How to Write Your Graduate School Admissions Essay

Step by step instructions to Write Your Graduate School Admissions Essay The affirmations paper is regularly the least surely known piece of the master's level college application yet it is basic to your confirmations achievement. The alumni confirmations exposition or individual proclamation is your opportunity to recognize yourselfâ from different candidates and let the entrance advisory board know you separated from your GPA and GRE scores. Your confirmations article can be the central factor in whether you are acknowledged or dismissed by a master's level college. Along these lines, it is fundamental that you compose an exposition that is straightforward, intriguing, and efficient. How well you structure and compose your application article can decide your destiny. An elegantly composed article tells the entrance advisory board that you have the ability to compose intelligibly, think consistently, and do well in graduate school. Configuration your paper to incorporate a presentation, a body, and a finishing up section. Papers are frequently written because of prompts presented by the graduate school. Notwithstanding, association is critical to your prosperity. Presentation: The presentation is the most significant piece of the paper, particularly the primary sentence. The main sentence presents your article and a terrible presentation, face to face or recorded as a hard copy, is adverse to your affirmations chances.The first sentence ought to be exceptional and convincing, perhaps provocative or consideration grabbing.First sentences may disclose your craving to contemplate the subject of intrigue or talk about the inspiration that affected your longing to examine the subject of intrigue. State it in an imaginative manner.The sentences following the principal sentence ought to give a concise clarification that underpins the case expressed in the first sentence.Your objective for the acquaintance is with tempt the peruser to proceed past the main passage. The Body: The body incorporates a few passages that give nitty gritty proof to help the announcements made in the initial paragraph.Each section ought to have a progress, which begins each passage with a subject articulation that will be the topic of that section. This gives the peruser a heads up of whats to come. Advances interface passages to going before sections, empowering the exposition to stream smoothly.Each section ought to have a goals, which closes each section with an important sentence that gives a progress to the following paragraph.Experiences, achievements or whatever other proof that can bolster your cases ought to be remembered for the body. Future objectives ought to likewise be referenced in the body.A short synopsis of your instructive foundation can be talked about in the first section of the body.Personal encounters and the explanations behind needing to go to the school can be examined in the second paragraph.Do not just recurrent what was expressed in the application. The last passage can clarify why you are a decent counterpart for the program. End: The end is the last section of the essay.State the key focuses referenced in the body, for example, your encounters or achievements, that clarify your enthusiasm for the subject. State it in a decisive and brief manner.Convey your fit to the particular alumni program and field. Your paper ought to incorporate detail, be close to home, and explicit. The motivation behind the alumni confirmations paper is to show the entrance advisory board what makes you one of a kind and not quite the same as different candidates. Your main responsibility is to show your particular character and give proof that affirms your enthusiasm, want, and, particularly, fit for the subject and the program.

Making Planned Giving Work For You :: essays research papers

Making Planned Giving Work For You Arranged giving methodology tips for each association Lawrence Henze,J.D.,Managing Director,Blackbaud Analytics â€Å"Golden Age of Philanthropy † Americans will move at any rate $41 trillion between 1998-2052,according to an examination 1 by the Social Welfare Research Institute in any event $6 trillion of that financing will be inheritances to charity,according to creators Paul Schervish and John Havens,who composed that â€Å"a brilliant time of altruism is dawning.† With such a large number of generous dollars up for grabs,nonpro fits need to situate themselves to catch a portion of the wealth.Research from the National Committee on Planned Giving 2 shows that albeit 42 percent of Americans have wills,only around nine percent have included causes. In any case, when noble cause are included,they stay:97 percent said they had not denied an altruistic provision.An extra 14 percent of those overviewed said they had considered including a altruistic inheritance in their wills †despite the fact that no nonpro fit has requested that they do so.This leaves a to a great extent undiscovered market. About Planned Giving Arranged giving,once called conceded giving,refers to any magnanimous blessing that requires more thought and wanting to execute than the normal donation.Planned giving has customarily been de fined as the blessing that an individual makes close to the furthest limit of their lifetime.There are numerous sorts of arranged gifts,from straightforward endowments in a will or a home plan,to annuities,charitable leftover portion trusts,charitable lead trusts,pooled income,life protection and life bequests. Nonpro fits frequently experience difficulty making sure about arranged gifts.Why?The answer by and large comes down to four fundamental factors:targeting an inappropriate prospects,sending an inappropriate appeal,asking past the point of no return and requesting arranged blessing possibilities for significant endowments rather so the association can get the cash all the more rapidly. Numerous foundations accept that their significant blessing contributors will be their best possibilities for arranged endowments. At the point when these requesting fail,organizations are left with the feeling that arranged giving is just not directly for them.Other associations send wide based arranged offering mailings to more established White Paper Official Summary Building up a fruitful arranged giving system can be a complex undertaking.But it is one that is definitely justified even despite the difficulty. Broad exploration has indicated that arranged giving is about ways of life and loyalty,not wealth.Many associations despite everything think they need to find the tycoons in their database to make sure about arranged gifts.The truth:everyone in your yearly reserve program has the possibility to be an arranged giver.This implies you have more power over the procedure than you think.Equipped with strong data and the correct advertising strategy,your association can manufacture a fruitful arranged giving system.

