tag:blogger.com,1999:blog-26604129875164161542024-02-21T06:56:39.429-08:00JOU 4342Matthew Jr.http://www.blogger.com/profile/17553872467944972698noreply@blogger.comBlogger14125tag:blogger.com,1999:blog-2660412987516416154.post-79951978421960127702011-04-12T19:38:00.000-07:002011-06-20T15:52:26.850-07:00"Loyalty Is a Human Feeling"<span style="font-family: "Trebuchet MS",sans-serif;">Most people are irrational; therefore to persuade the masses, pains must be taken to rouse their emotions. </span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">Sigmund Freud usually gets credit for this idea. Nevertheless, whether consciously or unconsciously, Western politicians used his observation as a political stratagem even before he had discovered it, mobilizing the public at the polls. Party feeling, Sir Henry Maine observed, has proven itself more persuasive among constituents than reasoned arguments. </span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">During World War I, Bertrand Russell observed that in a state of hysteria or severe anxiety, even the more cerebral people in society let rational considerations fall by the wayside, pursuing irrational ends. </span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">Today, corporations -- and astute individuals -- capitalize on these tenets. </span><br />
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<div align="center"><object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=9,0,0,0" height="264" width="400"><param name="flashvars" value="webhost=fora.tv&clipid=10986&cliptype=highlight" /><param name="allowScriptAccess" value="always" /><param name="allowFullScreen" value="true" /><param name="movie" value="http://fora.tv/embedded_player" /><embed flashvars="webhost=fora.tv&clipid=10986&cliptype=highlight" src="http://fora.tv/embedded_player" width="400" height="264" allowScriptAccess="always" allowFullScreen="true" type="application/x-shockwave-flash" pluginspage="http://www.macromedia.com/go/getflashplayer"></embed></object></div><br />
<div align="center"><span style="font-family: "Trebuchet MS",sans-serif;">Above, Simon Sinek discusses how successful corporations predicate their business models.</span></div><span style="font-family: "Trebuchet MS",sans-serif;"><br />
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<div style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Upload By FORA.TV</span></div>Matthew Jr.http://www.blogger.com/profile/17553872467944972698noreply@blogger.com0tag:blogger.com,1999:blog-2660412987516416154.post-47336909069286253142011-04-05T14:11:00.000-07:002011-04-06T09:11:44.228-07:00Video madness<a href="http://www.longboardcolombia.com/">LongboardColombia</a> rider Camilo Céspedes recently uploaded his video <i>Frame by Frame</i>. The film is a refreshing reminder of what video really is: a roll of freeze frames moving really fast. Céspedes' slide show slows things down enough for the twenty-first century student to observe the true tenor of motion picture. <br />
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<div align="center"><iframe allowfullscreen="" frameborder="0" height="295" src="http://www.youtube.com/embed/_W3T2i27n9Y?fs=1" width="480"></iframe></div><div style="text-align: center;"><span style="font-size: x-small;">Upload by LongboardColombia</span></div>Matthew Jr.http://www.blogger.com/profile/17553872467944972698noreply@blogger.com0tag:blogger.com,1999:blog-2660412987516416154.post-43729591272545246872011-04-05T14:10:00.000-07:002011-04-06T07:03:39.287-07:00LongboardColombia<a href="http://www.longboardcolombia.com/"><span style="font-family: "Trebuchet MS", sans-serif;">LongboardColombia</span></a><span style="font-family: "Trebuchet MS", sans-serif;">, Loadedboards' exclusive </span><a href="http://www.loadedboards.com/store/agora.cgi?product=COMPLETES"><span style="font-family: "Trebuchet MS", sans-serif;">Loadedboard</span></a><span style="font-family: "Trebuchet MS", sans-serif;"> and<em> </em></span><a href="http://www.orangatangwheels.com/"><span style="font-family: "Trebuchet MS", sans-serif;">Orangatang </span></a><span style="font-family: "Trebuchet MS", sans-serif;">distributor in Colombia, hopes to facilitate community growth through shared experiences in longboard skateboarding.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPxDivzFF8NvZ9y95nai-lFfp4NpYUEyQuyyZloeN3rkj6i6s9Cb-YsFVF4EOI0QNYpU8t_DRgh7yhyDXZDMvC5ZOkxIvHZgyH3QvVkzIc-wIwj-szWEJypb2hJ2jQaGJ0LD8XxT3Tu1WR/s1600/Colombia.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPxDivzFF8NvZ9y95nai-lFfp4NpYUEyQuyyZloeN3rkj6i6s9Cb-YsFVF4EOI0QNYpU8t_DRgh7yhyDXZDMvC5ZOkxIvHZgyH3QvVkzIc-wIwj-szWEJypb2hJ2jQaGJ0LD8XxT3Tu1WR/s400/Colombia.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: x-small;">Map by Grolier</span></td></tr>
</tbody></table><div style="text-align: center;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: x-small;"></span></div><span style="font-family: "Trebuchet MS", sans-serif;">Pablo, Loadeds' international sales guru, says that Loaded looks for international distributors who share and practice its ideology: experience the soulful experience of riding and pass on the stoke through fraternity with other riders.</span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;">In South America, Loaded and Orangatang grant one lucky merchant an exclusive franchise to sell its products in the country, Pablo says, to prevent discord among shops and riders, others say, to eliminate competition, keeping prices high. Bottom line, the boards cost the consumer more in Latin America. Expensive shipping fees and import customs hike up prices. Competition might make the enterprise unprofitable.</span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;">LongboardColumbia has been showcasing Loadeds' boards and wheels for more than three years now. More recently, however, the company has started adding to Loadeds' massive collection of skate videos on the Web.</span><br />
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<div align="center"><iframe allowfullscreen="" frameborder="0" height="295" src="http://www.youtube.com/embed/htOIydZFn30?fs=1" width="480"></iframe></div><br />
<div align="center"><span style="font-family: "Trebuchet MS", sans-serif; font-size: x-small;">Upload by LongboardColombia</span></div><span style="font-family: "Trebuchet MS", sans-serif;"><br />
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<span style="font-family: "Trebuchet MS", sans-serif;">Like a little Loadedboard colony, LongboardColumbia is Loadeds' gateway to trade in Colombia. It's this type of subsidiary that has made Loadeds' vision a global enterprise.</span>Matthew Jr.http://www.blogger.com/profile/17553872467944972698noreply@blogger.com0tag:blogger.com,1999:blog-2660412987516416154.post-57469840528003710912011-03-29T19:40:00.000-07:002011-04-16T17:48:04.985-07:00The President's Address on Libya<span style="font-family: "Trebuchet MS", sans-serif;">Last night, America's 44th president, President Obama, delivered a well thought out </span><a href="http://www.whitehouse.gov/photos-and-video/video/2011/03/28/president-obama-s-speech-libya"><span style="font-family: "Trebuchet MS", sans-serif;">talk</span></a><span style="font-family: "Trebuchet MS", sans-serif;"> on "what we've done, what we plan to do, and why this matters to us," said President Obama--referencing the rebellion in Libya.</span><br />
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<b><span style="font-family: "Trebuchet MS", sans-serif; font-size: large;">Background:</span></b><br />
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<span style="font-family: "Trebuchet MS", sans-serif;">In the middle of February, Libyan citizens unleashed an aggressive rebellion against Libyan president, Muammar Gaddafi. Feb. 21, <em>Democracy Now! </em>reported that protestors<em> </em>had set the Libyan Parliament ablaze. Gaddafi and the Libyan military, the latter of which, demolishing, raping and killing, responded with extreme force.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS", sans-serif;">Visual By Grolier</span></td></tr>
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<b><span style="font-family: "Trebuchet MS", sans-serif; font-size: large;">The Talk:</span></b><br />
