg, Steven Leer, Lawrence Jackson, William Kinsey, James McGovern, Tamara Lundgren, Chritian Mitchell, Mark Holdsworth and Admiraj Zlatoper. In his effort to create strong relationship with its customers and the society, the Ralph Foundation was established by Ralph Parsons to provide charitable s ervices to the members of the society who are poor or in need of other forms of help. Additionally, the company fulfills its corporate duties by employing six key aspects or values. These values include diversity, innovation, safety, sustainability, integrity and quality

The Primary Music Curriculum Education Essay

The Primary Music Curriculum Education Essay My research is based on the primary music curriculum and about the teaching between the music specialists and the classroom teachers. I collected many data from books, articles, from an observation in a school and from my experience as a student who I was. To start with in the late nineteenth century the educational forum, the National Education Association, included a music section which music was recognised to be in the primary education (Jones and Robson, 2008). When then the National curriculum was determined it was compulsory for all the children in primary schools to attend the music curriculum which was a supplemented part of the school curriculum. In the music curriculum the three main musical skills are performance, listening and composing. Through the performance the children will be able to practice their voices in singing parts and perform different songs in their instruments. Through the listening they will be able to develop their audibility by hearing different sounds and songs and experiment with these. Also through the composing they will be able to develop their creativity and make different music patterns using some musical ideas. The primary music curriculum represented in key stage 1 which is the years 1 and 2 and key stage 2 which is the years 3 to 6. In key stage 1 the children should be able to recognise and identify musical materials and use them to describe an atmosphere or a dramatic situation (Swanwick, 1992). In this age the children start study music with so simple and interesting methods. Moreover during key stage 1 the children listen carefully and respond physically to a wide range of music. Also they play different instruments and they sing songs from memory using their fantasy (The national curriculum for England, 1999, p. 16). They experiment with simple musical instruments like recorder and some percussion and learn the songs with a specific way in order to remember the lyrics and make some movements. The children also learn the difference between the melody and the rhythm and how to experiment with these in their own compositions. As Swanwick (1992, p. 16) states the children in key stage 2 should be able to distinguish melodic and rhythmic devices found in songs and instrumental pieces and try to use them. During key stage 2, the children sing songs and play instruments with increasing confidence, skill and awareness of their own contribution to a group or class performance. Also they can improvise their own musical compositions and explore their thoughts and feelings for music from different cultures (The national curriculum for England, 1999, p. 18). The aim of the music curriculum is to make the children acquire some useful knowledge and also to feel confident and independent. For example the children until the end of year 2 in key stage 1 will learn to sing with a sense of the shape of the melody and perform simple melodic or rhythmic patterns keeping to a steady pulse (Music Teachers guide, 2000). By the end of year 4 in key stage 2 the children are able to perform different rhythmic patterns again but now with some notes included and also to improve their own compositions. Moreover until the end of year 6 in key stage 2 again, the children will learn to recognise the relationship between the sounds and perform by ear and from simple notations. Also they will have the opportunity to describe or characterise different kinds of music that they listen to with music vocabulary (Music Teachers guide, 2000). The music specialist has of course more knowledge in music than the classroom teacher, because he studied it and he made music training for many years in order to be worthy to teach to the students anything about music. This is also supported by Steinel (1990), who notes that certified music specialists have spent a minimum four years plus several precollegiate years training in music (Byo, 1999, p. 113). According to Hoffer (1961, p. 46), music specialist must be the leader in the classroom due to his advantage that he completed high music training. In my view it is a bit unfair the music specialist to be in a lower stage than the classroom teacher, because they do not have the same level in music knowledge. The music specialist is better to design the structure of the music lesson according to his own knowledge as he knows to organise it better from his experiences. This is also supported by Hoffer (1961, p. 46) who states that without the structuring efforts of the specialist no r eal musical progress will take place throughout the school. Through this, he wants to tell us that music specialist is very important for the music in schools, because he is the most suitable to organise an effective music lesson with a good structure. Moreover the music specialist is more able to teach some instruments to the students due to the knowledge and his experience that he has from his music training. As Hope and Lehman (1995) note, music specialists receive comprehensive training in music performance