every?Rockefeller Drug Laws? Essays -- essays research papers

â€Å"Rockefeller Drug Laws†      In May of 1973, New York’s Governor, Nelson Rockefeller, made a lot of exacting enemy of medication laws for the state lawmaking body. The reason for these laws was to stop the medication misuse pestilence that was happening in New York during the mid 1970’s. It was the most serious law in the country; the medication laws were to rebuff the individuals who had and sold overwhelming measures of opiates like cocaine and courageous woman and to hold them in authority for the sum they had or sold. For instance, if the individual was gotten with the ownership of two or four ounces of medications on them the base time in a government jail would be 15 years to life, regardless of what age (if the guilty party was of 15 years old or more seasoned). Numerous issues started to happen concerning the laws, additionally there were numerous investigates concerning climate or not it would work and be kept as a law.      The Rockefeller Drug Laws is as yet one of the most ruthless medication laws in the country as a result of its notable disciplines. The laws state explicitly that, â€Å"the resolutions expect judges to force a sentence of 15-years to life for anybody indicted for selling two ounces, or having four ounces of "narcotic drugs". This made it understood for every one of those that were â€Å"dealing drugs† this was a simple standard. This was the start of up coming occasions in history that lead to fights and furthermore exceptionally celebrated highest points done by relatives of individuals in jail under the out of line administering, companions and supports of those against the cruel laws to keep medicates off the boulevards.      The motivation behind the laws was to give assurance and disengagement from individuals who were not yet associated with the medication scourge. Additionally, it gave true serenity to legislators that needed to get the street pharmacists off the avenues for all time. For New York the medication war had quite recently started. Numerous individuals were for the new laws; they saw tranquilize managing as though it were much the same as murder on the grounds that the passing rate from opiates at the time was progressively high and the peril of the medications being on the lanes was more terrible. The outcomes of these laws have gotten even exaggeratedly silly. Much of the time a first time tranquilize wrongdoer being charged under these laws can get a higher condemning then an individual indicted for homicide or assault. This implied by having a kilo of cocaine or... ...al work. I feel that not every person that arrangements ought to be sentence to jail. Because a first time wrongdoer is conveying a specific measure of kilograms, they are sentences as indicated by that. This is bad form on the grounds that an individual who may have carried out other minor violations might be charged a similar path as an individual who committed an error just because. Other than that condemning everybody that makes a wrongdoing is very costly. Individuals who don’t have any kind of associations with individuals who are place in jail must be paying cash to keep up them in jail.      As we as a whole know, sedate managing is as yet going on and it won’t be halting at any point in the near future. As you have perused, despite the fact that the Rockefeller Drug Laws had such a great amount of requests upon it, still many kept on doing it. In the article we read in class â€Å"Criminal Justice through the mirror, or winning by losing† delineates how compelling laws aren’t. one thing he says â€Å"I won't go so far to state that the criminal equity approach has made no commitment to the drop in wrongdoing rates.† Therefore, wrongdoing will consistently proceed and what we ought to be stressing over is the means by which to help these people who are making these violations.