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<span style="font-family: "Trebuchet MS", sans-serif;">According to President Obama, Libyan protesters are rebelling to re-claim their "basic human rights." Natural rights, one of America's "core values" (as delineated by the chief of state), are worth defending, said President Obama. The defense of these "core values" and the broader protection of American interests were the reasons given for American entanglement in the conflict. </span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;">Suggesting that inertia in Libya could lead to absolutism in neighboring Egypt and Tunisia, President Obama expressed fear that a deprivation of U.S. support in Libya would somehow infringe on American interests--however, whatever those <em>are</em> remains to be determined. In addition, the president made repeated reference to an ancillary reason for U.S. entanglement: safeguarding the Libyan people. </span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;">President Obama's speech comes after the climax of U.S. involvement has passed. Wednesday, explained the president, NATO will take the helm, limiting America's further contribution in the effort to logistical support, search and rescue, intelligence and the jamming of regime communications. President Obama says that limited involvement will reduce the conflict's cost to American tax payers and save American lives.</span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;">The president prefaced all this important information, during the first 10 minutes of his </span><a href="http://www.whitehouse.gov/photos-and-video/video/2011/03/28/president-obama-s-speech-libya"><span style="font-family: "Trebuchet MS", sans-serif;">27 minute speech</span></a><span style="font-family: "Trebuchet MS", sans-serif;">, with a description of U.S. action taken in the region since the outbreak of the rebellion. </span><br />
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<span style="font-family: "Trebuchet MS", sans-serif; font-size: large;"><strong>The following is a brief summary of that description:</strong></span><br />
<ul><li><span style="font-family: "Trebuchet MS", sans-serif;">Gaddafi begins attacking his people.</span><span style="font-family: "Trebuchet MS", sans-serif;"><br />
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</ul><ul><li><span style="font-family: "Trebuchet MS", sans-serif;">Obama evacuates the U.S. Embassy in Libya, freezes $33 billion of Gaddafi assets, establishes an arms embargo, broadens sanctions and holds Gaddafi accountable for his crimes. </span><span style="font-family: "Trebuchet MS", sans-serif;"><br />
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</ul><ul><li><span style="font-family: "Trebuchet MS", sans-serif;">Obama asks Gaddafi to step down from power.</span><span style="font-family: "Trebuchet MS", sans-serif;"><br />
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</ul><ul><li><span style="font-family: "Trebuchet MS", sans-serif;">Gaddafi escalates his attacks.</span><span style="font-family: "Trebuchet MS", sans-serif;"><br />
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</ul><ul><li><span style="font-family: "Trebuchet MS", sans-serif;">Obama declares a no-fly zone over Libya.</span><span style="font-family: "Trebuchet MS", sans-serif;"><br />
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</ul><ul><li><span style="font-family: "Trebuchet MS", sans-serif;">The international community unites behind President Obama.</span><span style="font-family: "Trebuchet MS", sans-serif;"><br />
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</ul><ul><li><span style="font-family: "Trebuchet MS", sans-serif;">Obama initiates military action. He targets military assets. He hits Gaddafi's troops. He wipes out Gaddafi's air defenses. He hits Gaddafi's tanks. And he strikes regime forces in Banghazi.</span></li>
</ul>Matthew Jr.http://www.blogger.com/profile/17553872467944972698noreply@blogger.com0tag:blogger.com,1999:blog-2660412987516416154.post-8058897530477908692011-03-15T20:42:00.000-07:002011-04-02T14:46:06.418-07:00Robert Emmet and the Rebellion of 1798<span style="font-family: "Trebuchet MS", sans-serif;">Pictured below is Ruan O'Donnell, Author of <a href="http://www.irishacademicusa.com/cgi-bin/sh000002.pl?REFPAGE=http%3a%2f%2fwww%2eirishacademicusa%2ecom%2facatalog%2fsearch%2ehtml&WD=emmet%20robert&PN=IAP_Catalog_More_Military_History_Titles_31%2ehtml%23aIAP388#aIAP388">Robert Emmet and the Rebellion of 1798</a><i>.</i></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS", sans-serif;">Ruan O'Donnell</span><br />
<span style="font-family: "Trebuchet MS", sans-serif;">Photo by University of Limerick</span></td></tr>
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<div style="text-align: left;"><span style="font-family: "Trebuchet MS", sans-serif;">In <em>Robert Emmet and the Rebellion of 1798</em>, Ruan O’ Donnell argues that Robert Emmet has not received the credit he is due from historians for fomenting and facilitating rebellion during Ireland’s inaugural period of revolution. Tucked away in the book’s preface, O’Donnell’s thesis asserts that a broader view of Emmet’s dealings in the revolutionary period necessitates Emmet’s reassessment. But O’Donnell doesn't stop at redefining Emmet. O’Donnell also redefines the rebellion. He shows, in extravagant detail, that the struggle was really a wider conflict than a group of disjointed battles during the summer of 1798—the battle wasn’t over after Humbert’s capitulation, and the battle had begun long before the mobilization of rebels on May 23. </span></div><br />
<span style="font-family: "Trebuchet MS", sans-serif;">Again, it is O’Donnell’s opinion that the only way one can really understand Emmet or his role in the Rebellion of 1798 is to acquaint one’s self with everything and everyone surrounding Emmet; accordingly, O’Donnell’s study emigrates from rather than immigrates to Emmet—he is the hub. He starts this endeavor with a chapter that details Emmet’s early life by delineating the prominent figures in it and chronicling the evolution of their revolutionary sentiment. According to O’Donnell, the enormous tree of associations and contacts began with Emmet’s grandfather. Then, given the activities of his father and elder brother, this base of contacts grew even wider. O’Donnell shows how the family’s wealth, geographical location, associates, and connections abroad facilitated Emmet’s revolutionary involvement. </span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;">From here, O’Donnell ventures to a chapter describing the United Irishmen by drawing the connections between Emmet, its leaders, and its ideology. O’Donnell shows the intimate involvement of the Emmet family in the group’s creation. He presents evidence indicating the omnipresence of Irish nationalism in Emmet’s life from an early age. He then describes an important turning point in Emmet’s life: his voluntary withdrawal from Trinity College and subsequent disbarment from institutions of higher education elsewhere. From this point on Emmet was inextricably intertwined with the revolutionary cause, because he was one of the few United Irishmen who had logical incentives, in addition to emotional incentive, to see through the success of the revolution.</span><br />
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<div style="text-align: center;"><object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=9,0,0,0" height="264" width="500"><param name="flashvars" value="webhost=fora.tv&clipid=9697&cliptype=clip" /><param name="allowScriptAccess" value="always" /><param name="allowFullScreen" value="true" /><param name="movie" value="http://fora.tv/embedded_player" /><embed flashvars="webhost=fora.tv&clipid=9697&cliptype=clip" src="http://fora.tv/embedded_player" width="400" height="264" allowScriptAccess="always" allowFullScreen="true" type="application/x-shockwave-flash" pluginspage="http://www.macromedia.com/go/getflashplayer"></embed></object></div><br />
