Grab Attention with LinkedIn GIFs, Images, Videos, and Emojis

Grab Attention with LinkedIn GIFs, Images, Videos, and Emojis This morning I woke up to what appeared to be the new face of LinkedIn. Instead of my profile as I’ve become accustomed to seeing it, with member photos nicely centered on the page, this new image appeared: You may have noticed this change as well. Sigh†¦ so much for all that careful placement of the background image! LinkedIn is at it again. I do like the menu on the right, where a member’s contact info is easy to access. In your own profile, you can click on â€Å"See connections† rather than hunt around for that option (note that in a different member’s profile, you will only see the number of connections, not a link to view them). The option to â€Å"Add a profile section† from your own profile is much easier to find as well. I also like that more of the summary is visible now than in the previous update. You have three lines instead of two to communicate your value proposition and entice people to read more. We all know that â€Å"the only thing that is constant is change† (Heraclitus), and this adage is especially true when it comes to social media platforms. Yet no matter how well we understand this truth, change still catches us off guard. This one gave me a bit of a shock, as it looks like I will need to replace the images in my book very soon. Other changes to the visual experience of LinkedIn have been afoot since my last update in December 2017. Here’s some of what’s been evolving on LinkedIn in 2018. Video in Groups and Posts LinkedIn has improved the sharing experience in groups and article posts by allowing videos. To post a video in a group, Start a conversation with your group by clicking in the details field and pasting in the URL of the video. You may need to add a space after pasting in the URL to see the video populate the preview field below. Once the preview is in place, you can delete the ugly URL and give your post a title and further details if you like. To post a video in an article, go to your home page, and then enter a URL in the box that says â€Å"Share an article, photo, video or idea.† Or, click on â€Å"Video† to attach a file from your computer. Images in Comments When you comment on an article, there’s now an option to increase visual appeal by adding a photo. An image can draw more attention to your comment, so go for it! Click on the camera icon and attach any photo from your files. Note that you cant post an image only; you must also leave a written comment. Here’s what your image might look like in a conversation: LinkedIn GIFs LinkedIn has for some reason implemented GIFs in their messaging. I personally am anti-GIF, and I don’t think they belong anywhere, much less on a business platform. However, there are many people who disagree with me, and if you want to use GIFs in more casual interactions on LinkedIn, have fun! Just click the GIF option below your message and type in a search term.      Ã‚   For more details on using LinkedIn GIFs, read LinkedIn Official Blogs article Make Conversations More Engaging with GIFs in Messaging. Emojis You can now use colorful characters in your Headline, as well as in most sections and titles in your LinkedIn profile. If you want to add some visual appeal, an appropriate emoji can be a bold addition. Note that not all symbols will render in color once youve updated, so you may need to experiment. Also, this function might not work on all computers or browsers, so some viewers may see an empty box instead of the symbol you chose. I would personally recommend sticking to Unicode characters to be safe. Have fun! Have you noticed any other changes to the visual face of LinkedIn? Do you have questions I can answer? Please share in the comments! If youd like live, personal feedback from me on your profile, I offer a 20-minute LinkedIn Profile Review special for just $75. I look forward to scheduling a call with you!

Reading Assignment Example | Topics and Well Written Essays - 500 words - 4

Reading - Assignment Example In the winter of 1906-1907, Pablo designed the first elements of Les Demoiselles d’Avignon. The author appreciates that the twentieth century artist developed his concepts in an intensive manner. The design took place through a program planned consciously similar to the works of Gericault and Leonardo. Picasso painted his product on an eight feet canvas in the summer of 1907. Les Demoiselles d’Avignon provided the rift as well as the divide between ninetieth century art and future designs (modern) designs in painting (Chave 600). It remains the hallmark of art over the one hundred years. Chiva holds that time and events at the time allowed Picasso to do what he did. Nothing was strange because other events were happening in other areas as well. In 1909, Schoenberg composed the Erwatung and The Right of Spring by Stravinsky came to the limelight in 1910. In 1914, when Picasso was doing the later stages of cubism, Ulysses started. Caught up in blue and silver long curtains are five pink women in the painting. Two of the women are in an upright posture raising their arms with the purpose of flaunting their breasts. With protruding black eyes, the women always stare at the viewer. The designer decided to mask the other three women out of the five. Two of the three are dressed in African masks. Of the two, one intrudes from behind one of the cloth that remains jagged and the bother appears squatting in fabrics made of diamond. The author identifies that height carries a few more centimetres than the width in reality. This fact disposes any analyst to be part of symmetry and space. Work done by Picasso on Les Demoiselles d’Avignon was great and immense any way. The late ninetieth century and early twentieth century witnessed the development of provocative works in the industry with the same theme as that designed by Picasso. Identified in this category are novel by Zola, Pallas Athene by Klimt, and Madonna by