Employment Stewardship for Trust and Accountability-myassignmenthelp

Question: Talk about theEmployment Stewardship for Trust and Accountability. Answer: The creator stressed that the missing element for the pioneers to manage the groups is the utilization of direction based acknowledgment to quicken the organization achievement. This factor if very much perceived will assist the pioneers with bridging the hole between where their groups are and where they dream to be (Gostick Elton, 2009). This part is about the fundamental four initiative zones including objective setting, correspondence, trust and responsibility. Genuine authority is to interconnect the organization objectives with the worker objectives. A senior chief must pass on the corporate objectives to the workers and build up trust with them to encourage more prominent degree of representative venture. To consider individuals responsible the pioneers must distinguish the workers accomplishments notwithstanding disappointment (Marciano, 2010). As indicated by creator, rather than highlighting insufficiencies, compensating the workers exercises will make them draw nearer to their objectives. Pioneer must impart to everybody to impact practices, and strengthen principles. It will help set up trust with representatives to share the credit. Responsibility might be certain if acknowledgment is added to the condition (Gostick Elton, 2009). The parts separate between pioneer who are Expectors and altruists. Expectors anticipate something as a byproduct of compensating the representatives. Along these lines, acknowledgment acts a control to drive profitability. Then again the altruists perceive the workers to propel them and advance their imperative conduct (Johnson, 2016). This part is tied in with making the carrot culture in an association where the workers are esteemed and acknowledged to drive execution. In this culture the pioneer gives right prize to the workers by discovering what inspires them. In this procedure the administrator gets applicable as they matter to representatives (Bryant Kazan, 2012). This section is tied in with distinguishing if the workers are fulfilled and connected as it is the necessity to build up carrot culture. Fulfilled representatives are content with pays and benefits and are hesitant to change the norm. Drawn in workers are happy to advance, lead and serve clients however may leave the entryway on the off chance that they are troubled because of any factor (Gostick Elton, 2009). As indicated by the creator the structure square of the carrot culture are the empty worth articulations, and not perceiving the greatness. The carrot culture requests commending the significant minutes in companys culture, perceiving the representatives reliability, perceiving the workers well beyond, and everyday acknowledgment (Gostick Elton, 2009). The dread of carrot culture according to writer is because of dread of desire, trouble watching everything, loss of significant worth because of an excess of acknowledgment, dread of money benefits, or just goal to drive benefits inside the activity scope, which constrains the well beyond acknowledgment conduct (Gostick Elton, 2009). Reference Bryant, A., Kazan, A. L. (2012).Self-administration: how to turn into an increasingly fruitful, productive, and powerful pioneer from the back to front. McGraw Hill Professional. Gostick, An., Elton, C. (2009).The Carrot Principle: How the Best Managers Use Recognition to Engage Their People, Retain Talent, and Accelerate Performance [Updated Revised]. Simon and Schuster. Johnson, R. A. (2016). From Altruists to Workers: What Claims Should Healthy Participants in Phase I Trials Have Against Trial Employers?. InEthics and Governance of Biomedical Research(pp. 29-45). Springer, Cham. Marciano, P. L. (2010).Carrots and sticks don't work: manufacture a culture of representative commitment with the standards of regard. McGraw Hill Professional.

