Comparson Of Mouse And Trackbar :: essays research papers

Computers incorporate various pieces of equipment that allow the user to interact with the software. Since the idea of a Graphical User Interface (GUI) has been accepted, people rely on a mouse to move the "cursor" around the screen. Most of the time the "cursor" is simply an arrow that lets the user know where its position is on the screen. In addition to a mouse some people prefer trackballs. A mouse and a trackball can be contrasted in terms of their physical shape, logical functionality, and space consumption. A mouse and a trackball could be described as a total opposite in their physical shape. The mouse received its name because the cord resembles a tail and can move around the workspace in any direction. The mouse also has a ball inside that rolls along the workspace. An electronic connection is also built inside the mouse itself to get power through the mouse in order to run. On the other hand, a trackball is named that because the user is able to move the position of the cursor around the screen using a ball. The ball is located on the topside of the trackball and movement is performed with the thumb instead of the whole hand that is easier and it consumes less time than using the whole hand. Therefore, the mouse and the trackball are different in their shape but they both perform the same task. A trackball is stationary and therefore minimal; space is needed to allow movement while a mouse needs to move to perform its task. Both devices have buttons on the top, usually two or three depending on the manufacturer, that allows the user to select items on the screen, almost acting like an "enter" button. After having experience with both devices, I have found the trackball is the choice to make when purchasing a user interface device of this type. While mice are easier for the beginning user to control due to the fact that a hand is easier to move in any direction compared to a thumb, a trackball does not require total hand and arm movement to move the cursor around the screen. Instead the user’s hand can stay stationary and movement of the thumb is all that is needed to direct the cursor.

Baz Luhrman´s Version of Shakespeares Romeo and Juliet Essay -- Romeo

Baz Luhrman ´s Version of Shakespeare's Romeo and Juliet One of the characteristics of Elizabethan and also Jacobean drama is the low number of stage directions and the lack of details they contain. As a logical consequence theatrical representations or film versions of these ages may allow an important quantity of freedom in the performance. In other instances stage directions and other important theatrical elements are consciously left aside in order to create totally different visions of the original idea. That is not the case of Baz Luhrman ´s version of Romeo and Juliet filmed in 1996, which despite the numerous alterations of the original play still retains Shakespeare's initial conception. On the question of setting, instead of the Verona of the sixteenth century in Italy, the action occurs in another Verona in the nineties, a coastal city dominated by two large skyscrapers belonging to the Montagues and the Capulets respectively, two adversary industrial powers. The places appearing in the play are barely respected, however the Capulet ´s mansion including its walls and garden appear both in the play and the film due to the fact that the events taking place there are crucial because it is the place in which Romeo and Juliet ´s first meet and develop their love affair. Apart from this, they are forbidden for Romeo, so any other location would have reduced the tension of his intrusions. In addition to this, in the film the streets of Verona are repeatedly replaced by the beach, and so the friar Lawrence ´s cell by his chapel. It is usual to find that whereas in a single scene of the play the events occur in a single space location, in the film it is possible to see more than one, as in the case of the first scene o... ...already dead. Apart from these elisions, some passages or sentences are extrapolated as in the case of 5.3., when Romeo says: "thy drugs are quick" referring to the apothecary's poison. This sentence only appears before Romeo and his friends go to the fancy-dress ball referring to the ecstasy tablet that Mercutio gives him. An interest case regarding to the text is prince Escalus' last intervention (5.3.), that in Luhrman's versions is performed by a newsreader on a t.v. who also performs the role of the chorus at the very beginning of the play. From all this, it follows that faithfulness is the key word since this version, unlike others as West Side Story by Jerome Robins and Robert Wise, retains the basic plot, metrics and literary devices in order to achieve a faithful and, at the same, time new vision of the Shakespeare's work that keeps his poetic richness.