The Determinants of Household Poverty in the USA - 1980 Statistics Project

The Determinants of Household Poverty in the USA - 1980 - Statistics Project Example It is the dependent variable in this analysis. Family size is basically the number of people in a single family. The county-level family sizes were obtained by dividing the total number of people within respective counties by the number of households. Large family sizes are known to increase dependency levels, thereby making it more difficult for the breadwinners to invest in productive income-generating ventures and subsequently increasing poverty levels. Urbanization refers to the percentage of the entire population in a county that resides in urban areas. According to Cali and Menon (2009), urbanization has a net poverty reduction effect, since it invigorates business aspirations and income prospects for the population. Unemployment rate is the percentage of the entire population within a locality that is unemployed. Unemployed people tend to have higher poverty levels. Higher unemployment rates correspond to higher poverty levels within a population. Income refers to the median income of all the employed individuals within a county. The higher the average income for a population, the lower the poverty levels within it. Higher income enables workers to live more comfortably since they can meet their needs and obligations more easily. Equally, better-paid people tend to have more room for investing and, therefore, diversifying their earnings to accumulate even higher income. This study aims to establish the individual strengths of each of the independent variables as a determinant of poverty (the dependent variable). Correlation analysis has been used to establish the nature of the relationship between each of the independent variables and poverty (whether positive or negative). Using regression analysis, the independent variables are investigated for their ability to predict levels of poverty within the sample population. This type of analysis also provides the basis for obtaining a predictive model that can be used to project future poverty

The History of Chocolate Essay Example for Free

The History of Chocolate Essay The first recorded evidence of chocolate as a food product goes back to Pre-Columbian Mexico. The Mayans and Aztecs were known to make a drink called Xocoatll from the beans of the cocoa tree. In 1528, the conquering Spaniards returned to Spain with chocolate still consumed as a beverage. A similar chocolate drink was brought to a royal wedding in France in 1615, and England welcomed chocolate in 1662. To this point chocolate as we spell it today, had been spelled variously as chocalatall, jocolatte, jacolatte, and chockelet. 11 In 1847, Fry Sons in England introduced the first eating chocolate, but did not attract much attention due to its bitter taste. In 1874, Daniel Peter, a famed Swiss chocolateer, experimented with various mixtures in an effort to balance chocolates rough flavor, and eventually stumbled upon that abundant product milk. This changed everything and chocolates acceptance after that was quick and enthusiastic. GROWING COCOA BEANS Cocoa beans are usually grown on small plantations in suitable land areas 20 degrees north or south of the Equator. One mature cocoa tree can be expected to yield about five pounds of chocolate per year. These are planted in the shade of larger trees such as bananas or mangos, about 1000 trees per hectare (2,471 acres). Cocoa trees take five to eight years to mature. After harvesting from the trees, the pods (which contain the cocoa beans) are split open, beans removed, and the beans are put on trays covered with burlap for about a week until they brown. Then they are sun dried until the moisture content is below 7%. This normally takes another three days. After cleaning, the beans are weighed, selected and blended before roasting at 250 degrees Fahrenheit for two hours. Then shells are removed leaving the nib. Nibs are crushed to create a chocolate mass. This is the base raw material from which all chocolate products are made. KINDS OF CHOCOLATE Milk Chocolate This consists of at least 10% chocolate liquor (raw chocolate pressed from carob nibs) and 12% milk solids combined with sugar, cocoa butter (fat from nibs), and vanilla. Sweet and Semi-Sweet Chocolate Are made from 15-35% chocolate liquor, plus sugar, cocoa butter, and vanilla. Imprecision of the two terms causes them to commonly be called dark or plain chocolate. Dark chocolate has a large following among dessert makers, and for this reason is referred to as baking chocolate. Bittersweet and Bitter Chocolate Bittersweet usually contains 50% chocolate liguor and has a distinct bite to the taste. Bitter or unsweetened chocolate liquor also is used in baking and is also referred to as bakers chocolate. Creams and Variations Bite sized and chocolate covered. They are filled with caramels, nuts, creams, jellies, and so forth. White Chocolate Is not really chocolate as it contains no chocolate liquor, Carob This is a brown powder made from the pulverized fruit of a Mediterranean evergreen. It is used by some as a substitute for chocolate because it can be combined with vegetable fat and sugar, and made to approximately the color and consistency of chocolate.