buy custom The Development of Information Systems essay

purchase custom The Development of Information Systems article This paper tries to set up the improvement of data frameworks for the venture and their future course. Data frameworks are a field that continues changing with time and development of better working devices and, in this way, most endeavors need to follow the change and make an approach to oblige these changes. In this paper, we are going to take a gander at these turns of events and the bearing they are probably going to take later on. This is on the grounds that any advancement in the data framework will call for additional developments in the components of data frameworks. Furthermore, the paper will think about the necessities of the venture of numerous sizes and its future chances. Endeavors come in various classifications relying upon the size and tasks. Endeavors in the present world are confronting extensive difficulties from various changes making the customary undertaking data framework be obsolete. The opportune response to advertise changes has ended up being an upper hand . Data framework alludes to the gathering of programming, equipment, foundation and prepared work force sorted out to make conceivable control, arranging, dynamic, and coordination in an association. Then again, an undertaking alludes to an organization or a business. The improvement of data frameworks is a methodology that includes a few stages and the paper will diagram these means. In an undertaking, there exist a few connections between data frameworks and changes in the endeavor, both inside and across firms, which influence the improvement of data frameworks. The advancement in data frameworks increases outstanding consideration as it impacts the authoritative changes. While examining the improvement of data frameworks we will think about the product, equipment, foundation, and prepared staff in accordance with the endeavors plan, control, coordination, and dynamic. The advancement of data frameworks fluctuates with the idea of big business and its needs. Various endeavors have differed needs and changes in data syste will be in accordance with these requirements. It is, in this manner, imperative for anybody wanting to build up a data arrangement of any organization or business to consider the idea of big business they are managing and its needs. There are various kinds of undertakings including a sole ownership, association, organizations, and enterprises. The above kinds of endeavors have a few contrasts in their proprietorship, the board, risk, measure of capital and their lawfulness. For example, the sole ownership venture is whereby the proprietorship is by one individual as is the administration while, for association, the administration and responsibility for big business is by at least two people. Then again, the classification of ventures can be as how the endeavor works. Models incorporate Independent ventures, Competitive endeavors, Supplementary undertakings, and Complementary undertakings. Free endeavors have no immediate bearing on one another and an expansion in level of each other neither aides nor obstructs the degree of the other. Serious undertakings are those, which fight for the accessible assets, while strengthening ventures are the ones, which can enhance one another. These distinctions in the various classes of ventures have various necessities, which thus will call for changed data frameworks (Kirikova, 2002, p.40). The requirements of an organization won't be equivalent to those of the association business and, in this way, they will have diverse data frameworks. We characterize the improvement of the data framework as a change strategy taken regarding object frameworks in a lot of environmental factors by an advancement bunch utilizing a composed assortment of strategies and instruments known as a technique to achieve or keep up certain goals. The procedure of advancement of a data framework incorporates improvement of both electronic and manual pieces of an item framework. In the meaning of the Information System, we see that it incorporates both PC bolstered parts and manual. It is, along these lines, fundamental that the advancement of the informatioon framework includes a strategy and a technique. By a procedure, we allude to the arrangement of rules and steps, which portray how a symbolization of a data framework is inferred and dealt with. This is normally by the utilization of some hypothetical structure and related documentations. By utilizing, the strategy method framework engineers watch, characterize and relate on specific highlig hts of the present or wished object framework. Definition and symbolization of these settings are held by the hypothetical structure of the method and the documentation individually. The apparatus being used while applying the method procedure implies a PC based application, which supports the utilization of a demonstrating strategy. Here, there is a reflection of the item framework into reproductions, watching that the imitations are trustworthy, changing outcomes from one type of copy and portrayal to another, and giving particulars for reevaluation. The significant instances of demonstrating strategies are movement models and information stream outlines. On account of information stream chart, it recognizes and names the items and connections, which are important in building up a data framework. For different procedures, they will include different arrangements of connections and articles being developed of data framework. Demonstrating procedures have a portrayal and a documentation. For instance, in an information stream chart the documentation for a methodology is round and for an information stream a solid line with a pointed stone (Prabhu, Kumara, and Kam ath, 2003, p 67). Then again, a strategy is a sorted out and predefined assortment decides and methods that state what request, by whom, and in what implies the procedures are applied to achieve or continue a few targets. This definition incorporates both the procedure and item settings and, in this manner, demands the system instead of the portrayal. The following segment we take a gander at is the necessities of the venture of numerous sizes. In the previous conversation, the paper investigated the various arrangements of undertakings and, along these lines, these ventures will have shifted needs, with regards to the framework advancement. Purchase custom The Development of Information Systems paper