and theory (Byo, 1999, p. 114). So through the performance aspect, the music specialists can experiment with different instruments and be familiar with them in order to be able to teach them to the students with a good teaching method. Also if there are music specialists at primary schools the lessons will operate with more confidence and the students will understand better the meaning of music and acquire abilities and knowledge in everything; playing instruments, singing, about the history and theory of music through teachers experience and abilities. As Hennessy (1998) also states, music teachers with many years training are very important in primary schools for their specialist skills and knowledge, because they give mor e emphasis to the curriculum and they follow it on the right way. It seems that music specialists can follow exactly the curriculum without change something and accomplish to deliver it effectively, because they are expert in it and they also know what teaching methods have to use and when each one. According to Picerno (1970) the classroom teachers feel they can teach to the students about the music literature, some songs and plan a program for the music lesson. Also the classroom teachers feel that they cannot teach about conducting, music theory and music history and it is better the music specialists to teach these skills. (Picerno, 1970). I agree with this statement, because the classroom teachers do not have so high standards as music specialists in order to be able to teach the music in depth. They can just teach simple elements in music such as different kinds of songs and activities which have also help from Music Express scheme. Music Express scheme is a guide for non-specialized teachers in order to have help on what they can teach and how. Through the observation, I noticed that the classroom teachers learn from different readings and guides and then teach just the basic from the music curriculum. Hoffer (1961) notes that some persons believe that classroom teachers are able to teach at least some important things about the music curriculum, but they need the help of the specialists with some workshops and advices. According to Gamble (1988, p. 26) the classroom teachers provide the fundamentals of learning that students use later throughout their lives. This is right but I think it is apply just if the classroom teachers have help and support from a music specialist to give them some important guidance. Also Hoffer (1961, p. 45) states that some experiences have shown that classroom teachers even with the workshops, they cannot teach single-handedly a completely satisfactory music lesson. In my view Hoffer is right and not the people, because it is logical that it is impossible for the classroom teachers to know everything about the music curriculum, because many years of experience are required and also further knowledge in music education especially practical in a universit y or a college. Nevertheless there are some classroom teachers that wish not to teach music which is natural and they do it just because it is in their obligation to be able to teach all the subjects. In this case it seems that these teachers cannot teach music with success, because every teacher must like and find interesting the subject that he teaches in order to make the students also to be interested and concentrated on it. In contrast with music specialists who like to teach music and this is implicit and also this is the proof that they study it so many years and they teach it with so affection. This is also supported by Hoffer (1961, p. 45) who notes that some classroom teachers have extra music training and are proficient in teaching the subject but some others have no ability or interest in teaching music. This means that some classroom teachers may have the music knowledge that a music specialist has and some others may have anything, because they do not like to accomplish with this subje ct. Moreover Rainbow (1971, p. 1) states that the teacher who teaches music must be able to infect his students with his enthusiasm. So the teacher must like music in order to be able to teach it to the students effectively and also to take out his feelings about music and make the students to feel the same. Both Hoffer and Rainbow mention the same statement and it seems to agree with my own view; that if the students see their classroom teachers during the music lesson to express a bad feeling about music or that they do not want to teach it, then the students will ignore the lesson and will not be interested. But with music specialists this will not happen, because they all like music and teach it with very enthusiasm. Classroom teachers it seems that due to the non-training about music education who have, feel that they cannot teach music and they have lack of confidence. They do not know if they teach on the right way or not and if the students are able to understand what he teaches them. This is also supported by Jeanneret (1997, p. 37) who notes that from a research that she did in some countries like Australia, Great Britain and North America, the classroom teachers are responsible to teach music in their classrooms and they have a negative attitude towards music and lack of confidence to teach it. In my view a good point for the classroom teachers to teach music is that they know better the students; their character, their preferences because they are all the day together and they can teach them better regarding their interests. This is also supported by Mills (2005) who notes that the students can learn more things by a classroom teacher who knows them will rather