Judaism vs. Christianity :: Compare Contrast Comparison Essays

Judaism vs. Christianity Judaism and Christianity developed on the basis obeying God, on adherence to his rules and intentions and their faithful fulfillment. Since the fulfillment of God’s will is a duty of a Jewish or Christian person, both religions fall into the rule-deontological category. In Judaism, God is seen as having a contractual relationship with the Jewish people where they must obey his holy laws in return for their status of the chosen people. God rewards or punishes Jewish people based on whether they obey or disobey his will. In parts of the Old Testament, however, God does show mercy or forgiveness, and in later interpretations God’s laws such as the Ten Commandments are followed not only out of loyalty to God but also because of their high moral character. In Christianity, the emphasis is placed on love of God rather than on obeying his will. People must believe that God is merciful and loves them as well. As a reflection of God’s love, people must also love other people (and the whole humanity in general) and forgive their enemies. In the Sermon on the Mount, Jesus endorses agape, or selfless love (in contrast to eros, or possessive love), which consists of dedication to another person’s good, even at the expense of our own good and happiness. People should practice peace and nonviolence, return good for evil and love for suffering (â€Å"turn the other cheek†). This leads to a special conception of justice, called the â€Å"divine justice†, which is based on giving a person what he or she needs rather than deserves (e.g., in case of a crime, redemption rather getting even). Even though agapeistic love is certainly a noble ideal, it is unstable equilibrium and an easy victim of the â€Å"prisoner’s dilemma,† in which the best alternative for a group of people is not the best alternative for each person in the group. Judaism vs. Christianity :: Compare Contrast Comparison Essays Judaism vs. Christianity Judaism and Christianity developed on the basis obeying God, on adherence to his rules and intentions and their faithful fulfillment. Since the fulfillment of God’s will is a duty of a Jewish or Christian person, both religions fall into the rule-deontological category. In Judaism, God is seen as having a contractual relationship with the Jewish people where they must obey his holy laws in return for their status of the chosen people. God rewards or punishes Jewish people based on whether they obey or disobey his will. In parts of the Old Testament, however, God does show mercy or forgiveness, and in later interpretations God’s laws such as the Ten Commandments are followed not only out of loyalty to God but also because of their high moral character. In Christianity, the emphasis is placed on love of God rather than on obeying his will. People must believe that God is merciful and loves them as well. As a reflection of God’s love, people must also love other people (and the whole humanity in general) and forgive their enemies. In the Sermon on the Mount, Jesus endorses agape, or selfless love (in contrast to eros, or possessive love), which consists of dedication to another person’s good, even at the expense of our own good and happiness. People should practice peace and nonviolence, return good for evil and love for suffering (â€Å"turn the other cheek†). This leads to a special conception of justice, called the â€Å"divine justice†, which is based on giving a person what he or she needs rather than deserves (e.g., in case of a crime, redemption rather getting even). Even though agapeistic love is certainly a noble ideal, it is unstable equilibrium and an easy victim of the â€Å"prisoner’s dilemma,† in which the best alternative for a group of people is not the best alternative for each person in the group.