A World of Pure Curation

A World of Pure Curation In February, I interviewed Holly H. ’18, about her art gallery in the Student Center. Holly is a Comparative Media Studies major, skilled photographer, writer, fimographer, and visual artist. On top of that, she is also an MIT Arts Scholar. So, what do you get when you combine these all together? One multimedia experience that is both a deeper look into her personal life, and strikingly politically charged. The exhibit, which was up for the month of February, was created and curated by her (with some art contributions from another student). Our interview is transcribed below, but first, here’s some notable parts and video work of the exhibition: What’s the name of your gallery, Holly? Holly: Well it’s funny you ask. I couldn’t think of what to call it, and so it became desperate because it was like the day before, and so I Googled “How to Name your Exhibition”, and apparently there’s a WikiHow article called “WikiHow: How to Name Your Solo Exhibition”. And so I decided that was good enough. Did people comment on the name at all? Holly: A couple people sent me photos of that, as like a way of showing me that they were there. Or like, a couple of people were like “woah, hehe,” but nothing too exciting. I don’t know; you just have to name it something, I guess, right? Yeah, names do matter but… not so much. Unless you want them to. Holly: It’s really hard for me; it seems really Meta to me to not only make a body of work, but also have to make, to comment upon that in like one word or phrase. A theme. Holly: Yeah, like to give it a theme or to give it a name, so, you want me to make all this, and deeply have analyzed all of this, and also analyze how it all fits together. If I knew how to do that, I’d know myself really f***ing well, I guess. Not at that level yet. Maybe some day. Holly: Yeah, I guess. I hope. I don’t know. I don’t want to interpret my own art too much. What are the logistics behind this? How did you actually- did you talk to someone? Holly: Oh, well, first, I’ll let you know that it’s open from now until the end of February 2017. It’s in the new Weisner Gallery located in the Student Center on the second floor, which is owned by the MIT Art Scholars, who recently renovated the gallery. And, just before this show, there was the Art Scholars Co-Exhibistion, which was really cool, and so I helped to curate that show, and then I curated this show, my own show, which was actually part of a final project for an independent study I did last semester. So, this other one that you did, what was it again? Holly: It was the MIT Art Scholars, which is a group of people at MIT of all ages, of all class years, every single dorm, it’s very diverse, who just do some form of arts. And, that goes from everything from making ice skating uniforms by hand, to vocals or piano, to like visual arts, so really cool. And that show was very interesting. It was the first show in the gallery since it was renovated. You did something else last year, in Kresge? In the basement? Do you remember? Holly: Yes, yes, yes. That was with the MIT Art Scholars, so that was like a group show. Mostly to show the Art Scholars each other’s work, because we had like vague ideas of what we were interested in, but hadn’t gotten to see anything. It was very cool. What does it feel like to put your art out there in the world?   Holly: It feels really powerful; it’s something that I’ve been trying to do more, in the past, like, six months especially. This summer, I decided to start constantly be making things, and after a while I just had too many things in my apartment to live around them anymore. So, I realized I had to take them somewhere. And so, I went and took them to a bar that I went to often times, and I hung them up, and that was really fun. So, it was my first time putting my art out publicly at all, but in a very low stress way. And then, at the end of the summer, I still had a bunch of art in my apartment that hadn’t sold, and so I just like, set it on the street corner and wrote a “FREE” sign, because there was nothing I could do, and it was on these, like, gigantic planks of wood. So, in that way, in that time period, I had to be so unfeeling, I guess. I just couldn’t even think about the fact that I was just leaving it out, but I knew that it was out in the world, so then like, I guess it became more important for me to just get this s**t out than anything, just because it feels powerful to kind of not know where it’s going to go, or how it’s going to affect people. So, it feels really good, but it also feels super vulnerable, especially because it’s like on display for the MIT audience, so it’s not just strangers who could connect with it as they would, you know, a more anonymous person, but it’s my peers. Yeah, that know you. Holly: Yeah, and can come up and talk to me about it. Oh my god, I had such a crazy experience yesterday; I was talking to someone, and they were like “Oh, when were these pictures taken?” or something like that. And I said, “Oh, it was when blah blah blah,” and they were like, “Oh, was that before or after this event in your life?” And, I was like “How do you know that?” and they had read it in my journal, in the gallery. Oh man. Holly: And I was like, that was too f***ing weird, that was like they were storing my memories for me, or something. I don’t know, it became very weird. Did you expect that to happen? I mean, you did put a whole journal. Holly: Yeah, I expected to have conversations with people about the art, but like, it was a different thing to have someone reference something… like, I don’t know. It wasn’t a bad experience, but it was weird. But so, the way that I ended up doing this exhibition opening was through an independent study. So, I’m a Comparative Media Studies major, which is like a really awesome department, and I really enjoy Media Studies. But so, that allows me to be very broad and explore a number of different types of media within CMS. And so, in the past, things I’ve looked at are video art and video production, or photography, which are like the visual arts. But then also like, I spent a long time researching the music industry and the