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<span style="font-family: "Trebuchet MS", sans-serif;">Next O’Donnell dives into a chapter recalling the summer and early fall of 1798, again showing the important actors, developments, and Emmet’s ties to them. O’Donnell’s discussion takes a clearer pro-rebel bias at this juncture, describing the myriad atrocities committed by loyalist forces but then gathering few facts about the crimes against humanity that rebels presumably committed. Once that year’s battles were dealt with, O’Donnell starts to detail the major events between 1798 and 1803 by tracing lines of connection between them and Emmet. According to O’Donnell, it was in these years that Emmet’s role in the revolutionary struggle expanded and escalated. Then the final chapter analyzes the preparations on and influences from the continent apropos of the revolutionary struggle, mostly in regard to the uprising planned to take place in 1803. </span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;">The culmination of all this analysis is an image of Emmet not as a warrior but as a shadowy mastermind, a puppet-master pulling the strings almost strictly behind the scenes. O’Donnell asks the reader to understand Emmet by observing him in context, and once given that context—1793-1803—and the evidence he arraigns, the picture he articulates is difficult to shake off. After reading and contemplating this study, it is difficult to view the Rebellion of 1798 strictly as a summer-time struggle. O’Donnell's study adds not only real depth to Emmet but also to the Rebellion of 1798, elucidating the tenor and extent of the conflict. </span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;">O’Donnell achieves these aims over the course of five chapters, each broken down into smaller subsections making it an ideal study for researchers in pursuit of specific information. As a side note, this biography is a repository of names and affiliations and might be useful to someone wanting to ascertain particular participants in the rebellion. Finally, O’Donnell’s work is well organized and well suited to twenty-first century students. Its non-linear organization makes it a valuable tool to a wider range of inquirers. </span>Matthew Jr.http://www.blogger.com/profile/17553872467944972698noreply@blogger.com0tag:blogger.com,1999:blog-2660412987516416154.post-90052600352220750062011-03-01T20:55:00.001-08:002011-03-01T23:52:28.254-08:00Porn Pastor Video Follow Up<iframe allowfullscreen="" frameborder="0" height="390" src="http://www.youtube.com/embed/hVgEMmRTSJA" title="YouTube video player" width="480"></iframe><br />
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<div style="text-align: center;"><span style="font-family: "Trebuchet MS", sans-serif;">Video uploaded by triplexchurchpress</span></div><br />
<span style="font-family: "Trebuchet MS", sans-serif;">I like Ron Jeremy's rebuttal here. In concrete language, Jeremy raises the question of representation: how representative of sentiment in the porn industry are the porn-stars who feel degraded? How representative of Christian porn viewers are these particular discontented individuals? What is the consensus here?<br />
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Jeremy doesn't give the evidence or statistics to prove that these feelings and these people are unrepresentative of the collective whole, but he raises the question, which is an important one to ask when considering an assertion or argument.<br />
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In the video below, a pastor talks about his porn addiction.</span><br />
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<iframe frameborder="0" height="227" src="http://player.vimeo.com/video/14999940" width="400"></iframe><br />
<a href="http://vimeo.com/14999940">Porn Free (Trailer to full story)</a> from <a href="http://vimeo.com/churchapplied">CSS Ministry Resources</a> on <a href="http://vimeo.com/">Vimeo</a>.Matthew Jr.http://www.blogger.com/profile/17553872467944972698noreply@blogger.com0tag:blogger.com,1999:blog-2660412987516416154.post-73387508522698280642011-03-01T20:26:00.000-08:002011-03-18T22:04:59.608-07:00Porn Pastor?<span style="font-family: "Trebuchet MS", sans-serif;">A self proclaimed porn pastor, Craig Gross of San Diego California, has started a movement to bring evangelists into the porn industry.</span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;"><a href="http://xxxchurch.com/">xxxchurch.com</a></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrXb8U2CPz4noDbM03kUwE-SOEsqJAbk7qxOZ9YdSM7Jc5XYFcg_VJ6WprC5Xu3FEhSrXOq9uIY8CeAan4QDKS-9uSFt11eQlYjagvxRmYyymsOMBPfGvj9ssL5Q2EPa5r1SqM_iJ1qiUO/s1600/craig4.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrXb8U2CPz4noDbM03kUwE-SOEsqJAbk7qxOZ9YdSM7Jc5XYFcg_VJ6WprC5Xu3FEhSrXOq9uIY8CeAan4QDKS-9uSFt11eQlYjagvxRmYyymsOMBPfGvj9ssL5Q2EPa5r1SqM_iJ1qiUO/s400/craig4.JPG" width="287" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS", sans-serif;">Craig Gross</span><br />
<span style="font-family: "Trebuchet MS", sans-serif;">Photo by Craig Gross</span></td></tr>
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<div style="text-align: center;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-family: Times New Roman;"></span></span> </div><span style="font-family: "Trebuchet MS", sans-serif;">After getting to know him, through </span><a href="http://www.craiggross.com/speaking"><span style="font-family: "Trebuchet MS", sans-serif;">Vimeo</span></a><span style="font-family: "Trebuchet MS", sans-serif;"> and Youtube, I've concluded that Pastor Gross believes in the Lutheritic idea that the Bible is God's sacred Word, obsessively justifying his beliefs with decontextualized quotes from scripture. Gross approaches this ancient collection of letters and books with a suprisingly present minded attitude. Further, he seems to conflate the spiritual realm--the absolute realm--with the realm of human reality. </span><br />
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<span style="font-family: Trebuchet MS;">The Upshot?</span><br />
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<span style="font-family: Trebuchet MS;">Porn seems like a big deal. </span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;">His mission? </span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;">In an ABC <a href="http://www.youtube.com/watch?v=WwLcg-mxHeQ">interview</a>, Gross professes a want to minimize the number of people affected by the porn industry, a humanitarian errand motivated by feelings of ruth and pity. He</span><span style="font-family: "Trebuchet MS", sans-serif;"> reproaches porn consumption and production, saying it misrepresents the reality of sexual relations and objectifies women. </span><br />
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<span style="font-family: Trebuchet MS;">In more recent <a href="http://www.youtube.com/watch?v=hgwwnnePKdY">interviews</a>, however, Gross' professed objectives have evolved a little. Now Gross is pitching an agenda that focuses more on relief than reproach. </span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;">Gross' </span><a href="http://www.craiggross.com/"><span style="font-family: "Trebuchet MS", sans-serif;">Website</span></a><br />
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<span style="font-family: "Trebuchet MS", sans-serif;">I wanted to add a little depth to this presumably urepresentative account of Gross, but as far as the public is concerned, the man is a ghost outside his entrepreneurial pursuits and philanthropic missions. </span><br />
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</span>Matthew Jr.http://www.blogger.com/profile/17553872467944972698noreply@blogger.com0tag:blogger.com,1999:blog-2660412987516416154.post-62893418426843477392011-02-15T20:28:00.001-08:002011-11-25T18:38:42.902-08:00Maritime Manifestations<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: large;">I came across a curious manifestation the other day. I don’t know whether any scientific scholarship discussing said manifestation already exists, but if it does, I would like to take this moment to add to the existing scholarship by chronicling my experience</span>.</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">The sand was cold but the water was calm; the sun was genial: the air as fragrant as new-mown hay. </span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">We were at Delray Beach sitting Indian style on a ragged pink quilt. My girlfriend and I unpacked our BLTs and flavored drinks, chatting about fishy personifications and crime fighting grocers.</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">Within minutes of un-wrapping our sandwiches, seabirds alighted only a few feet from our quilt. Trying to act disinterested in our food, or us for that matter, the birds pecked around at shells and other small objects in the sand. But the more we ignored the nervous little foragers, the closer they shuffled. And shuffle closer they did.</span></div><div style="tab-stops: 393.75pt;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />
</span></div><div style="tab-stops: 393.75pt;"><span style="font-family: "Trebuchet MS",sans-serif;">Soon we were surrounded; the seabirds prowled around us, like hungry hyenas, hastened strides hemming us in. </span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">Feeling a little anxious, I stood up to scare them away. As I leaned forward and flailed my arms a little, one aviated but the rest just took a few hops back, though did so indifferently, almost unphased. </span></div><div style="tab-stops: 393.75pt;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">Two minutes later, the seagulls had slunk back while my girlfriend and I had been conversing. Now a little annoyed, I jumped up again to scare them with my rubber arms but had to feign a predatory pounce before the impudent little white birds either took to the sky or bounced a few paces back. </span></div><div style="tab-stops: 393.75pt;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />
</span></div><div style="tab-stops: 393.75pt;"><span style="font-family: "Trebuchet MS",sans-serif;">Similar strands of events went on every few minutes or so for the next 20 or 25 minutes, the seabirds shuffeling back little by little and me flailing my arms to and fro. </span></div><div style="tab-stops: 393.75pt;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />
</span></div><div style="tab-stops: 393.75pt;"><span style="font-family: "Trebuchet MS",sans-serif;">But then, with two BLT sandwich halves to spare, the birds had given up. Somehow, six or seven failed attempts to urge us into a feeding frenzy had convinced the birds that we didn't want to feed them. </span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">We didn't even finish one of the halves. But the seabirds were gone. </span></div><div style="tab-stops: 393.75pt;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />
</span></div><div style="tab-stops: 393.75pt;"><span style="font-family: "Trebuchet MS",sans-serif;">That was when all this "bird scaring" got me to thinking.</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">Was I actually scaring them, or were they thinking rationally, collecting observable evidence and concluding inductively? Let me rephrase that. Did the seabirds move because pangs of fear shook through their hollow bones, or did the birds move because they had concluded, after a thorough process of trial and error, that we would not relent? </span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">Or was their action a response to some distressing inward feeling? Did I finally instill fear in the seabirds after "scaring" them away six or seven times? </span></div><div style="tab-stops: 393.75pt;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />
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<span style="font-family: "Trebuchet MS",sans-serif; font-size: large;"></span></div><div style="tab-stops: 393.75pt;"><span style="font-family: "Trebuchet MS",sans-serif;">They never seemed scared. The seagulls, as it were, moved in the interests of safety; they didn't give up right away. Accordingly, was the discontinuance of their persistence actually an expression of foresight? Did the seabirds expect that no food would be given no matter how insistent their urgings? </span></div><div style="tab-stops: 393.75pt;"><br />
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<span style="font-family: "Trebuchet MS",sans-serif; font-size: large;">This all amounts to these final questions: Do birds think rationally? Can birds, like humans, make general conclusions by collecting observable evidence and then put those conclusions to use in particular situations, so as to not waste any more of their time pursuing something that they feel confident will amount to nothing? And, if not, why did the birds give up before the food was gone? </span></div><div style="tab-stops: 393.75pt;"><br />
<span style="font-family: "Trebuchet MS",sans-serif; font-size: large;"></span></div><div style="tab-stops: 393.75pt;"><span style="font-family: "Trebuchet MS",sans-serif; font-size: large;">Any takers? </span></div><span style="font-family: "Trebuchet MS",sans-serif;"><br />
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</span></div>Matthew Jr.http://www.blogger.com/profile/17553872467944972698noreply@blogger.com0tag:blogger.com,1999:blog-2660412987516416154.post-64755106604695006502011-02-01T19:54:00.003-08:002011-03-19T01:00:38.306-07:00<div align="center" class="MsoNormal" style="margin: 0in 0in 10pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 18pt; line-height: 115%;">BOOK REVIEW</span></b></div><div align="center" class="MsoNormal" style="margin: 0in 0in 10pt; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 12pt; line-height: 115%;">The British Industrial Revolution in Global Perspective</span></i></div><div class="MsoNormal" style="margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 12pt; line-height: 115%;">In one of his most recent publications <i style="mso-bidi-font-style: normal;">The British Industrial Revolution in Global Perspective</i>, Robert C. Allen, over the course of 11 chapters and two sections, argues that the high cost of labor and the abundance of coal in northern and western Britain provided the requisite circumstances for an industrial revolution. </span></div><div class="MsoNormal" style="margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 12pt; line-height: 115%;">His argument comes with some subtle niceties, like the importance of Britain’s "not too big" "not too small population," which he glosses over, but on the whole, he puts forth his argument clearly and in astute detail. </span></div><div class="MsoNormal" style="margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 12pt; line-height: 115%;">In part one of this book, Allen demonstrates the medieval origins of the Industrial Revolution. He posits that the Black Death freed up more and better grazing land for sheep, thereby fattening them and subsequently lengthening their undercoats. Britain’s then mercantilist approach to economics resulted in the placement of a heavy tax on wool exports. This tax helped guarantee that Britons would reap the then greater rewards of selling finished product. Accordingly, the emergence of long-haired sheep in Britain led to a lucrative textile trade between Britons and their continental counterparts. </span></div><div class="MsoNormal" style="margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 12pt; line-height: 115%;">Once the textile industry took off, Britons had reason to move to London. Emigration from the countryside, to work in the textile business, raised the nation’s level of urbanization. And greater urbanization meant greater demand for produce, finally goading farmers to improve their age-old practices and innovate on the land. </span></div><div class="MsoNormal" style="margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 12pt; line-height: 115%;">At this point, Londoners were making more than subsistence, and this demographic could afford luxury goods now. Creating a market for new goods, clocks, tobacco, sugar, etc., British affluence had prompted a consumer revolution. </span></div><div class="MsoNormal" style="margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 12pt; line-height: 115%;">Yeomen who wanted to participate in this consumer revolution were faced with two options: give up and move to the city or improve agricultural yields. Many chose the former, but some stuck it out. And those farmers who did endure accomplished improvements in yield by reducing labor or increasing the productivity of the land. </span></div><div class="MsoNormal" style="margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 12pt; line-height: 115%;">Eventually, not only Londoners but everyone in Britain was earning more than mere subsistence, and participation in the consumer revolution, further fueled by raw materials and finished products flowing out of colonial acquisitions, exploded.</span></div><div class="MsoNormal" style="margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 12pt; line-height: 115%;"> Then in part two, Allen explains that the high cost of labor and the proliferation of coal in Britain made it profitable to undertake R&D, which sought to eliminate labor, usually replacing it with coal. </span></div><div class="MsoNormal" style="margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 12pt; line-height: 115%;">From the R&D stage, Britain then moved to another phase, in industrial innovation, that Allen calls “local learning.” “Local learning,” a process where inventions were improved by the sharing of innovations among the members of communities across Great Britain, eventually improved technology invented by high dollar R&D projects with low dollar daily business operations.</span></div><div class="MsoNormal" style="margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 12pt; line-height: 115%;"> In the end, Allen explains, the technology invented to circumvent British economic biases was improved past a “tipping point” in which the technology was so improved that its implementation was made profitable on the continent and overseas.</span></div><div style="mso-element: endnote-list;"><span style="font-family: "Trebuchet MS", sans-serif;"><br />