Organic Nomenclature and Functional Groups Essay

Learning how to name and draw the structure of the various compounds is the first step in learning to speak the language of organic chemistry. Chapter 1 presented organic chemistry as the chemistry of the carbon atom. However, many organic compounds contain other atoms besides carbon that contribute significantly to the physical and chemical properties of the compound. Chemists call these atoms heteroatoms, and the groups they form, functional groups. This chapter provides an overview of the rules for naming organic www. ochem4free. com 5 July 2005 Organic Chemistry – Ch 2 73 Daley & Daley compounds. It also introduces the major functional groups that you will encounter as you study organic chemistry along with the rules of how to name them and draw their structures. The presence of heteroatoms radically changes the physical and chemical properties of the compounds to which they are bonded. In fact, the carbon— heteroatom bonds and the carbon—carbon multiple bonds are the main sites where chemical reactions take place. Organic compounds are arranged into classes according to the particular functional groups that they contain. Members of each class of compounds share common chemical and physical characteristics. The names of organic compounds are assigned according to the class of the compound as determined by the functional groups. This chapter also shows how to draw the structural representations of these compounds. 2. 1 Drawing Organic Structures A two-dimensional structural formula of a hydrocarbon shows all of the atoms with all of their bonds in the plane of the page. Molecules are actual, three-dimensional entities. Their structure is a major factor that determines their physical properties and the way one molecule interacts with another molecule. These bonds are combinations of single bonds with hydrogen atoms and single or multiple bonds with other carbon atoms. For molecules that contain a large number of atoms or complex structures, drawing every bond and every atom is time and space consuming. A common notation developed to abbreviate the drawing without sacrificing the clarity of the structure is the condensed structural formula shown below for heptane: CH3 CH2 CH2 CH2 CH2 CH2 CH3 Heptane www. ochem4free. com 5 July 2005 Organic Chemistry – Ch 2 74 Daley & Daley Taking out the lines representing the carbon—carbon bonds condenses this formula still more: CH3CH2CH2CH2CH2CH2CH3 Heptane Heptane has five repeating —CH2— groups, called methylene groups. Because many organic molecules have such repetitive groups, an even more condensed notation shows these repeating units. Using this notation, the formula for heptane is as follows: CH3(CH2)5CH3 Heptane Bond-line formulas represent the carbon atoms as the intersection of lines and as line ends. You assume all the hydrogens needed to complete carbon’s valences. The bond-line structural formula is the notation that most organic chemists prefer to use. Bond-line formulas are easy to draw and quickly convey the essential structure of a molecule. Both the ends and the angles of the structure represent the carbon atoms. C—H bonds are not shown, but you should assume that the appropriate number of hydrogen atoms is present to complete the four bonds required by carbon to have its octet of electrons. The bond-line formula for heptane looks like this: Heptane Not all hydrocarbons are straight chains; many are rings. Chemists use the same structural formulas for them. Because the illustration of the two-dimensional structural formula of methylcyclopentane is so cluttered, it does not clearly show the ring. H H H C C H C C C H H CH HH H HH Methylcyclopentane The condensed structural formula is clearer. www. ochem4free. com 5 July 2005 Organic Chemistry – Ch 2 75 Daley & Daley CH2 CH2 CH CH2 CH3 CH2 Methylcyclopentane The bond-line structural formula is even clearer. Thus, chemists use it most frequently. Methylcyclopentane Often, chemists combine the bond-line and condensed notations to clarify a structure or emphasize specific features. This formula also represents methylcyclopentane. CH3 Methylcyclopentane Exercise 2. 1 Redraw each of the following condensed structural formulas using the bond-line notation.