than a teacher who is expert in music, but he does not know how the students work and their personalities. So this is a disadvantage for the music specialists who see the students just once a week and they cannot come close enough to them in order to know what they like to listen or how each student like to work. According to Hoffer (1961, p. 45) if the classroom teachers do not contribute in the music lesson, then the music program will become detached from the rest of the school curriculum. From that angle, he is right, because all the subjects are taught from classroom teachers and if the teachers leave out music is like ignoring music as a subject or considering music as a subject of less importance. According to Hennessy (1998), classroom teachers think that they cannot teach music, because they have no background in music education and they cannot read music. Hennessy (1998, p. 14) also mentions that these teachers usually have the abilities to play by ear, improvise and accomplish better with pop, folk or jazz styles. Personally I find my self disagree with this, because the classroom teachers are not in the position to teach music so well, if they do not have just a bit background of music education or if they do not attend a music workshop before. It seems these to be important, because they have to receive the main elements of music and some good teaching methods in order to be able to deliver the music curriculum to the students and have a successfully music lesson. According to an Ofsted report (Making more of music: Improving the quality of music teaching in primary schools, 2009, p. 3) the classroom teachers are able to provide a good music teaching when they are suppor ted effectively. It seems that the author wants to states that if the classroom teacher has help and useful guides from the music specialist, then he will be able to teach music well. This is a difference between a classroom teacher and a music specialist. The music specialist can teach music curriculum alone with his own mind, experiences and knowledge, but the classroom teacher needs a support to be able to starts and complete his teaching. Mills (2005, p. 28) notes that good teaching leads to students learning. By this, she wants to tell us that there is no importance if the teacher that teaches music has a music degree; if is the music specialist or the classroom teacher. The most important is that anybody from these teachers who teach music must do it very effective. According to Hennessy (1998) the classroom teachers are able to teach until year 4, because the music curriculum is easier to teach it at this stage, but in years 5-6 the music specialists are more able to teach it, because it is more complicated and more musical experience is required. The classroom teachers are able to teach during the beginning years, because except from a music guide to help them, they can also experiment easier and simple with the teaching and also using their fantasy. In later years this is difficult, because the standards go up and the music curriculum has more challenges towards the teacher. So a music specialist is more necessar y to teach it, because he can infect to the students his music knowledge through his experiences and his abilities to the music activities. To conclude, my own view is that music specialists can teach music more effectively than the classroom teachers at primary schools due to their experiences, their skills, their knowledge, their music training courses and the confidence they feel when they make in practice all of these. They know how to organise the music lesson better and how to teach each part of the lesson such as the performance, the listening and the composing in order to have a formative lesson and the students to be interested and familiar with music. Nevertheless I believe that the classroom teachers if they have a bit background about music and with the help of music guide, they will be able to teach music as well but until an extent. This is because they have the advantage that they know the students very well and they teach them based on the general progress of the students and they also help each student separately to improve his skills. Personally when I was a child in primary school my teacher was a music specialist and I gained a lot from her. That is why I believe that music specialists can teach music very effectively. She helped me to acquire the fundamental things which I had to know in music in that age and also to be interested in music. She taught me how to play some instruments, to sing, to learn some important elements of music such as the rhythm, notation, melody and different others. She did not know me and the other students very well, because she was seeing us just two days per week, but she was able to teach us music and also all the students were attend the lesson very carefully. Of course I am not sure if this happens with all the music specialists. As I mentioned above some authors state that this happen with the classroom teachers and that is an advantage for them to teach music better. So I think it is depends on the character of the teacher if he/she can teach music well and from his teaching m ethods except from his knowledge about music and not if he is a music specialist or not. The most important is the teacher; either the music specialist or the classroom teacher to transmit to the students his love and interest about music in order the students to be able to participate easier in the music lesson. All the weight and the organisation of the lesson is based on the teacher, because it depends on him if the lesson will be effective or not.