</span></div>Matthew Jr.http://www.blogger.com/profile/17553872467944972698noreply@blogger.com0tag:blogger.com,1999:blog-2660412987516416154.post-31365125652205805782011-02-01T18:53:00.001-08:002011-03-19T01:00:56.328-07:00<div align="center" class="MsoNormal" style="line-height: normal; margin: 0in 0in 10pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 18pt; mso-fareast-font-family: "Times New Roman";">BOOK REVIEW</span></b></div><div align="center" class="MsoNormal" style="line-height: normal; margin: 0in 0in 10pt; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";">The Whig Interpretation Of History</span></i><span style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></div><div class="MsoNormal" style="line-height: normal; margin: 0in 0in 0pt; text-indent: 0.5in;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";">In <i style="mso-bidi-font-style: normal;">The Whig Interpretation Of History</i>, Herbert Butterfield contends that the “Whig” interpretation of history does not reflect the evidence of the past. He demonstrates this failure, seeking, through foil, to explain how amateur and professional historians should approach the evidence of the past. </span></div><div class="MsoNormal" style="line-height: normal; margin: 0in 0in 0pt; text-indent: 0.5in;"><span style="font-family: "Trebuchet MS", sans-serif;"><br />
</span></div><div class="MsoNormal" style="line-height: normal; margin: 0in 0in 0pt; text-indent: 0.5in;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";">Butterfield observes that, presumably at least up unto the time of his exposition, historians have been adhering to malicious tenets, and his aim is to highlight them, showing his reader what history is by making it clear what history is not. </span></div><div class="MsoNormal" style="line-height: normal; margin: 0in 0in 0pt; text-indent: 0.5in;"><span style="font-family: "Trebuchet MS", sans-serif;"><br />
</span></div><div class="MsoNormal" style="line-height: normal; margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";">He pursues his aim in five chapters, “The Underlying Assumption,” “The Historical Process,” “History and Judgments of Value,” “The Art of The Historian,” and “Moral Judgments in History,” each of which focuses on a different problem with the “Whig” interpretation of history.</span></div><div class="MsoNormal" style="line-height: normal; margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";">In these divisions, Butterfield sets about his diatribe. He begins by chastising his peers and predecessors for fashioning a present minded interpretation of history. He argues that too many historians have written their histories from the viewpoint that the present day represents the absolute, constructing a story of protagonists and antagonists in some over-arching narrative of progress. On page 29 he writes, </span></div><div class="MsoNormal" style="line-height: normal; margin: 0in 0in 10pt;"><span style="font-family: "Trebuchet MS", sans-serif;"><br />
</span></div><div class="MsoNormal" style="line-height: normal; margin: 0in 0in 10pt 0.5in;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt; mso-fareast-font-family: "Times New Roman";">But it is the thesis of this essay that when we organise our general history by reference to the present we are producing what is really a gigantic optical illusion; and that a great number of the matters in which history is often made to speak with most certain voice, are not inferences made from the past but are inferences made from a particular series of abstractions from the past—abstractions which by the very principle of their origin beg the very questions that the historian is pretending to answer.</span></div><div class="MsoNormal" style="line-height: normal; margin: 0in 0in 10pt;"><span style="font-family: "Trebuchet MS", sans-serif;"><br />
</span></div><div class="MsoNormal" style="line-height: normal; margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">This quote alludes to his next point, that history interpreted with a focus on the present confuses the audience, leaving them with a false sense of causal relationship between events and people. On page 47 he writes, “History is not the study of origins; rather it is the analysis of all the mediations by which the past was turned into our present.”</span><span style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> In other words, there really is no true narrative. Ultimately he deems this interpretation of history as a means to an end. He postulates that perhaps it arose to deal with the difficult question of how to abridge history. </span></span></div><div class="MsoNormal" style="line-height: normal; margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";">Highlighting the problem with the “Whig” belief that historians are seers, Butterfield treads deeper into his phillipic. Here, he argues that historians are valuable not as fortune-tellers or prognosticators but as mediators. Butterfield believes that history is too intricate to be predicted. He thinks that a historian should first seek to understand the evidence of the past and then, appealing to an argot familiar to his contemporaries, seek to explain it. He thinks that a historian needs to immerse himself or herself in the world of the people he studies. Furthermore, he argues that the debunking of post hoc misconceptions further adds to the value of careful historical research. And he illustrates this point with a short discourse about Martin Luther and the Reformation. </span></div><div class="MsoNormal" style="line-height: normal; margin: 0in 0in 0pt; text-indent: 0.5in;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> In the second to last subdivision of his book, “The Art of The Historian,” Butterfield explains that a historian should, above all else, seek to understand the people he writes about. A historian should want to know why a certain person thinks what they think or believes what they believe. On page 96 he says, “But the true historical fervour is the love of the past for the sake of the past.”</span><span style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></span></div><div class="MsoNormal" style="line-height: normal; margin: 0in 0in 0pt; text-indent: 0.5in;"><span style="font-family: "Trebuchet MS", sans-serif;"><br />
</span></div><div class="MsoNormal" style="line-height: normal; margin: 0in 0in 0pt; text-indent: 0.5in;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";">He then goes on to give what he considers the proper paradigm for abridging history. On page 103 he says, “It is not the selection of facts in accordance with some abstract principle….It is the selection of facts for the purpose of maintaining the impression—maintaining, in spite of omissions, the inner relations of the whole.”</span><span style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></span></div><div class="MsoNormal" style="line-height: normal; margin: 0in 0in 0pt; text-indent: 0.5in;"><span style="font-family: "Trebuchet MS", sans-serif;"><br />