Hippolytus: Seneca, Euripides, Ovid

Liz Soolkin Hippolytus: Seneca, Euripides, Ovid The story of Hippolytus, a man wronged and killed by his own stepmother is a myth retold by many different writers. For this paper, I have chosen to discuss the myth as retold by Ovid, Seneca, and Euripides. Each multiform has a few distinct differences that impacts the meaning of the myth as whole. While reading each myth, the reader receives a completely different sense from the story, a conclusion that is unique to each story.The difference in each retelling that changes the meaning of the story most significantly is the stepmother, Phaedra’s role and the emphasis each author places on her character in his form of the story. The variations in the portrayal of her character provide each story a different meaning; a large portion of the meaning comes from the reader’s ability or inability to relate to Phaedra; this ability depends on the author’s portrayal of her and her actions.Seneca’s version of the story of Hippolytus’s death is called Phaedra. Before even beginning to read the narrative, the reader understands that Phaedra is the main character in the story; the main conflict of the story is one between her and her stepson. She does everything in her power to get Hippolytus to sleep with her: she asks the nurse to convince him and even tries to do so herself after fainting in his arms. She does not seem to care about his strong morals or her own morals.Aphrodite’s curse on her has led her to be so determined to sleep with her stepson that she ignores her ideals and the ideals of Hippolytus. When she is rejected, she spreads the lies about Hippolytus having raped her and lives to see the consequences of those lies; though she is in control of the situation and could physically stop the story from ending tragically, she does nothing to prevent her stepson from being cursed by his father. She is alive when Hippolytus’ mangled corpse is brought to her and her husb and, Hippolytus’s father, Theseus.Only then does she realize her immense shame because she recognizes that her dishonest actions lead to Hippolytus’s undoing and that her need for revenge is what causes Hippolytus to suffer his horrendous fate. Her shame only comes after she causes her stepson’s death. In Euripides’ version, Phaedra kills herself before Hippolytus is cursed. She leaves a suicide note blaming Hippolytus with her death. She is unable to outlive Hippolytus and see the consequences of her vengeful actions.Unlike in Seneca’s version, in Euripides’s retelling Phaedra dies and has no ability to stop the spread of lies about Hippolytus. She can do nothing to take back her actions like she could have in Seneca’s version. The reader can accept Phaedra’s actions more in Euripides’s version because she dies, attempting to keep herself morally good and free from shame and guilt for her lust; she is portrayed more as essentially a good person who is cursed by Aphrodite and her attraction to her stepson. One can be more empathetic to her in this version because Aphrodite could cast the same curse on anyone.In her death, she blames Hippolytus of rape, relating her to Seneca’s version of her character as a harsh person, intent on revenge, someone to whom the reader cannot easily relate. Ovid’s retelling of the myth of Hippolytus is completely different from Seneca and Euripides’ narratives. First of all, Ovid’s account starts with Hippolytus’s narration of the story; the reader is first introduced to Hippolytus as someone returned from the dead so, even without reading the story, the reader already knows that Hippolytus suffers tragic death at the end of the story.Because he is telling his story to a bystander, Hippolytus does not go into great detail of his life; he recounts the story of his stepmother’s betrayal in a very short and succinct manner, concen trating more on the suffering he faced when his â€Å"limbs [were] entangled in the reins [of his chariot]† (Ovid’s Metamorphoses p. 539 line 608-609). The fact that Hippolytus talks of his own death in a conversational manner, attempting to console Egeria is important because it is one of Ovid’s techniques that he used to place the reader’s attention on Hippolytus.Whereas Seneca wrote about Phaedra and described the story with her as the main character, Ovid wrote about Hippolytus, from Hippolytus’s point of view. In this story, Aphrodite is not even mentioned as being the instigator of Phaedra’s lust. Phaedra is portrayed as a cold-blooded, merciless killer who did not feel shame for her murder of Hippolytus. The shame aspect, that was so important in defining the other author’s versions of the myth, is absent from