Breaking the Mold: a Doll House Essay

Breaking the Mold The pressure to conform to an ideal image is a reoccurring theme throughout literature and even in our culture today. In the highly repressive social climate of the Victorian Era, women, much like children, were seen rather than heard. The ideal Victorian woman is hardly descriptive of Nora in Henrik Ibson’s A Doll House. Through careful observation and questioning, Nora recognizes the injustice of the male-dominated society in which she lives.Nora’s discomposure with as her begin treated as her husband Torvald’s subordinate, her realization of Torvald’s true character, and her desire to educate herself prompt her to become independent. The most important choice that Nora makes is to leave Torvald Helmer, because this choice is facilitates Nora’s personal growth. Nora’s choice to leave Torvald Helmer is influenced by her increasing discontent with his condescending, doll-like treatment of her. Torvald establishes his dominan ce by calling Nora his â€Å"little lark† among other pet names.Torvald’s authority over Nora requires her to â€Å"dress up† in a costume, becoming what Torvald expects her to be. As Torvald’s subordinate, Nora fluidly bends and twists to his needs, conforming to his desires. Although Nora would like to be treated as an equal to Torvald, she knows him well enough to realize that equality is impossible in their marriage. In order for the marriage to function, Nora has to appeal to Torvald’s ego by flattering him to ask for money and rendering herself helpless in accomplishing the simplest tasks such as choosing a dress.Small acts of disobedience on Nora’s part are the primary indicator of the growing weight of the facade that Torvald imposes on her. Eating macaroons and saying â€Å"to hell and be damned† are two ways in which Nora chips at the mold of behavior that Torvald sets for her. Nora’s outgrowing of the costume Torvald idealizes is marked by actions such as Nora’s remark that she would like to â€Å"rip it into a million tiny pieces†. Henrik Ibsen repeatedly illustrates Nora’s agitation over Torvald’s static doll-like control, an agitation tangible to the readers from the very beginning.Nora’s initial discomfort in fitting Torvald’s mold is later a significant influence on Nora’s final choice. Despite Torvald’s outward broadcast of a perfect home, several unresolved issues bubble below the surface. Nora recognizes the fundamental issues that loom in their marriage when she sees Torvald’s reaction to the letter from Krogstad, and her realization encourages her choice to leave. Torvald leads Nora to believe that he is a righteous man through lecturing of Nora on the value of honesty and through promising to be her lifeguard in times of crisis.Even right before opening the letter, Torvald remarks that he has often wished that Nora was in some terrible danger so that he could stake his life for her sake. Although Torvald tells her that he would take on â€Å"the whole weight† should Krogstad take action against the Helmers, Torvald’s reaction when the worst actually does occur is quite the opposite. Torvald is outraged when he discovers that Nora borrowed money from Krogstad, and he accuses her of wrecking his happiness. Nora, who originally borrowed the money to save Torval’s life, is shell-shocked by Torvald’s reaction.All of his actions prior to this event led her to believe that he would have taken the blame for her, affirming his love for her. In contrast with her expectations, however, Torvald’s immediate concern after reading the letter is saving â€Å"the bits, and pieces, the appearance. † His foremost fear of losing respect in the community is exhibited by his insistence that Nora remain in the household so that it appears nothing has changed. In the midst of Torva ld’s panic, a second letter arrives, returning Nora’s bank note.Just as quickly as Torvald exploded in anger, he rejoices in triumph that he is saved. Nora becomes aware of Torvald’s selfishness when she asks â€Å"What about me, am I saved too? † Her awakening to the Torvald’s priority of the appearance of happiness rather than actual happiness in the Helmer marriage fuels her decision to discover a better life. Torvald’s outburst ignited Nora’s inner flame. Nora’s attempts at small freedoms can be compared to wet matches, whereas her final decision to leave Torvald is similar to a brilliant spark of fire.Nora’s final motivation for her decision to leave the marriage comes from her realization that in addition to not knowing Torvald, she does not know herself. In leaving Torvald she seeks to educate herself determine if the teachings of religion, law, and society are true. In a sense, Torvald’s response to Noraâ €™s attempt to save him causes Nora to save herself. Upon her realization of Torvald’s true character, Nora tells Torvald that she is â€Å"getting out of her costume,† both literally and figuratively paralleling Nora’s exit of the marriage.Nora fell from the control of her father to the control of Torvald without ever being able to develop her own opinions. Nora breaks free from Torvald’s puppeteer strings with the certainty that she cannot be concerned about her duties to her husband and her children over her duty to herself as a human being. Nora expresses to Torvald that she must develop her own tastes out in the world. In conclusion, Nora’s exit can be attributed to her discontent in Torvald’s mold, her realization that Torvald was not the person she though he was, and her desire to become her own person.Minor rebellions indicate Nora tolerates Torvald’s parental treatment but is clearly not fulfilled living according to some one else’s rules. When Nora sees Torvald’s reaction to the letter from Krogstad, she realizes that Torvald only cares about the masquerade, or how things make him appear. The appearance is all Nora has ever known with Torvald, and her critical decision to leave is reinforced by her desire to cultivate a person behind the appearance. These powerful motivators enabled Nora to slam the door behind her, rejecting the preconceived notions of society and developing new voice all her own.