</span></div><div class="MsoNormal" style="line-height: normal; margin: 0in 0in 10pt; text-indent: 0.5in;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";">Concluding his treatise, Butterfield denounces all moral judgments in historical writing. He goes about this with an all out assault against Lord Acton and his adherence to maintaining the moral integrity of history. Ultimately, according to Butterfield, it is not the historian’s job to decide who is right and who is wrong but rather to understand.</span></div><div class="MsoNormal" style="line-height: normal; margin: 0in 0in 10pt;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> Butterfield’s work is linear. So linear that if a reader puts down his book to cook a potato, he won’t know what Butterfield is talking about when he gets back. In the twenty-first century, non-linear media is everywhere and thus this book may be difficult for the modern student to fully comprehend without excessive re-reading. In sum, his exegesis is astute but at times, due largely to his excessive use of pronouns, unclear and difficult to follow.</span><span style="font-size: 12pt; mso-fareast-font-family: "Times New Roman";"> </span></span></div>Matthew Jr.http://www.blogger.com/profile/17553872467944972698noreply@blogger.com0tag:blogger.com,1999:blog-2660412987516416154.post-27277756434337094462011-01-25T20:43:00.001-08:002011-01-26T06:13:50.747-08:00Improve Your Writing<div class="MsoNormal" style="margin: 0in 0in 10pt;"><span style="font-family: Times, "Times New Roman", serif;">When you write, above all else, experiment with different techniques to see which word combination <em>best</em> represents the stimuli that you seek to capture. Cast your picture. Read it. Then ask yourself, “Is this communication representative of the stimuli that I want to capture?” What combination of words <em>best</em> represents the picture you want to capture?</span><br />
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<div></div></div></div><div class="MsoNormal" style="margin: 0in 0in 10pt;"><span style="font-family: "Times New Roman", "serif"; font-size: x-large;"><strong>Know your options</strong></span></div><div class="MsoNormal" style="margin: 0in 0in 10pt;"><ul><li>Sentence Fragment</li>
<li>Clause</li>
<li>Phrase</li>
<li>Word</li>
<li>Paragraph</li>
<li>Sentence</li>
</ul></div><div><span style="font-family: "Times New Roman", "serif";"><strong><span style="font-size: large;"></span></strong></span></div><div><span style="font-size: x-large;"><span style="font-family: "Times New Roman", "serif";"><strong>Adjective Choices</strong></span><span style="font-family: "Times New Roman", "serif";"><span style="mso-tab-count: 1;"> </span></span></span></div><ul><li>Adjective</li>
<li>Relative Clause</li>
<li>Present Participle</li>
<li>Past Participle</li>
<li>Linking Verb</li>
<li>Infinitive Phrase</li>
<li>Appositive Phrase</li>
<li>Prepositional Phrase</li>
<li>Past Participial Phrase</li>
<li>Present Participial Phrase</li>
</ul><div class="MsoNormal" style="margin: 0in 0in 10pt;"><span style="font-size: x-large;"><span style="font-family: "Times New Roman", "serif";"><strong>Noun Choices</strong></span> </span></div><ul><li>Noun</li>
<li>Gerund</li>
<li>Gerund Phrase</li>
<li>Noun Clause</li>
<li>Pronoun</li>
</ul><div> <span style="font-size: x-large;"><span style="font-family: "Times New Roman", "serif";"><strong>Adverb Choices</strong></span><span style="font-family: "Times New Roman", "serif";"><span style="mso-tab-count: 1;"> </span></span></span></div><ul><li>Adverb </li>
<li>Adverb Clause</li>
<li>Prepositional Phrase</li>
<li>Infinitive Phrase</li>
<li>Absolute Phrase</li>
</ul><div><span style="font-size: x-large;"> <span style="font-family: "Times New Roman", "serif";"><strong>Verb Choices</strong></span></span></div><ul><li>Transitive </li>
<li>Intransitive </li>
<li>Di-transitive</li>
<li>Complex-transitive</li>
<li>Linking </li>
</ul><div class="MsoNormal" style="margin: 0in 0in 10pt;"><span style="font-family: "Times New Roman", "serif"; font-size: x-large;"><strong>Voice Choices</strong></span></div><ul><li>Active </li>
<li>Passive </li>
</ul><div class="MsoNormal" style="margin: 0in 0in 10pt;"><span style="font-size: x-large;"><span style="font-family: "Times New Roman", "serif";"><strong>Mood Choices</strong></span> </span></div><ul><li>Indicative </li>
<li>Imperative </li>
<li>Subjunctive </li>
</ul><span style="font-size: x-large;"><strong><span style="font-family: "Times New Roman", "serif";">Punctuation Choices</span></strong><span style="font-family: "Times New Roman", "serif";"><span style="mso-tab-count: 1;"> </span></span> </span><br />
<ul><li>Comma </li>
<li>Period</li>
<li>Em-dash</li>
<li>Colon</li>
<li>Semicolon</li>
<li>Parenthesis </li>
</ul><span style="font-size: x-large;"><strong><span style="font-family: "Times New Roman", "serif";">Ownership Choices</span></strong><span style="font-family: "Times New Roman", "serif";"><span style="mso-tab-count: 1;"> </span></span></span><br />
<ul><li>Apostrophe/Apostrophe ‘S’</li>
<li>Prepositional Phrase</li>
<li>Possessive Pronoun</li>
<li>Relative Clause </li>
</ul><span style="font-family: "Times New Roman", "serif"; font-size: x-large;"><strong>Arrangement Choices</strong></span><br />
<div class="MsoNormal" style="margin: 0in 0in 10pt;"><ul><li><span style="font-family: Arial, Helvetica, sans-serif;">Where will I put my adverb phrase? (Read your sentences aloud. Your ears will help you decide where phrases, words or clauses fit naturally in a sentence.)</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif;">How far will I situate my participial phrase or relative clause from the word that it modifies? </span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif;">Do I want to reverese my subject-verb order? </span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif;">Will I use an expletive construction to invert the subject-verb order? </span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif;">Should I make the reader pause?<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 5;"> </span><span style="mso-tab-count: 4;"> </span></span></li>
</ul></div><div class="MsoNormal" style="margin: 0in 0in 10pt;"><br />
</div><div class="MsoNormal" style="margin: 0in 0in 10pt;"><span style="font-family: "Times New Roman", "serif";"><span style="mso-tab-count: 2;"> </span></span></div><div class="MsoNormal" style="margin: 0in 0in 10pt;"><span style="font-family: "Times New Roman", "serif";"><span style="mso-tab-count: 1;"> </span></span></div>Matthew Jr.http://www.blogger.com/profile/17553872467944972698noreply@blogger.com0tag:blogger.com,1999:blog-2660412987516416154.post-18221869752226957932011-01-25T19:14:00.000-08:002011-01-30T13:52:25.061-08:00Paragraphing<div class="MsoNormal" style="margin: 0in 0in 10pt;"><span style="font-family: ""serif"", "serif"; font-size: x-large;"><strong>Paragraph Theory</strong></span><br />
<br />
<span style="font-family: ""serif"", "serif";">Paragraphs make it easier for the reader to follow the directions given to him by a word or words. They make it easier to see what the words are pointing to. </span><span style="font-family: ""serif"", "serif";">A paragraph is an organizational tool, reducing the strain on the reader’s eyes and mind. Writers use paragraphs to help the reader find the pieces that construct his/her picture. Effective paragraphing, therefore, improves the pace of comprehension. This quicker comprehension helps the mind hold the picture together. In other words, paragraphs help a reader see your picture.</span><br />
<br />
<span style="font-family: ""serif"", "serif"; font-size: x-large;"><strong>Paragraphing Models</strong></span><br />
<div style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman";"> </span></span></span> </div><div style="margin-left: 0.5in; mso-add-space: auto;"><span style="font-family: ""serif"", "serif";">A)</span><span style="font-family: ""Times New Roman"", "serif";"> Picture <span style="font-size: x-small;">(paragraph v)</span></span><br />