Ovid’s version. Phaedra’s shame’s absence from the myth can be explained by the fact that Hippolyt us himself is narrating the story.Ovid gives the reader a perspective from the victim’s point-of-view, which does not view any guilt felt by Phaedra as relevant. Even if she feels guilt, she is still held responsible for her actions. Whereas in the other myths, the reader knows that Aphrodite is the final cause of Hippolytus’s death and Phaedra is not completely guilty, in Ovid’s myth, she is not mentioned since Hippolytus was not aware of her influence on Phaedra. The three versions’ portrayals of Phaedra are important when analyzing the different meanings of the multiform myth.The difference lies in the different conflicts that arise in each myth and the various sources of Phaedra’s shame, or the absence of it. In Euripides’ version of the story, the main struggle of the myth lies in Phaedra’s inner conflict; she struggles with her desires and is unable to express them and deal with them in a healthy way. She must use the help of he r nurse to help her and before the story is over, the shame of her immoral thoughts kills her. Unlike Euripides’ version, Seneca’s retelling of the myth shows her conflict to be one with Hippolytus.Phaedra’s every action is a struggle against Hippolytus’ strong morals and chastity. The story is one of a fight between the two characters, concluding with Hippolytus’ loss of life, an event that leads to Phaedra’s shame and eventually her death. Ovid tells the story as a conflict between Hippolytus and Phaedra from Hippolytus’ point-of-view. Hippolytus, in Ovid’s version is wronged by his stepmother, who is portrayed as evil and coldhearted. There is no mention of any shame she might feel for her stepson’s murder; the lack of shame depicts as heartless, an obvious antagonist to Hippolytus’.From these differences, one can interpret that a greater meaning lies in the three author’s definitions of shame. Whereas P haedra in Seneca’s version is shameful of her own immoral thoughts and urges, the other Phaedra, in Euripides’ version, only realizes her guilt when she sees Hippolytus’ dead body; she acts more child-like, not believing that such terrible consequences could come from her actions until she sees them. Ovid differs completely in his view of shame. He sees it as irrelevant to the victim’s suffering and pain.In his version, Hippolytus does not consider Phaedra as having felt any remorse for her actions, he sees her as a coldblooded killer who caused him immense grief. The way I began to analyze the myths of Hippolytus was to think about the major differences between the characters. Because the story is all about the characters rather than the setting or culture, I thought that the differences of each character among each multiform would give me a clear view of the meanings of each multiform. The character that seems to influence each story the most is Phaedra .I could have gone into greater detail about the differences amongst each Hippolytus, Theseus, and nurse but I realized that analyzing those differences would result in an essay of 20 pages and would not be as meaningful. Relying on the differences among each author’s version of Phaedra to give meaning to the differences was very fruitful. I managed to find that the differences in Phaedra’s character were based in her decisions throughout the story. In one story, she killed herself before Hippolytus was dead; in another version, she killed herself after Hippolytus died and in the third version, she was barely even mentioned.Each story showed her as more or less humane; in Euripides’s and Seneca’s versions of the story, Aphrodite was mentioned as the source of her attraction to Hippolytus. The godess’s participation in the crime took some of the blame off of Phaedra’s shoulders and made it easier for the reader to relate to Phaedra. In Ovidâ €™s version, Aphrodite was not mentioned and Hippolytus’s death was viewed as a direct result of Phaedra’s cruel passion. More differences between Seneca and Euripides’s versions could be found and meaning could be discovered from the timing of Phaedra’s death.I asked myself, â€Å"why caused her to die before or after Hippolytus and what is the meaning of the difference in her suicide? † I realized that in both cases, shame had caused her to kill herself but in each story, shame was a result of something different. In Euripides’s version, Phaedra kills herself because of her own immorality; she feels guilty about her sinful passions towards Hippolytus. In Seneca’s versions, she commits suicide from guilt of seeing Hippolytus’s mangled corpse and realizing that her actions had caused his death.