Abnormal Psychology and Othello Essay -- Othello essays

To what extent is the science of abnormal psychology involved in the characterization in William Shakespeare’s tragic drama Othello? This essay will answer that question. Blanche Coles in Shakespeare’s Four Giants affirms the Bard’s commitment to abnormal psychology, and his employment of same in this play: That Shakespeare was keenly interested in the study of the abnormal mind is commonly accepted among students. [. . .] The suggestion that Iago may have been intentionally drawn as a psychopathic personality is not new. [. . .] Even a casual scrutiny of a book on case histories of psychopathic patients will find Iago peeping out from many of its pages. Still more, Iago’s name will be found appearing occasionally in bold print in books on abnormal psychology.(89-90) Evidence of the ancient’s psychopathic personality is seen early in the play. He manipulates the wealthy Roderigo into awakening the senator Brabantio (â€Å"Rouse him: make after him, poison his delight†); and then he utters very offensive smutty lines about a black ram and white ewe, which indicate the way his sick mind operates. He seems to be motivated by love of money which he has been receiving from Roderigo for some time (â€Å"thou, Iago, who hast had my purse / As if the strings were thine†). Iago himself says that he is motivated by revenge on the Moor (â€Å"I follow him to serve my turn upon him†) because of the promotion of Michael Cassio to the lieutenancy. But regardless of the question of motivation, it is a fact that Iago hasn’t a single true friend in the play; in his disordered personality he can only manipulate or use people; he is incapable of loving them. His manipulation of his general repeats time and again from the first mee ting: Nay, but he... ...  Ã‚  Ã‚   To the Propontic and the Hellespont,   Ã‚  Ã‚  Ã‚   Even so my bloody thoughts, with violent pace,   Ã‚  Ã‚  Ã‚   Shall ne'er look back, ne'er ebb to humble love,   Ã‚  Ã‚  Ã‚   Till that a capable and wide revenge   Ã‚  Ã‚  Ã‚   Swallow them up. (3.3) Iago is so in control of the general’s contorted mind that he specifies how the Moor should kill Desdemona: â€Å"Strangle her in her bed, even the bed she hath contaminated.† And the general dutifully responds, â€Å"Excellent good!† The enthusiastic answer causes one to suspect that the ancient’s psychopathology has taken possession of the Moor.    WORKS CITED Shakespeare, William. Othello. In The Electric Shakespeare. Princeton University. 1996. http://www.eiu.edu/~multilit/studyabroad/othello/othello_all.html No line nos. Coles, Blanche. Shakespeare’s Four Giants. Rindge, New Hampshire: Richard Smith Publisher, 1957.    Abnormal Psychology and Othello Essay -- Othello essays To what extent is the science of abnormal psychology involved in the characterization in William Shakespeare’s tragic drama Othello? This essay will answer that question. Blanche Coles in Shakespeare’s Four Giants affirms the Bard’s commitment to abnormal psychology, and his employment of same in this play: That Shakespeare was keenly interested in the study of the abnormal mind is commonly accepted among students. [. . .] The suggestion that Iago may have been intentionally drawn as a psychopathic personality is not new. [. . .] Even a casual scrutiny of a book on case histories of psychopathic patients will find Iago peeping out from many of its pages. Still more, Iago’s name will be found appearing occasionally in bold print in books on abnormal psychology.(89-90) Evidence of the ancient’s psychopathic personality is seen early in the play. He manipulates the wealthy Roderigo into awakening the senator Brabantio (â€Å"Rouse him: make after him, poison his delight†); and then he utters very offensive smutty lines about a black ram and white ewe, which indicate the way his sick mind operates. He seems to be motivated by love of money which he has been receiving from Roderigo for some time (â€Å"thou, Iago, who hast had my purse / As if the strings were thine†). Iago himself says that he is motivated by revenge on the Moor (â€Å"I follow him to serve my turn upon him†) because of the promotion of Michael Cassio to the lieutenancy. But regardless of the question of motivation, it is a fact that Iago hasn’t a single true friend in the play; in his disordered personality he can only manipulate or use people; he is incapable of loving them. His manipulation of his general repeats time and again from the first mee ting: Nay, but he... ...  Ã‚  Ã‚   To the Propontic and the Hellespont,   Ã‚  Ã‚  Ã‚   Even so my bloody thoughts, with violent pace,   Ã‚  Ã‚  Ã‚   Shall ne'er look back, ne'er ebb to humble love,   Ã‚  Ã‚  Ã‚   Till that a capable and wide revenge   Ã‚  Ã‚  Ã‚   Swallow them up. (3.3) Iago is so in control of the general’s contorted mind that he specifies how the Moor should kill Desdemona: â€Å"Strangle her in her bed, even the bed she hath contaminated.† And the general dutifully responds, â€Å"Excellent good!† The enthusiastic answer causes one to suspect that the ancient’s psychopathology has taken possession of the Moor.    WORKS CITED Shakespeare, William. Othello. In The Electric Shakespeare. Princeton University. 1996. http://www.eiu.edu/~multilit/studyabroad/othello/othello_all.html No line nos. Coles, Blanche. Shakespeare’s Four Giants. Rindge, New Hampshire: Richard Smith Publisher, 1957.   