<span style="font-family: ""Times New Roman"", "serif";">Piece 1 <span style="font-size: x-small;">(paragraph v)</span></span></div><div style="margin-left: 0.5in; text-indent: -0.25in;"><span style="font-family: ""Times New Roman"", "serif";"> Piece 2 <span style="font-size: x-small;">(paragraph w)</span></span></div><div style="margin-left: 0.5in; text-indent: -0.25in;"><span style="font-family: ""Times New Roman"", "serif";"> Piece 3 <span style="font-size: x-small;">(paragraph x)</span></span></div><div style="margin-left: 0.5in; text-indent: -0.25in;"><span style="font-family: ""Times New Roman"", "serif";"> Piece 4 <span style="font-size: x-small;">(paragraph y)</span></span></div><div style="margin-left: 0.5in; text-indent: -0.25in;"><span style="font-family: ""Times New Roman"", "serif";"> Piece 5 <span style="font-size: x-small;">(paragraph z)</span></span></div><div style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman";"> </span></span></span></div><div style="margin-left: 0.5in; mso-add-space: auto;"><span style="font-family: ""Times New Roman"", "serif";">B)</span><span style="font-family: ""Times New Roman"", "serif";"> Picture <span style="font-size: x-small;">(paragraph v)</span></span></div><div style="margin-left: 0.5in; text-indent: -0.25in;"><span style="font-family: ""Times New Roman"", "serif";"> Piece 1 <span style="font-size: x-small;">(paragraph v)</span></span></div><div style="margin-left: 0.5in; text-indent: -0.25in;"><span style="font-family: ""Times New Roman"", "serif";"> Piece 2 <span style="font-size: x-small;">(paragraph v)</span></span></div><div style="margin-left: 0.5in; text-indent: -0.25in;"><span style="font-family: ""Times New Roman"", "serif";"> Piece 3 <span style="font-size: x-small;">(paragraph v)</span></span></div><div style="margin-left: 0.5in; text-indent: -0.25in;"><span style="font-family: ""Times New Roman"", "serif";"> Piece 4 <span style="font-size: x-small;">(paragraph v)</span></span></div><div style="margin-left: 0.5in; text-indent: -0.25in;"><span style="font-family: ""Times New Roman"", "serif";"> Piece 5 <span style="font-size: x-small;">(paragraph v)</span></span></div><br />
<br />
<div style="text-indent: -0.25in;"><span style="font-family: ""Times New Roman"", "serif";">A)</span><span style="font-family: ""Times New Roman"", "serif";"> Helps a reader most when the pieces are large: more than one sentence.</span></div><div style="text-indent: -0.25in;"><br />
</div><div style="text-indent: -0.25in;"><span style="font-family: ""Times New Roman"", "serif";">B)</span><span style="font-family: ""Times New Roman"", "serif";"> Helps a reader most when the pieces are small: usually just one sentence.</span></div><br />
<br />
<span style="font-family: ""Times New Roman"", "serif"; font-size: x-large;"><strong>Paragraph Utility</strong></span><br />
<div style="text-indent: 0.5in;"><br />
</div><div style="text-indent: 0.5in;">Writers use paragraphs</div><div style="margin-left: 0.5in; text-indent: 0.5in;"><br />
to shift in person.</div><div style="text-indent: 0.5in;"><br />
</div><div style="text-indent: 0.5in;"> <span style="mso-tab-count: 1;"> </span>to shift in tense. </div><div style="text-indent: 0.5in;"><br />
</div><div style="text-indent: 0.5in;"> <span style="mso-tab-count: 1;"> </span>to shift in speaker.</div><div style="margin-left: 1in;"><br />
</div><div style="margin-left: 1in;">to aid the reader’s eyes. (It is easy for a set of eyes to get lost in a sea of words. Words tell ‘where’ but words don’t control a reader and, what's more, they don't control the reader's eyes. The reader’s eyes have to be able to find their way around prose on their own.)</div><div style="margin-left: 1in;"><br />
</div><div style="margin-left: 1in;">to organize the parts of their pictures. (Paragraphs help a reader find the constituent parts of a picture quickly, and they help clear up ambiguous relationships.)</div><div style="text-indent: 0.5in;"><br />
</div><div style="text-indent: 0.5in;">Put simply, paragraphs make comprehension quicker and easier.</div><br />
<div class="MsoNormal" style="margin: 0in 0in 10pt;"><br />
</div></div>Matthew Jr.http://www.blogger.com/profile/17553872467944972698noreply@blogger.com0tag:blogger.com,1999:blog-2660412987516416154.post-79393903219567759402011-01-18T15:40:00.000-08:002011-04-01T11:55:55.598-07:00Writer's Block Remedy<div class="MsoNormal" style="margin: 0in 0in 0pt;">Start the writing process by capturing what you see in your head with words and sentences.<span style="mso-spacerun: yes;"> </span><span style="font-size: x-small;">(This can be applied to stimuli that you see with your eyes too.)</span><span style="mso-spacerun: yes;"> </span>Once you have found words that represent the pictures in your mind or the stimuli before your eyes, you can then go back to add stylistic features like an introduction or a conclusion.<span style="mso-spacerun: yes;"> </span>Sometimes you will have to re-arrange your text.<span style="mso-spacerun: yes;"> </span>But who cares? What matters is that the images you seek to share are captured in words and sentences.<span style="mso-spacerun: yes;"> </span><br />
<br />
</div><div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in;">[Aside] We create words to represent some sensory stimuli--usually visual but also audible, emotional, tactile, gustatory, and olfactory--group of stimuli or collection of groups of stimuli. Many words can represent a visual stimuli in one context and then an audible stimuli in another.<span style="mso-spacerun: yes;"> </span>Sentences function similarly to words; however, a picture often accompanies whatever sensory stimuli we set out to show, if we show it by writing a complete sentence.<span style="mso-spacerun: yes;"> </span>The combination of subject and verb usually effects a picture. Active verbs almost always effect a picture.<span style="mso-spacerun: yes;"> Ask yourself, what stimuli do I seek to capture here? What is the best way to capture it? With a word? A sentence? A paragraph? Etc.</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br />
</div><div class="MsoListParagraphCxSpFirst" style="margin: 0in 0in 0pt 0.5in; mso-list: l0 level1 lfo1; text-indent: -0.25in;"><span style="mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">1.<span style="font-family: "Times New Roman"; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span>What is your purpose for writing?</div><div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; mso-add-space: auto;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; mso-add-space: auto;">One big picture?<span style="mso-spacerun: yes;"> </span>One big picture and some little pictures?<span style="mso-spacerun: yes;"> </span>A bunch of little pictures? </div><div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 0.5in;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 0.5in; mso-list: l0 level1 lfo1; text-indent: -0.25in;"><span style="mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">2.<span style="font-family: "Times New Roman"; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span>What pictures do you need to achieve this purpose?</div><div class="MsoListParagraphCxSpLast" style="margin: 0in 0in 0pt 1in; mso-add-space: auto;"><br />
</div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br />
</div><div class="MsoListParagraphCxSpFirst" style="margin: 0in 0in 0pt 1in; mso-add-space: auto;">When choosing pictures, it is important to consider the assumptions (the conclusions) that your reader already holds, so you can properly assess what you need to establish before you can reveal your picture.<span style="mso-spacerun: yes;"> </span>This tenet is vital to the process of communication in general.</div><div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; mso-add-space: auto;"><br />
</div><div class="MsoListParagraphCxSpLast" style="margin: 0in 0in 0pt 1in; mso-add-space: auto;"><span style="mso-tab-count: 1;"> </span>What assumptions do my readers already hold? </div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br />
</div><div class="MsoNormal" style="margin: 0in 0in 0pt 1in;">How big is each picture in this list of pictures that I want to show? <span style="mso-spacerun: yes;"> </span>Do some of these pictures belong to one of the other pictures that I have listed? Is my picture concrete? Is my picture abstract?</div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br />