Merchant of Venice Spot Analysis Essay

Although the play’s title leads readers to believe its contents to surround Antonio, rather the play surrounds a hated and despised Shylock the Jew. However, as Shakespeare so often does, several scenes are placed almost haphazardly within the conflict and turmoil building amongst the main characters. Often readers question the scenes appropriateness and necessity to the play’s progression, and struggle to create connections to the play’s main conflict and following resolution. The casket scenes regarding the betrothal of the beautiful Portia in The Merchant of Venice play the role of the sources of confusion. Although the game of caskets seemingly represents Shakespeare’s dynamics on love and marriage, the game is really a lesson in human morality, judgment, and tribulations. The lesson learned through Portia’s three suitors is invaluable to the play as well as human life. Shakespeare’s ability to recognize and understand the true nature of man is seen throughout the works of his career, and The Merchant of Venice is in essence a depiction of men judging one another superficially. The three caskets present three versions of common human rationales. As each suitor presents himself for the game, the audience is led through his thought process and ultimate decision. The first suitor, Morocco, refuses the casket of lead and claims â€Å"[a] gold mind stoops not to shows of dross. / I’ll then [neither] give nor hazard [anything] for lead† (2. 7. 20-21). Morocco will not risk anything for the mere hopes of gaining only as valuable as lead. Morocco, so far, is immensely materialistic. He next contemplates the silver casket. Morocco weighs his â€Å"value with an even hand† and decides his worth â€Å"by thy estimation / [†¦] dost deserve enough† (2. 7. 5, 26-27). Morocco’s own self-affirmation does not allow him to stoop to choose silver. Instead, he moves to the golden casket thus furthering his obvious greedy and materialistic nature. â€Å"Is’t like that lead contains her? ‘Twere damnation / [to] think so base a thought. It [is] too gross / [to] rib her cerecloth in the obscure grave† (2. 7. 49-51). Obviously unbeknownst to Morocco, lead is the metal of choice in burial, and the irony only better proves this suitor unfit. Likewise Morocco did not view silver as more precious than gold, and refuses to settle for anything second best. His vanity and greed leave him â€Å" ‘[c]old indeed, and labor lost’† as he unwisely chooses the golden casket, and a lesson in humility and Christian grace is spent (2. 7. 74). The lessons continue with the second suitor, Aragon. He quickly passes the leaden casket and moves to dismiss any affinity toward the golden casket. â€Å"I will not choose what many men desire, / Because I will not jump with common spirits / And rand me with the barbarous multitudes† (2. 9. 30-32). Wisely, Aragon knows not to simply trust the facts beheld by the eyes. He deciphers the riddle as addressing a throng of fools blinded by beauty and oblivious of anything else. However, Aragon has just all but ignored the lead casket, yet he knows â€Å"[Portia] shall look fairer [if he] give or hazard† (2. 9. 21). Aragon knows a risk begets a better reward, but he does not choose this uncertainty. However, he ascertains his own desert without doubt. The silver casket should â€Å"[let] none presume / to wear an undeserved dignity† and Aragon believes men should only receive what is deserved (2. 9. 38-39). He questions the validity of an idealistic world of rightful desert. He wonders â€Å"who shall go about / [to cheat] fortune, and be honourable / [without] the stamp of merit† (2. 9. 36-37). Aragon’s idealism does not consider the true nature of mankind. His rationality is absurdly naive, and this foolishness is all he keeps upon his departure. Bassanio, the final and probably least sincere suitor, also considers each casket before his decision. Bassanio is well aware how sinful and deceitful mankind behaves. He knows â€Å"the outward shows [appearances] be least themselves† (3. . 73). Now the reader knows outward beauties will not fool Bassanio. â€Å"How many cowards whose hearts are all as false / [as] stairs of sand, wear yet upon their chins / [the] beards of Hercules and fwoning mars, / [who], inward searched, have lives white as milk† (3. 2. 83-86) Bassanio asks himself in debate. The readers know Bassanio has spent his fortunes living an extravagant life. Assumedly, Bassanio encountered a vast variety of people in his travels and adventures, and through these experiences, he has discovered the triviality of appearances. Bassanio knows beauty is often an elaborate mask â€Å"[the] seeming truth [in] cunning times puts on / [to] entrap the wisest† (3. 2. 100-101). Bassanio eliminate his doubt and chooses the lead casket, thus ending the game and winning Portia’s hand. Bassanio’s knowledge of men and their sinfully corrupt hearts leads him to wisely solve the riddle and win the desired prize. However, Bassanio is not meant to serve as the moral winner in this game. Instead, Bassanio provides support toward Aragon’s foolishness. Bassanio is the man who undeservedly gains power and advancement. Shakespeare places these scenes within a play full of the corrupt, yet he is able to humanize and evoke sympathy for these men. Shakespeare utilizes these scenes to relay to the audience that human nature is not black and white, good or bad, right or wrong. The bad can feel the good and be intrinsically good; likewise the good often know the bad and choose the evil in the face of personal gain.