Analyze an organization’s media communication activities Essay

The objective of this project is to analyze an organization’s media communication activities. The work must use concepts, models, and theories to support and critical the company’s website. It should be critically assess + evaluate and use strategy to analyze. The author should review it as a marketing professional specialist and knows how, when, and where the organization use digital media to communicate with its audience, customer, stakeholder, and public. Executive Summary: P&O Cruises uses a maturity website to distribute and communicate (Fill, 2002). It is a fabulous website that uses a lot of tools from personal communications (PCs) to support their offline marketing (Hartley, 1999). Once customers surf its website, they could get information they need easily. The website becomes a distributed channel for the business. It is in the highest level of scenario 4 (Doren, 2000). Information on website is variety and useful that helps offline media and lures more customers to join the P&O Cruises with rational exchange (Fill, 2002). P&O Cruises – Background P&O Cruises is one of the cruises belonging to Carnival Corporation & PLC. There are 13 distinct brands of cruises all over the world are operating by Carnival Corporation & PLC; P&O is one of them. P&O is not as same as its name belongs to the P&O group (Peninsula and Oriental steam Navigation Company); for it was demerged into Carnival public limited company on 23 October 2000, and has changed its name to Carnival Public limited company on 17 April 2003. P&O Cruises now is the largest premium cruise brand in the United Kingdom. See the list as below. Carnival Corporation Princess Cruises & Carnival plc P&O Cruises were belong to Ocean Village P&O Princess. Swan Hellenic Cruises plc AIDA P&O Cruises Australia Carnival Cruise Lines Holland America Line Windstar Cruises Seabourn Cruise Line Costa Cruises Cunard Line A’ROSA Main Report: Marketing mix†¦ Product P&O Cruises currently owns four types of ships – Aurora, Oriana, Oceana and Adonia. Each of them gives different atmosphere and personality to customers. They are service, facility and quality oriented. Mostly, customers who are attracted to join P&O Cruises are through travel agencies to get tickets no matter a set of schedule or connections with flights or another cruise. If customers who are interested in P&O Cruises, P&O Cruises also use different brochures to introduce its â€Å"products† to them. P&O Cruises builds a marvelous introduction of its products on the website. There is a column of their ships in directories of its website introducing each of ships’ details by clicking any icon of them (Chaffey, 2000). There are also other links connecting to these four ships that makes customers easily check to P&O Cruises’ ships (main products) whenever they want. The website builds a good cognitive environment to customers who are like ship, boat, cruise, and adventure. Most fantastically, customers could find what each deck looks like by 360i panoramic tour. After customers â€Å"learn† about these ships, they enable to feel more about these ships by â€Å"fun stuff† sector, which involved games, videos, and pictures (screensaver and wallpapers) to addict customers affective (Fill, 2002). Promotion P&O Cruises is not a company which uses all of the marketing communication tools to communicate with its target audience, but it uses its promotion tools well to achieve its customer needs and to explore its market opportunities (Chaffey, 2000). 5 main elements of the promotional or communications mix of P&O Cruises are analyzed as below (Fill, 2002): 1. Advertising (Off-line) P&O Cruises has TV advertising displaying during summer time or the beginning of the year. Customers who haven’t seen the advertisement on TV could also enjoy the advertisement on P&O Cruises’ website; to the â€Å"Fun Stuff-Videos† to view the version of its â€Å"Sh-boom† advertisement. It’s an advertisement with affective (Fill, 2002). Besides TV advertising, P&O Cruises posts its advertising on newspaper as well. (On-line). There are many agencies selling P&O Cruises’ tickets on line; they help P&O Cruises build a perfect advertisement system. If someone who is interested in cruises, they will easily find out the name of P&O Cruises on many websites building by travel agencies. Customers are able to easily book a cruise through any ABTA travel agent; there are about 16 agent’s linking to P&O Cruises and helping customers to book tickets in different areas. Although many websites all connecting to the name of P&O Cruises, it is difficult for people who want to buy the ticket right through P&O Cruises’ website. 