</div><div class="MsoListParagraphCxSpFirst" style="margin: 0in 0in 0pt 0.5in;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 0.5in; mso-list: l0 level1 lfo1; text-indent: -0.25in;"><span style="mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">3.<span style="font-family: "Times New Roman"; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span>What kind of progression do I need to achieve my purpose?</div><div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; mso-add-space: auto;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; mso-add-space: auto;">A chronological progression? A thematic progression? A spatial progression? A comparative progression?<span style="mso-spacerun: yes;"> </span>A deductive progression? An inductive progression? Progression by concession? Progression by addition? Progression by repetition?<span style="mso-spacerun: yes;"> </span>Progression by example? Progression by intensity?<span style="mso-spacerun: yes;"> </span>Progression by option?<span style="mso-spacerun: yes;"> </span>Progression by emphasis?<span style="mso-spacerun: yes;"> </span>Progression by qualification?<span style="mso-spacerun: yes;"> </span>Progression by <i style="mso-bidi-font-style: normal;">visual spur</i>? Progression from the general to the specific? Progression from the specific to the general?<span style="mso-spacerun: yes;"> </span></div><div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; mso-add-space: auto;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; mso-add-space: auto;">What picture are all of the pictures modifying?<span style="mso-spacerun: yes;"> </span>Is this biggest picture worth viewing?<span style="mso-spacerun: yes;"> </span>Does it have significance?<span style="mso-spacerun: yes;"> </span>Or is it just a way to hold together all of the smaller pictures? (which, presumably, do have significance to your reader) How can I fold up my pictures? Or what picture can I unfold into them?</div><div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 0.5in;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 0.5in; mso-list: l0 level1 lfo1; text-indent: -0.25in;"><span style="mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">4.<span style="font-family: "Times New Roman"; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span>How do I want to construct these pictures?</div><div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; mso-add-space: auto;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; mso-add-space: auto;">A simple sentence? A complex sentence? A compound sentence?<span style="mso-spacerun: yes;"> </span>A compound complex sentence? A loose sentence?<span style="mso-spacerun: yes;"> </span>A periodic sentence?<span style="mso-spacerun: yes;"> </span>A combination of these?<span style="mso-spacerun: yes;"> </span>Is the passive voice an effective way to show this picture?<span style="mso-spacerun: yes;"> </span>Have I achieved rhythm with my sentences?<span style="mso-spacerun: yes;"> </span>Should I mix in more phrases?<span style="mso-spacerun: yes;"> </span>Do I want to jam a bunch of pictures into one sentence?<span style="mso-spacerun: yes;"> </span>Do I want to spread them out over several sentences?<span style="mso-spacerun: yes;"> </span>Do I want to spread one picture out over multiple sentences?<span style="mso-spacerun: yes;"> </span>Do some of my pictures need multiple sentences to be captured representatively?</div><div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 0.5in;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 0.5in; mso-list: l0 level1 lfo1; text-indent: -0.25in;"><span style="mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">5.<span style="font-family: "Times New Roman"; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span>How will I help my reader find my pictures?</div><div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 0.5in;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; mso-add-space: auto;">How will he/she know that I have moved on to a new picture?<span style="mso-spacerun: yes;"> </span>How will he/she know which pictures advance my purpose?<span style="mso-spacerun: yes;"> </span>How will he/she know where each picture belongs?<span style="mso-spacerun: yes;"> </span>How will he/she know where to put each picture?</div><div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; mso-add-space: auto;"><br />
</div><div class="MsoListParagraphCxSpLast" style="margin: 0in 0in 0pt 1in; mso-add-space: auto;">Use paragraphs to make it easier for your reader to find your pictures and their various parts, but let words do all the pointing.</div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br />
</div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br />
</div>Matthew Jr.http://www.blogger.com/profile/17553872467944972698noreply@blogger.com0tag:blogger.com,1999:blog-2660412987516416154.post-38355683220694695152011-01-16T21:55:00.000-08:002011-01-17T06:57:17.697-08:00Inductive, Deductive and Circular Logic<div class="MsoNormal" style="margin: 0in 0in 10pt;"><span style="background: white; font-family: ""serif"", "serif";">Inductive Logic:</span><br />
<div style="text-indent: 0.5in;"><br />
</div><div style="text-indent: 0.5in;"><span style="font-family: ""serif"", "serif";">Observations:</span></div><div style="margin-left: 0.5in; text-indent: 0.5in;"><span style="font-family: ""serif"", "serif";">X then Y </span></div><div style="margin-left: 0.5in; text-indent: 0.5in;"><span style="font-family: ""serif"", "serif";">X then Y</span></div><div style="margin-left: 0.5in; text-indent: 0.5in;"><span style="font-family: ""serif"", "serif";">X then Y</span></div><div style="margin-left: 0.5in; text-indent: 0.5in;"><span style="font-family: ""serif"", "serif";">X then Y</span></div><div style="margin-left: 0.5in; text-indent: 0.5in;"><span style="font-family: ""serif"", "serif";">X then Y</span></div><div style="margin-left: 0.5in; text-indent: 0.5in;"><span style="font-family: ""serif"", "serif";">X then Y</span></div><div style="margin-left: 0.5in; text-indent: 0.5in;"><span style="font-family: ""serif"", "serif";">X then Y </span></div><div style="margin-left: 0.5in; text-indent: 0.5in;"><span style="font-family: ""serif"", "serif";">X then Y</span></div><div style="margin-left: 0.5in; text-indent: 0.5in;"><span style="font-family: ""serif"", "serif";">X then Y</span></div><div style="margin-left: 0.5in; text-indent: 0.5in;"><span style="font-family: ""serif"", "serif";">X then Y</span></div><div style="margin-left: 1in; text-indent: 0.5in;"><span style="font-family: ""serif"", "serif";">Therefore:</span></div><div style="margin-left: 1.5in; text-indent: 0.5in;"><span style="font-family: ""serif"", "serif";">Assumption: if X then Y (major premise)</span></div><br />
<span style="font-family: ""serif"", "serif";">In the above, the conclusion is proven by the afore-mentioned observations. The observations—taken with the physical senses: sight, smell, sound, taste, touch—are the evidence.</span><br />
<br />
<span style="background: white; font-family: ""serif"", "serif";">Deductive Logic:</span><br />
<div style="text-indent: 0.5in;"><br />
</div><div style="text-indent: 0.5in;"><span style="font-family: ""serif"", "serif";">Assumption: if X then Y (major premise)</span></div><div style="margin-left: 0.5in; text-indent: 0.5in;"><span style="font-family: ""serif"", "serif";">Observation: X (minor premise)</span></div><div style="margin-left: 0.5in; text-indent: 0.5in;"><span style="font-family: ""serif"", "serif";">Conclusion: Y (conclusion)</span></div><br />
<span style="font-family: ""serif"", "serif";">From sensual observations, assumptions are created. Then from assumptions and observations conclusions are drawn.</span><br />
<span style="font-family: ""serif"", "serif";"> </span><br />
<span style="font-family: ""serif"", "serif";">Senses--> Induction-->Deduction</span><br />
<br />
<span style="background: white; font-family: ""serif"", "serif";">Circular Logic:</span><br />
<br />
<span style="font-family: ""serif"", "serif";">No observed evidence exists to support the assumption. Instead, an assumption is made with unobserved evidence.</span><br />
<div style="text-indent: 0.5in;"><br />
</div><div style="text-indent: 0.5in;"><span style="font-family: ""serif"", "serif";">Assumption: if A then B (major premise)</span></div><span style="font-family: ""serif"", "serif";"> Observation: A (minor premise)</span><br />
<span style="font-family: ""serif"", "serif";"> Conclusion: B (conclusion)</span><br />
<span style="font-family: ""serif"", "serif";"> Therefore:</span><br />
<span style="font-family: ""serif"", "serif";"> A then B</span><br />
<span style="font-family: ""serif"", "serif";"> Therefore:</span><br />
<span style="font-family: ""serif"", "serif";"> Assumption: if A then B (major premise)</span><br />
<br />
<span style="font-family: ""serif"", "serif";">No observed evidence exists to support the assumption: if A then B. The only evidence that exists to support the assumption, if A then B, is the unobserved evidence delineated above. A then B was never observed.</span><br />
<div class="MsoNormal" style="margin: 0in 0in 10pt;"><br />
</div></div>Matthew Jr.http://www.blogger.com/profile/17553872467944972698noreply@blogger.com0