Advertising Principles And Practice

However the Effie is one important award which is given for effectiveness (visit EFFIE Worldwide at mad. Effie. Org ) The New York American Marketing Association introduced these awards in 1968 and it honors the ‘real world' work of agency/client partnerships that create, manage, and build brands In August 1996 Ionians launched one of the most memorable ads – lively, music-filled commercials featured dogs, dolls, a grinning Japanese man, and the tag line â€Å"Enjoy the Ride† yet the campaign failed as no car was shown and Ionians lost share and posted losses that year Characteristics of Effective AdsTypes of Advertising The Ideas and Struck are examples of Brand Advertising which is most visible and some commercials use humor to create brand awareness Retail or Local Advertising focuses on retailers or manufacturers in small areas tit objective of stimulating store traffic and create distinctive image for store or manufacturer e. G. White Wave Political / Directo ry Advertising Politicians advertise to vote for them or their ideas as in ASSAI and some other countries. Critics feel this can focus more on image than on issues, and voters concentrate on the emotional parts ignoring the critical differences Directory advertising helps people in how to buy products and services e. G.Yellow Pages Direct-Response advertising can use any medium including Direct mail and tries to stimulate sales directly and Internet helps here How Ad Agencies are Organized Account Management acts as liaison be;en the client and the agency. Once the client establishes the guidelines for a campaign and perhaps even one advertisement, accounts management handles day-to-day progress Creative Development and Production includes copy,'rites, art directors, producers, master creators, coaches, etc Media Planning and Buying – plans, buys and researches on the use of different media Account Planning and Research act as strategic specialists who prepare recommendations about consumers wants, needs and relationship to the client's brand, and how advertising should work to satisfy those needsInternal Services includes traffic department, print production, financial services, and human resources or personnel a-to-8 Advertising and Institutional Advertising B-to-B includes messages directed to retailers, wholesalers, and distributors and also to industrial purchasers, professionals like lawyers, physicians but not to general consumers through professional journals This is also called corporate advertising and aims to establish corporate identity or winning public over to the company's point of view e. G. Tobacco companies are running ads on positive things they are doing, also ads for pharmacy companies Public Service / Interactive In Public Service Announcements (AAAS) the message is on behalf of good causes like stopping drunk driving or preventing child abuse. These ads are usually created by ad professionals free of charge and the media often don ate space and time Interactive advertising is delivered to individual consumers who have access to computer and internet.