Frued’s Psychoanalytic Theory Essay

Legendary and groundbreaking psychoanalyst Sigmund Freud changed the way scholars and doctors alike thought about the nature of the brain. Freud’s insight created a new paradigm that focused future inquiries onto the functional aspects of the mind, rather than cerebral and somatic physicality. With this essay, I will begin by describing and defining the id, ego and superego while also discussing how they interact. I will conclude by examining the essential differences of the ego and superego and the implications these distinctions imply. According to Dr. Freud, the id is the part of the human mind that we are born with and it is primarily responsible for the instinctual drives of the individual (Sigmund). For Freud, the id is mainly motivated by libido, or the sexual instinct in its quest for pleasure and satisfaction. Further, the libido is divided into two parts: eros and thanatos. Eros is the drive to fulfill pleasure seeking actions and sexual desires while thanatos is an oppositional drive toward death that causes the aggression and destructive tendencies of humans (Freud’s). This is an important distinction that creates the impression and theory that the id belongs to the tension filled domain of the unconscious. It is the part of us that we can scarcely control, but can incite intense pleasure or aggressive destruction when these desires are fulfilled or denied. In opposition to the basic instinctual need to achieve pleasure or enact destruction lies the part of the brain shaped and defined by social and cultural influences. Freud defines this part of the brain as the superego. The superego in practical terms can be defined as the conscious mind that develops and manifests over time, beginning with inputs from parents and siblings, to schools, relationships and work. This part of the mind internalizes all of these inputs in its creation of consciousness while also being responsible for critiquing consciousness and counterbalancing the instinctual desires of the id in order to successfully navigate through society based on learned values and moral judgments. In between the id and the superego is the ego. The ego can be thought of as the part of the brain that mediates the tensions between the conscious and the unconscious; the id and the superego (Freud’s). In this capacity, the ego contains all objects of consciousness without the moralizing and criticism of the superego. In other words, the ego is the part of our minds that is aware of consciousness and the reality of other people’s consciousness. In this model then, the ego still wants to fulfill the id’s pleasure principle but it also realizes that in trying to accomplish this, the person may hurt other people in the process and must take this fact into consideration (Sigmund). The ego is also responsible for covering the impulses of the id through the development of what he called defense mechanisms. These are forms of repression and rationalization that lessen anxiety or cover troubling thoughts and memories. In addition to his personality theory, Freud also studied the psychosexual stages of development. His stages are organized chronologically beginning with the oral stage and moving through to the anal, phallic, latency, and genital stages. They all focus on the sexual pleasure drive on the psyche. Stage development can only be achieved through the resolution of the previous stage (Stevenson). The resolution or lack thereof, affects the psyche throughout life, especially when one becomes fixated at a particular stage. Each of these stages and the developing person’s id, ego, and superego are constantly mediating the latent pleasures of the psychosexual drive against societal norms. The Structural Theory proposed by Dr. Sigmund Freud has far reaching implications for the way we account for the actions and impulses of our minds. With this model, divided into the id, ego, and superego, we can explain how we can simultaneously harbor uninhibited desires in the unconscious pleasure and destructive tendencies developed by the id, but we can also mediate these instinctive drives through the self-conscious functions performed by the ego’s defense mechanisms, while in addition re-appropriating this tension through the role of the superego in order to live a morally responsible and hopefully well-balanced life. References Freud’s Personality Factors. (2008). http://changingminds. org/explanations/personality/freud_personality. htm Sigmund Freud (1856-1939). (2008). The Internet Encyclopedia of Psychology. Retrieved January 8, 2009 from. http://www. iep. utm. edu/f/freud. htm Stevenson, David. (1996). Freud’s Psychosexual Stages of Development. Brown University. Retrieved January 8, 2009 from http://www. victorianweb. org/science/freud/develop. html