2. Sales promotion (Off-line) (On-line) P&O Cruises’ is targeted. It divides into consumers and the sales forces of both P&O Cruises’ and its agents (Fill, 2002). The sales promotion P&O Cruises uses is by the timing when customer book for their tickets. The earlier they book for cruises, the more discount they will have. It uses the method of price reductions to motive its sales in the early stage (Fill, 2002). P&O Cruises also sets up the Portunus Club for customers who re-join to the P&O Cruises. There are Ruby, Sapphire, and Gold tiers for different types of customers. Customers could get points for their discounts when they had joined the cruises and also discounts to any other consumption on the ship. The method builds customer royalty; it is referred to as a ‘points accrual programme’ that helps the company keep customers loyalty for preventing them from moving to P&O Cruises’ competitor (Fill, 2002). The Portunus Club has not only increased the amount of customers, but also maintained those current customers well (Raaij, 1998). 3. personal selling (Off-line) P&O Cruises’ tickets are sold through personal selling or other travel agencies. Customers buying tickets can either from agencies or directly make a phone call to the P&O Cruises as the telemarketing. It is a good method for the company itself uses lots of personal selling on promotes their ticket, for it is a method always interactive to customer and company. And â€Å"Consumers may talk to and obtain answers from ‘real’ persons or from machine interaction† that helps P&O Cruises directly being aware of what customers wants and what they need (Raaij, 1998). (On-line) On the website, customers who are interested in any trip and willing to join the tour could book on line by leaving the messages to the reservation team. Besides, it’s very easy for customers to find the ticket selling on website from different agencies in different areas, and then buy the ticket based on customer needs. 4. public relations (Off-line) The means of PR of P&O Cruises is announcing news on newspapers. It mostly tells people about its schedules, timetables and its new ship or company information on travel pages or events column. P&O Cruises owns a press center to run for its news. (On-line) Customers could also find out their news through news websites, travel agents or the websites connect to sailings, such as, â€Å"what you need to about† or â€Å"scoop agents† (two website names). Moreover, there are numbers of news P&O Cruises showed to the public and listed on its own website. It is â€Å"press centre† in â€Å"the company† section. For people who are interested in to P&O Cruises and want to know more about its reputation, besides company introduction, they could attain more information on this section. 5. direct marketing (Off-line) (On-line) P&O Cruises uses direct marketing through ABTA agents and many other travel agencies where they sell cruises’ tickets. It connects to personal selling to use different types of tools to achieve the needs of customers. It uses e-mail (member confirm) and through post-mail (brochure sending) to directly send the information to customers.   Place P&O Cruises, the Britain’s leading cruise operator, customer aboard its shipping at Southampton, UK or fly on a scheduled or P&O Cruises’ charter flight to any of its 25 destinations all over the world. All ships cruise Europe in the summer, and in winter Aurora and Adonia embark on round the world cruises while Oceana and Oriana tour the Caribbean. Places are stabile in different places by annual schedules; depended on where customers plan to go abroad. The headquarters is in Southampton, but usually people usually book tickets at agencies instead of heading for P&O Cruises’ office. If people who would like to book tickets online, they could go to www. pocruises. com or through links on any ABTA agents to buy tickets. Agents are viewed as the P&O Cruises’ retailers. This method helps P&O Cruises reach its sale targets by selling tickets to many other segments in different areas and places. The channel of its distribution is producer –> retailers–> consumers (Blythe, 1998). Price P&O Cruises sets its price at the moment when customers buy tickets. The company uses different brochures to attract customer to join its cruises business. Customers could save as much as money if they book earlier according to the timetable set up by P&O Cruises. Customers could save up to 5%~45% discounts for early booking, depending on availability, and its reward for those who book early. P&O Cruises named it as â€Å"pricebreakers†. Besides, price differs from different cabin type and grade that customers choose. It is very easy for customers to find the price on the website or by the brochure which customers could also easily get by request online. * DRIP – P&O Cruises (model by Fill, 2002). P&O Cruises’ communications have need to: â€Å"Differentiates† itself by it is one of the oldest cruises company which form of British to attract customers who enjoy in English style. â€Å"Remind and reassure† its customers by telling them that the leisure cruising business was started by P&O in 1844. The step helps the company acquire trust from customers Oldest = standard = traditional (British) ? â€Å"Inform† the consumers by educating them that P&O Cruises is the company with offering high quality but middle-low price to customers â€Å"Persuade† to the consumers that