Case Study Drivers of Industry Financial Structure

Based on KR+H’s past financial performance and the cost of investment, KR+H would need additional financing to fund the proposed capital investment. The internal financing could be very difficult for KR+H based on it had a deficit in 1992. And internal financing may also slow down the investments because KR+H has to retain its profit. Also rising the price is not a very good option in a long-term perspective. Because it could retard their growth and therefore did not represent a viable path to a long-term profitability. So we suggest that KR+H should finance the proposed capital by relying on external financing from a bank or an outside investor. Context KR+H is a manufactory company that designs,fabricates and installs high quality, uniquely designed cabinetry. Now it had devised a unique operating strategy of producing high quality custom cabinets at a low cost. KR+H believes that the use of computer-controlled equipment allowed the firm to significantly reduce their labor cost and other production cost while increasing the efficiency of the manufacturing process. In order to support the development if their innovative operating system, KR+H need to clearly define the scope and speed of growth for their business. However, the partners do not have internal funds to finance the investment and their access to external capital markets is limited. Therefore KR+H needs a better operating and financial strategy to managing rapidly growth and its capital. I think the article â€Å"Seize advantage in a downturn† is very helpful. Many companies fail to see the opportunities hidden in economic downturns. In order to take advantage of opportunities, KR+H first need to do a thorough but rapid assessment of its own vulnerabilities and then move decisively to minimize them. David and Daniel, 2009) KR+H could approach their problem by using some of those steps introduced in this article such as Monitor and maximize its cash position 1. Evaluating the capital position: In the cash flow statement Exhibit 6, the net decrease in cash by $15,298 in 1991 and $46,955 in 1992. In order to meet cash requirement during 1992,KR+H gets a personal loan about $35,000 and the bank overdraft to cover its deficit abou t $14,000,which shows us that KR+H are short of cash during the past years and it gets worse. The total enhancement of the new investment will be: Category |Cost | |Require in Capital |$300,000 | | |$100,000(developing in 2 years) | |Software | | | |$25,000 – $30,000 (maintain update per year) | |Marketing |$40,000 | Based on KR+H’s past financial performance and the cost of investment, KR+H would need additional financing to fund the proposed capital investment for sure. 2. Adding investment is valuable and profitable: I think the proposed projects are profitable investments and it will add values. Because the investments will reduce costs and increase the working efficiency in manufacturing process: |Category |Number | |Increase production capacity |50% | |Labor cost saving per year |$170,000 | Another fact is that on a pro forma basis, KR+H’s cost of goods sold in 1990, the year before merged is approximately 60% of sales. In 1991,the percentage is increased to 67% and in 1992 the year after the merger the percentage rose to almost 75%. It shows us that some unanticipated cost increasing rapidly while the revenue is rising. If KR+H could adopting the new investment it would make its production more efficiently and the technique may also save some cost of goods. In addition, the cabinet industry experienced a decline in efficiency in 1992. Firm size |Sales per work |Compare to 1991 | |Large |$120,000 |gain 9% | |Medium |$84,000 |decline 11% | |Small |$80,000 |off 2% | | KR+H could gain a long-term rapid growth in sales by first adopting the new technique and the improvements in production efficiencies will give KR+H more advantages in sales. There is no doubt that the investment will increase the operating leverage and also increase risk. In Exhibit 9, with investments KR+H will yearly saving $207,900. Therefore, adding the investment is very profitable. And also rising the price is not a very good option in a long-term perspective. Because it could retard their growth and therefore did not represent a viable path to a long-term profitability. I think KR+H finance the proposed capital by relying on external financing. Because the internal financing could be very difficult for KR+H based on it had a deficit that was covered with a personal loan to company about $35,000 by a partner and a bank overdraft $14,000 in 1992. And internal financing may also slow down the investments because KR+H has to retain its profit. The investors wouldn’t want a low return just because the firm wants to invest. Thus, external funding will be a better choice. Ratios In 1992 and 1993, exhibit 4 Year |Return on Sales |Return on Equity | |1992 |2. 1% |21% | |1993 |8. 3% |98% | | Besides this, KR+H also is profitable in 1992 and assume that it will have 10% growth rate. Meanwhile, with the investments could save KR+H about $209,900 each year. Those profitable data in its financial performance will help KR+H to get a loan from a bank or other outside investors. Conclusion: KR+H has its new investments developed and they focus on reduction by continuing to increase the level of automation in the process. And this investment is valuable and profitable. Based on KR+H had performed not very well in their cash flow in the past 3 years. The company also troubled with limited access to the capital market. Therefore, it is necessary for KR+H to get external financing in order to maintain its revenue and get a rapid growth. References: Robert C. Higgins(2012), Analysis for financial management David Rhodes and Daniel Stelter(2009), Seize advantage in a downturn