shape of hip-hop, and the death of the music industry post-digitization of music. And then, CMS also has let me look at journalism and the news system, which I find very interesting. What about it? Holly: Particularly now, well. So, first of all, the news system, similar to the music industry, has been completely revolutionized by the internet. Because it makes it so the product, which is, like, inherently a physical product, is now able to be accessed in an unlimited capacity, which takes away the control of the pay. And so, news systems are having to figure out new funding, and new ways to represent people, and I hope that this is moving to less hegemonic ways, and it is moving towards more independent media. I think that’s very interesting. And, the whole thing with like, fake news; it’s a big thing. So now, what I’m interested in within CMS is more contemporary art, particularly like, political or radical, like revolutionary art. And so, I kind of started seeing really good contemporary art when I was in Paris last summer, and that opened in me an interest for this. And so, CMS is really cool, because something I’ve been able to do is independent study. And so, this independent study was in curation and exhibition, and I got to do it under my mentor, Jay Scheib. It was a really cool experience. I got to talk to the curator of the List, and curate two exhibitions, and do a lot of cool reading, and visit a lot of different exhibitions around Boston and New York. And I loved it; I learned so much from it. And to be able to do a final project in a form like this exhibition opening was unparalleled. Yeah, that sounds pretty awesome. So, what would you say- are there any overarching themes in your gallery? Holly: It’s hard to speak to themes, per say, but I guess, I was really interested in representing femininity and youthfulness and queerness, and trying to, like, talk politically, and represent kind of unusual people. Definitely non-hegemonic, but also just, a lot of the characters I draw are just kind of strange. Yeah, I’d say queerness, youthfulness, femininity and… hm, I don’t know. There’s something else there. It was really interesting in a conversation with Daniela, my best friend, she was talking about how- we were talking about how a lot of people would come up to me and ask me, like, “So, I see that there’s something that relates all of these, and they look like they fit together, but what is that thing? I don’t understand, like what would you say, what ties them all together?” and I was like, “I don’t know, I guess that’s just like my style,” but Daniela mentioned that the people who didn’t know me wouldn’t be able to discern what that was, be cause they wouldn’t know my style, and so they would just be like “What is this, this weird cohesion?” So yeah. That’s a lot, about things. What kind of messages are you trying to portray in your art, or what are you trying to talk about? Holly: I definitely want to talk about intersectional feminism, and race issues, and United States specific issues. I want to talk about what being queer is, and different types of queer people. I want to talk about sex, because I grew up in a place where sex was super repressed. I want to try and normalize sex. Also, just like… to be sexual is to be lively, and in some ways even that feels radical, when the administration inspires despair. And it shouldn’t be like that. Holly: And, I want to talk about my feelings. Mental illness. And the power of being female, and how awesome f***ing women are, and how awesome we can all be together. Which artist are you most inspired by? Holly: I think the most interesting artist to me right now is this guy named Bryant Giles who lives in Chicago, and he makes, like, really gorgeous drawings that I take a lot of inspiration from. He just started a unisex clothing line that’s very like, high end and original, so I think he’s really dope, and he’s definitely an inspiration. But, I also look to, non-visual artists for inspiration. I really love Frank Ocean, like everyone who ever existed does, because he just is so, so meticulous in his process, and so thoughtful, and still maintains really strong affect, while making an extremely technically meticulous work. I think he’s really, really good. And so, I try to think of him. And then I think, I love Van Gogh and Basquiat, to hit some art history. So would you say you’re inspired by impressionist art? Holly: I think in the way that I try to add color, and the way I try to oil paint, I definitely like impressionist, where it’s like, thicker paint. But also, it’s supposed to be more fleeting in the light. I don’t know; I really like impressionism. So, how did you decide the order, and how to place the pieces in the gallery? Holly: So, I wanted to have my oil paintings and my favorite set of photographs towards the back wall, so that you would have the biggest kind of visual experience as you were the furthest into the room. And, so there I put my Italy, Tennessee, and Idaho Falls pictures, and also all of the oil paintings over the past semester. And so that was, like, the first decision. And then, I had the three panels of video, so that was obvious. And that left standing space, and this first panel on the left. I still had photographs I wanted to put up, and two small sculptural things, so those went well together, and kind of were a soft introduction, because it was just more lighthearted quick-make sort of things. Then, I had three sketchbooks, and so I knew I wanted those to be on a desk, and the gallery is really, really big. So, I wanted to try and fill some of the space, so I put it right in the middle, and put those there so it could be kind of like a dividing point, to make the space seem sma ller, and for people to gather around. I think it worked really well. Holly: Thank you. Then, the rock glass case is just to the side of that, to act as a further division. I wanted Cyn, Cynthia Odu’s paintings to be right in the front, and right in their own space, because they’re very commanding, and I wanted to distinguish them from my oil paintings, and also give them a very immediate space. Post Tagged #Arts Scholars #CMS - Comparative Media Studies