althouthg P&O Cruises is the oldest company, it has most modern fleet of ships in the UK. Scenarios In order to know how a company created a website on line to present its own products through the internet, the company needs to define the level of commitment it wants to reach (Doren, 2000). There are 4 possible scenarios for promoting on the internet. P&O Cruises is belonging to the highest level 4, because it offers on-line ordering of products and services. The product P&O Cruises supplies to customer is not the tangible things that customers could touch but services and facilities on cruises. So the company tries to present its product through the website. P&O Cruises uses web cam, lots of 360i panoramic tour and many of pictures on its website to interact with users. Moreover, there are images, screensavers and wallpapers of its 4 ships for customers to download. The usages of multimedia presentations also reach facilitation as a web promotion; it enables a more personal, one-on-one approach with the internet user (Doren, 2000). According to the four possible scenarios lists, P&O Cruises does make a high extensive interaction with its customers through its website. The web site of P&O Cruises may be high costs, but it could attract more customers order on line.

Computers Will Soon Replace Books Essay

There has been a lot of talk lately concerning the possibility of computers replacing the position of books in our life. I believe it is truly possible. Many years ago, people used books for everything related to education. In fact, the human’s best source of knowledge and education was the book. But computers have gained popularity in a very short amount of time and everyone at least has one somewhere around their house. We have the need to use computers for everything. All we have to do is give the computer instructions and it does all the hard work for us. I am going to discuss the benefits that computer has to offer to its users. Firstly, computers are much better than books because a modern computer can hold a billion times more information than the average 400-800-page book. If you want to do a research about anything, it would take you at least an hour just to find the right book but by using a computer, you can find the same information in less than 5 minutes. Many people including me use the internet as a dictionary, finding definitions, so this way only takes the time to type the word. A laptop computer equal to the size and weight of a book holds data about any topic you can think of. A book only covers a specific topic. A computer can hold much more types of data than a book. When you carry one computer, you are carrying a hundred thousand books. Secondly, everyone would agree that an e-books cost much less to produce and less to buy than an actual paper books. The information in a digital format can be shared easily by email or by copying the files onto someone else’s computer or simply by transferring it into your USB drive. It is also easier to edit the information. This makes it overall more convenient for students who might not be able to afford one copy of a book each and who don’t want to make notes and underline points. Free information means at least cheap education. Who would not like a cheaper education? There are numerous websites like Google (search free textbooks in your subject area) and Google books, permit students with a limited budget to get what they want without having to spend large amounts of cash. Free e-books make education accessible and cheap thus more widespread. Last but not least, the most obvious reason why computers are making our lives better is by reducing the number of trees that are cut down for the production of books. I agree that an eBook is not 100 percent green and is far from it. But if you are comparing eBooks to other paperback books, eBooks certainly take the lead. According to â€Å"The e-Book Apocalypse† article, twenty-four trees are required to produce a ton of paper for printing books, and twelve are needed for a ton of newsprint. Thirty-five percent of those books printed are destroyed before they are even read. In 2009, eBook readers took off and the latest reading trend began to grow. In 2010, these reading devices became more popular and started sparking the attention of people everywhere. Some of this attention came from the idea that this new was a huge breakthrough in an effort to save our planet, which I find most definitely possible. To conclude, I understand change, whether it is for the good or the bad, is always a difficult and uncomfortable thing. That is the only reason why the whole world has not yet made the shift from traditional books to e-books. Now, there might be few advantages to paper. But I see a lot more advantages to digital. The fact that I now carry about a hundred books with me, wherever I go, that I can read whenever I want, outweighs any advantage a paper book could give me. Digital books are here to stay and there is no doubt that within a few years we will look at paper books as something saved from the past.