What to Do When You Find a Weighted Average Question In the Verbal Section of the GMAT

Weighted averages show up everywhere on the GMAT. Most test-takers are prepared to see them on the Quantitative Section, but they’ll show up on the Integrated Reasoning and  Verbal Sections, as well.   Because it is such an exam staple, we want to make sure that we have a thorough, intuitive understanding of the concept. In class, I’ll typically start with a simple example. Say you have two solutions, A and B. A is 10% salt and B is 20% salt. If we combine these two solutions to get a composite solution that is 14% salt, do we have more A or B in this composite solution? Most students eventually see that we’ll have more of solution A, but it doesn’t always feel instinctive.  If we had had equal quantities of both solutions, the combined solution would have been 15% salt equidistant from 10% and 20%. So, if there is 14% salt, the average skews closer to A than B, and thus, there must be more of solution A. I’ll then give another example. Say that there is an intergalactic party in which both humans and aliens are present. The humans, on average, are 6 feet tall. The aliens, on average, are 100 feet tall. If the average height at the party is 99 feet, who is dominating the party? It isn’t so hard to see that this party is packed with aliens and that the few humans present would likely spend the evening cowering in some distant corner of the room. The upshot is that it’s easier to feel the intuition behind a weighted average question when the numbers are extreme. Take this tough Critical Reasoning argument for example: To be considered for inclusion in the Barbizon Film Festival, a film must belong either to the category of drama or of comedy. Dramas always receive more submissions but have a lower acceptance rate than comedy. All of the films are either foreign or domestic. This year, the overall acceptance rate for domestic films was significantly higher than that for foreign films. Within each category, drama and comedy, however, the acceptance rate for domestic films was the same as that for foreign films. From the cited facts it can be properly concluded that (A) significantly fewer foreign films than domestic films were accepted. (B) a higher proportion of the foreign than of the domestic films submitted were submitted as dramas. (C) the rate of acceptance of foreign films submitted was the same for drama as it was for comedies. (D) the majority of the domestic films submitted were submitted as comedies. (E) the majority of the foreign films submitted were submitted as dramas. Okay. We know that dramas had a lower acceptance rate than comedies, and we know that the overall acceptance rate for domestic films was significantly higher than the acceptance rate for foreign films. So, let’s assign some easy numbers to try and get a handle on this information: Say that the acceptance rate for dramas was 1% and the acceptance rate for comedies was 99%. We’ll also say that the acceptance rate for domestic films was 98% and the acceptance rate for foreign films was 2%. The acceptance rate within both domestic and foreign films is a weighted average of comedies and dramas. If only dramas were submitted, clearly the acceptance rate would be 1%. If only comedies were submitted, the acceptance rate would be 99%. If equal amounts of both were submitted, the acceptance rate would be 50%. What do our numbers tell us? Well, if the acceptance rate for domestic films was 98%, then almost all of these films must have been  comedies, and if the acceptance rate for foreign films was 2%, then nearly all of these films must have been  dramas. So, domestic films were weighted towards comedies and foreign films were weighted towards drama. (An unfair stereotype, perhaps, but this is GMAC’s question, not mine.) We can see that answer choice A is out, as we only have information regarding rates of acceptance, not absolute numbers.  C is also  out, as it violates a crucial premise of the question stem we know that the acceptance rate for dramas is lower than for comedies, irrespective of whether we’re talking about foreign or domestic films. That leaves us with answer choices B, D and E. So now what? Let’s pick another round of values, but see if we can invalidate two of the three remaining options. What if the acceptance rate for domestic films was 3% and the acceptance rate for foreign films was still 2%? (We’ll keep the acceptance rate for dramas at 1% and the acceptance rate for comedies at 99%.) Now domestic films would be mostly dramas, so option D is out – the majority of domestic films would not be comedies, as this   answer choice states. Similarly, what if the acceptance rate for domestic films was 98% and the rate for foreign films was 97%? Now the foreign films would be mostly comedies, so option E is also out – the majority of foreign films would not be  dramas, as this answer choice states. Because the acceptance rate is lower for dramas than it is for comedies, and foreign films have a lower acceptance rate than do domestic films, the foreign films must be weighted more heavily towards dramas than domestic films are. This analysis is perfectly captured in option  B, which is, in fact, the correct answer. Takeaway: certain concepts, such as weighted averages, are such exam staples that will  appear in both Quant and Verbal questions. If you see one of these examples in the Verbal Section, assigning extreme values to the information you are given can help you get a handle on the underlying logic being tested. Plan on taking the GMAT soon? We have  GMAT prep courses  starting all the time. And be sure to follow us on  Facebook,  YouTube,  Google+  and  Twitter! By  David Goldstein,  a Veritas Prep GMAT instructor based in  Boston. You can find more articles written by him  here.